Symphony no. 1

‘The Lord of the Rings’

Mvt V. Hobbits

For Wind Orchestra

Johan de Meij

Amstel Music

Grade V

Teacher Guide

A Unit Study by Wesley Schulz

MusEd 395 / Dr. Burrack

Spring 2005

Meet the Composer

Dutch musician Johan de Meij came into international prominence and fame when his first symphony for band, Symphony No. 1 “The Lord of the Rings’ won the prestigious Sudler Composition Award in 1989. A graduate of the Royal Conservatory of Music, de Meij continues to perform on trombone in addition to his conducting and composing. His catalogue consists of original compositions, symphonic transcriptions and arrangements of film scores and musicals.

Symphony No. 1 “The Lord of the Rings,” based on John Ronald Reuel Tolkien’s novel of the same name, was de Meij’s first substantial work for wind orchestra. In 2001, the Rotterdam Philharmonic Orchestra premiered an orchestral version. Other major works include Symphony No. 2 The Big Apple (a New York Symphony) and Casanova (for violoncello and wind orchestra). Casanova was awarded the First Prize in the International Composition Competition of Corciano, Italy in 1999.

In addition to his composing, de Meij continues to play serving as trombonist with the Orchestra “De Volharding” and The Amersterdam Wind Orchestra. As a conductor, he has worked with groups all over Europe, in Japan, Brazil, and the United States.

Compositions (selected list)

*all for band and published by Amstel Music unless noted otherwise

Symphony no. 1 “The Lord of the Rings” 1984/1988

Loch Ness – a Scottish Fantasy 1988

Pentagram 1989, fanfare band

Aquarium 1991

Symphony no. 2 “The Big Apple” 1991-1993

Polish Christmas Music – part 1 1995

T-bone Concerto 1996

Continental Overture 1997

Madurodam 1997

La Quintessenza 1998

Casanova 2000, cello solo plus band

Voice of Space 2000

The Red Tower 2000

Magic Garden 2000

Empire of Light 2000

The Wind in the Willows 2002

Lezmer Classics 2004

Extreme Make-over 2005

*de Meij also has classical transcriptions, orchestral arrangements, film and musical scores, and instrumental and vocal accompaniments published. A complete listing of his works can be found at the following web address:

http://www.euronet.nl/~amsmusic/lijstjohan.htm

Historical Background

One of the finest works of fiction ever written, Tolkien’s Lord of the Rings became a best-seller immediately after its publication in 1955. Tolkien, a professor of English literature, conceived of the novel with inspiration from Celtic and Nordic legends. Combining these influences with his own original English flavored mythology, Tolkien created the fictitious world, Middle Earth. Filled with creatures such as hobbits, ents, wizards, dwarfs, elves, and humans, the novel revolves around a certain Ring that has the power to control all things. If left to the wrong hands, evil events occur. Conceived by primeval forces, the bearer of the Ring is coerced by its evil nature; evoking a struggle throughout the novel between good and evil forces. For years the Ring was in the possession of a creature Gollum, but later fell into the hands of Hobbits. When Frodo, a Hobbit, gained the Ring, the evil forces awoke and the struggle began. Being a Hobbit of good nature, the only solution to saving Middle Earth from the ring’s power was to have it destroyed. The only means to do so is by throwing it into the fire in which it was forged: Mount Doom in the heart of Mordor, the country of the evil Lord Sauron. Frodo is the chosen ringbearer and with some new companions, a wizard, an elf, a dwarf, a few humans, and a couple hobbit friends, he must journey to Mordor to destroy the ring. Gollum follows the entourage consumed by his desire to reposes the ring. Many adventures and surprises await the characters throughout the epic novel resulting in a truly satisfying reading experience.

Johan de Meij’s Symphony No. 1 is based up the The Lord of the Rings. In five movements, the symphony illustrates the principle characters and major events of the trilogy. The five movements are: I. Gandalf (The Wizard) II. Lothlorien (The Elvenwood) III. Gollum (Smeagol) IV. Journey in the Dark (a. The Mines of Moria, b. The Bridge of Khazad-Dum) and V. Hobbits. Just as the novel is filled with unique characters and vivid descriptions, this symphony explores many orchestral colors and some interesting orchestration techniques. In the music wonderful instrument combinations are used creating some wonderful sonorities in unique ways. Also, the element of surprise is foundational to the work hurling the listener through a fantastic trip through Tolkien’s intriguing universe.

The following score analysis focuses on the fifth movement, Hobbits. As the composer notes in the score, this movement “expresses the carefree and optimistic character of the Hobbits in a happy folk dance; the hymn that follows emanates the determination and noblesse of the hobbit folk.” This movement ends the symphony and does so on a somber note. In keeping with Tolkien’s novel, the conclusion of the symphony is peaceful and resigned following the nature of the last chapter, “The Grey Havens” in which Frodo and Gandalf sail away in a white ship, disappearing beyond the horizon.

It is recommended that the entire triology be read so as to provide students with the best possible analogies when playing the symphony. Having a firm understanding of the novel will only enhance the teacher’s ability to make comparisions between the music and the story.

Form

As detailed in the melodic and harmonic analysis, the form of the piece is through composed. As many composers of multi-movement works often do, de Meij incorporates previous themes along with new ones. This technique is especially important in this work as the five movements are all part of the same (Tolkien) story. For the last movement in particular, sounding themes from the previous movements gives the Symphony unity and closure. One such example of using earlier themes in the fifth movement is the presence of thematic material from the first movement. Staying true to Tolkien’s novel, the symphony does not end on an exuberant note, but ends peacefully and resigned. This symbolizes the mood of the last chapter, “The Grey Havens” in which Frodo and Gandalf must sail away from Middle Earth on a white ship, disappearing beyond the horizon.

The formal layout of the work is as follows

Introduction A B C D Coda

A1, A2, A3, A4 C1, C2, C3 D1, D2

Hobbit folk dance Hobbit Hymn Gandalf / somber end

Lothlorien

theme

fragments

Orchestration and Texture

Some parts found in this work may not be available in some high schools. There is a double bassoon part (not used in the fifth movement, however), E-flat alto clarinet (often doubled in other instruments), flugelhorn, string bass, piano, and an anvil in the percussion section. The piece in general calls for a large band. All of the upper brass instruments, for example, have four parts.

One of de Meij’s finest composition qualities is his ability to create amazing canvases of sound. Through layer and transferring of melody between instruments, some wonderfully sonorous sounds are created. Looking at the beginning of this movement, the piece opens with unisons on the pitch A in the low winds. A repeated dotted eighth, sixteenth is used to break up the sustained note but on different counts every few bars. Slowly voices are layered in entering with fanfare-like motives. As this introduction moves into the Allegretto (the segue material before section A) his genius of setting up the melody to come is evident. He begins with a melodic bass line in the low voices, then adds in a bouncy, and rhythmic obligato-like “melody” in the upper woodwinds, and then finally brings in the main theme on top of it all.

This example also illustrates his constant use of thin and thick textures. For the A and C sections of the movement especially, the first statements of the theme are thin and the last statements are rather thick with varying, independent parts. De Meij uses the through-composed compositional style to let each theme evolve and grow as the work progresses. In doing such, some wonderful musical fabric arises. One of the thickest parts of the score is found at the very end of the work. In both statements of the D section some independent lines are found that are vitally important. Some parts have duple rhythms against triple that are especially important to count correctly.

Thin and thick textures are not the only means in which de Meij composes. In fact, the climax of the work utilizes a largely homophonic texture with an effective counter-line in the horns. Also in the fullest statement, the fourth, of the A section, homophony is used to voice the melody in its grandest hearing yet.

Dynamics

A general dynamic scheme of the piece can be found below following the form of the movement.

Intro A1 A2 A3 A4 B C1 C2 C3 D1 D2 Coda

p < f > mf < f……………< ff …..>f>mp> pp < mp < f >< f……...< ff > p to end

Warm-up Exercises

Teacher considerations: Below is what appears in the student guide for warm-up exercises. Precise rhythm and evenness in sound is of great importance in this work. To properly execute the fanfare motives especially, crisp rhythm (as well as articulation) is needed. In the first exercise below work to make the 32^nd note come as late as possible, tell students to think of it as belonging to the next bar/beat. To assist sound in the Hobbit Hymn, use the second exercise to teach sustained sound and full-bodied breath support. In the last exercise, work different articulations that appear in the piece. I have written out accented and staccato, but marcato and tenuto should be worked on as well. Feel free to adapt any exercise to your band as you see fit.

In this movement a fanfare motive recurs throughout that utilizes a short note leading into a longer sustained note. Practice the exercise below (given in concert key) on your instrument as a warm-up. Focus on articulating the short notes evenly and that you don’t play them to long.

Another musical style found in this piece is a very sustained and rich sound. Play the same scale as noted below with a rich, full bodied forte sound throughout. Next, mind the crescendo and decrescendo as marked to shape the phrase. As there other ways you can shape the phrase with your volume? Experiment and write in you music what you discover.

Remember, this is concert key

For articulation practice, play the scale below staccato on the way up and accented on the way down.

Activity One: Music/Literature/Art

Art and Hobbits

Teacher Considerations: This symphony cannot possibly be worked on without referencing the novel upon which it is based. Seek out a willing English teacher if you do not feel comfortable teaching English yourself, but have students read parts of Tolkien’s novel. The fiction is wonderfully enjoyable and students will gain an incredible understanding of Hobbits if as little as 40 pages are read of the trilogy. In this activity, students will read parts of the novel and then draw/paint/color their own image of a Hobbit. This connection to art will allow students to see how all the arts are interrelated (literature, music, visual art). Encourage creativity and allow students ample time to read, brainstorm, and create. Several weeks are likely needed for this activity.

For assessment, use the rubric below. Points should be awarded for following specified criteria, depth of thought/effort, and imagination

National Standards Addressed:

6. Listening to, analyzing, and describing music

8. Understanding relationships between music, the other arts, and disciplines outside the arts

*Below is taken from the student packet

Background:

Decades before the Peter Jackson movie trilogy was made, artists have been drawing their depictions of Lord of the Rings characters. With such vivid descriptions given by Tolkien one may think that artist renditions would tend to look the same, but in fact a wide array of interpretations are available. The diversity in colors, body shape, and facial expressions are as varied as the rainbow. Since this musical work is based on a book, art seems like a natural medium to bridge the “artists gap” between music and literature. What is found in the book and what is heard on the musical staff can be combined into visual images

Assignment:

1.) Read from Tolkien’s first book, The Fellowship of the Ring a.) Prologue: Concerning Hobbits, and other matters, and b.) Chapter 1: A Long-expected Party

2.) As you begin to practice this work, think about the text you have read and the music you are hearing. Decide for yourself what Hobbits look like visually. Study the pictures below for ideas and then come up with your own illustration. Also, think about the melodies found in the fifth movement of this symphony, do any of the Hobbits below match them?

Answer/do the following:

1.) Describe in prose the nature of Hobbits (looks, personality, character, lifestyle, etc) as you have read in Tolkien’s prologue and first chapter of The Fellowship of the Ring. Cite page examples from the book and give reason as to why you chose each citation. Include at least three. (10 pts)

2.) Describe the artworks above and how they do or do not fit what you have answered in question one. Give proper reasoning and support for your answer. (10 pts)

3.) Illustrate on a 8.5 x 11 sheet of paper YOUR ideal Hobbit. Include a paragraph describe why you have drawn as you have. Pencil drawings are acceptable as long as they are satisfactorily demonstrative of your envisioned Hobbit. (10 pts)

4.) What section of the fifth movement of de Meij’s symphony (intro, A, B, C, D, or Coda) would your Hobbit represent best? Defend your answer in a prose paragraph of no less than 250 words. (10 pts)

______40 pts possible, awarded on: criteria met, depth of answer/effort, and imagination

Rhythm

Most rhythmic difficulties in this movement arise from entering on a sixteenth note pick up into the next beat or measure. Some themes require special attention to both rhythm and articulation, as both are essential in making the appropriate statement. Also, it is the counter-lines that often have the most difficult rhythms. Many incorporate some sort of ‘off the beat’ element or forward, rhythmic propulsion.

Sixteenth note pick-up motives, mm. 6-8 (Horn I/III)

Fanfare from Gandalf (Mvt. 1), mm. 13-15 (trumpets)

A section counter-theme, mm. 76-79 (alto sax I)

Counter-melody in Hobbit Hymn (C section), mm. 167-170 (horns)

D section, upper woodwind counter theme, and trumpet fanfare interjections, mm. 186-188

D section Horn rips, trumpet pick-up figure, mm. 197-200

Coda, fragments from second movement, Lothlorien, mm 212-213 (flutes)

Activity Two, Rhythmically Speaking

Teacher Considerations: Use the rhythm system in place in your school to do the following activity. Assist students as needed in counting and encourage them to chant the rhythms as well as play them on their instruments to increase understanding. It would be beneficial for students if an example were done in class of the fanfare composition assignment. Show students how to conceive of a rhythmic idea, notate it, count it, and play it. Encourage students to be creative so as long as what they compose is playable.

A grading rubric is given below, award points largely on following directions and effort. Watch for fanfares that don’t have all time accounted for, show students corrections or suggestions where needed.

National Standards Addressed:

2. Performing on instruments, alone and with others, a varied repertoire of music

4. Composing and arranging music within specified guidelines

5. Reading and notating music

6. Listening to, analyzing, and describing music

*Below appears in the student packet

Most rhythmic difficulties in this movement arise from entering on a sixteenth note pick up into the next beat or measure. Some themes require special attention to both rhythm and articulation, as both are essential in making the appropriate statement. Also, it is the counter-lines that often have the most difficult rhythms. Many incorporate some sort of ‘off the beat’ element or forward, rhythmic propulsion.

Learning Goals:

-exhibit understanding of rhythmic issues found in mvt V

-compose a fanfare rhythm using rhythmic motives found in mvt V

-perform rhythm on drum or single pitch on your instrument

Process:

1. Write in the counting for the rhythms below, also, mark with a vertical line each pulse to clarify the beat.

a)

b)

2. Using the rhythm bank below, compose your own fanfare rhythm. If you have a unique fanfare idea that doesn’t use the rhythms below, check with Mr. Schulz for approval. You may study the fanfare theme de Meij uses for ideas (see example a) above).

Criteria:

-3/4 time

-2-3 measures

-write on one line or space of the staff

-utilize the rhythmic values or motives from the rhythm bank as needed. Exceptions must be approved by Mr. Schulz

Rhythm Bank

-quarter notes

-eighth notes

-sixteenth notes

-32^nd notes

AND/OR use one of the following motives

or

Notate your fanfare rhythm here

Extra Credit:

*Add a melody to your fanfare rhythm in the key of your choice. Remember, you must be able to play it!

Assessment:

____(5 pts each for writing in correct rhythms on two given excerpts)

____(5 pts for using rhythms from rhythm bank, writing in ¾ time, and being 2-3 measures long)

____ (3 pts for all time accounted for by means of notes or rests in the three measures above)

____(5 pts extra credit possible for writing in melody for fanfare rhythm)

____Total (13pts, with up to 5 extra credit pts for max 18 total pts possible)

Melodic and Harmonic Content

Within the Introduction of the fifth movement, material from previous movements can be heard. The most recognizable theme is from the first movement, Gandalf. A fanfare theme is used from this movement and is stated in its fullest form at measure 14 in the brass.

m. 14 fanfare theme (trumpet I)

This Gandalf theme is stated in C major after the mysterious A minor opening. The piece then reaches a segue section in which the accompaniment for the main theme of the Fifth movement is set up. Here the harmony is modulatory until the first theme is finally reached in which the mode G dorian is used. The primary theme that composes the bulk of the first half of this movement is first stated in the trumpets:

mm. 38-42

Essentially, this main theme is voiced successively four times in varying ways. The melody as given above is always present, but the accompaniment and counter-lines change with each ‘variation.’ The first statement (given by the trumpets) with repeat (A1), mm. 39-55 has a relatively light texture with a rhythmic upper woodwind obligato. The second statement A2 (horns, saxes, flute, E-flat clarinet), mm. 56-71, utilizes a heavy, accented accompaniment on the offbeats at a fortissimo dynamic marking. The third statement (A3) from 72-90 puts the melody in the low brass while the upper winds accompany using an obbligato similar to the first statements’. The key has moved to C dorian for this statement and the percussion section adds much color with a driving woodblock and on/off beat groove in the bass drum and snare. Here, for the first time, the obbligato counter-melody becomes almost equal to the main theme. The final statement (A4) of the theme in the A section of the work, now in F major, runs from mm. 91-106. The texture here is primarily homophonic giving the loudest and fullest statement yet of the main theme. The obbligato heard before is only used in two parts in this statement: the oboe and bells. The horns are vitally important in this section as they propel the musical line along with an accented, descending line on the weak beats.

The B section primarily serves as a transition between the first theme and the second theme. Throughout this entire section the bass voices and timpani play constant quarter notes on the pitch ‘F.’ Above this, the remaining voices interject quarter notes and sixteenth note scalar runs in a drive to the next thematic section. An anvil is used in the percussion section adding a unique, metallic quality to the ensemble that blends well with the bright, upper woodwinds. (see score for example of texture, mm. 112-115)

Like the first theme, the Hobbits’ Hymn (as de Meij titles it in the score) is given in three statements, each fuller and texturally richer than the previous. The Hobbit Hymn consists of four, four bar phrases that make up two larger, eight bar sections. The two eight bar sections combine to form one full statement of the theme. The key of the first statement (C1) is G dorian. In the first phrase of this statement (beginning at m 131) the first B-flat clarinet has the melody with the E-flat clarinet joining in on the second phrase (pickup to m 135). In the third phrase (m 139) the flugelhorn joins the B-flat clarinet while the E-flat rests. On the final phrase (m143), all three of these instruments play completing the first statement of the hymn.

Second and third phrase, first statement, Hobbit Hymn, mm. 135-142 (1^st B-flat Clar)

For the second statement (C2) the key area is modulatory (touching mostly on G and C dorian) and the dynamic has increased from piano to mezzopiano. The low brass and full saxophone complement enter with simple, but important accompaniment figures. The flute joins the flugelhorn and clarinet in giving the melody. As this statement progresses through the four phrases more and more instruments enter on either the melody or the counter-lines.

The climax of the work (m 163-185) is felt during the third statement (C3) of the hymn. The key of C dorian is used and the full band is playing in a grandioso manner. The dynamic has increased to forte and the joyous aura of the melody is simply breathtaking. This statement repeats, and upon the second time through, the horns and euphonium offer a countermelody that equals that of the melody. In combination, these two melodies give the movement its biggest emotional impact.

Horn countermelody, mm. 163-170

Following the Hobbit hymn is the D section. This section is subdivided into D1 and D2. The first section is in F major, the second in C major and then back to F. The theme, as in the Introduction, comes from the first movement, Gandalf. Reappearing here, the theme symbolizes Gandalf bidding farewell to the peoples of Middle Earth as he leaves with Frodo on the white ship (this comes directly from Tolkien’s novel). De Meij adds to this Gandalf theme a counter-line in the upper woodwinds.

D1 Counter-theme, mm. 186-188 (flute I)

In the second statement, D2, the same fanfare from the Introduction of the movement appears. Building to one last tutti fortissimo, the D2 section segues calmly into the Coda.

From the Coda to the end of the work, the key of C major is used. The timpani and low brass utilize a triplet ostinato pattern at piano to form a canvas for fragments of themes from the second movement to play over. The texture grows thinner and thinner as the end is approached, until only the timpani and some low murmurs remain, ending the work.

Activity Three: Time for a Melody

Teacher Considerations: As with any composition projects, the focus is on learning and gaining a further understanding of theory and the composition process. It is recommended that ample time be allowed for this assignment so students can turn in quality melodies. Also, allow for redoes to encourage students to come up with the best possible melody they can. Give suggestions and feedback on what is initially turned in and then let students re-work the assignment until it is satisfactory. In doing the focus is put on what is being learned and the quality of the work, not just the grade.

Again, a class example will benefit students who have never composed a melody before. Show students how to create a motive and develop it. As this activity stresses, simplicity often creates the best melodies. Highly chromatic and rhythmic melodies are not the goal of this activity.

For the listening portion of this activity, play examples of beautiful, simple melodies and lead discussion on their compositional elements that contribute to their worth. Prod students to give clear, concrete, musical comments. Give them ideas through the discussion that they can use in composing their own melodies. At the end of the assignment, have students with outstanding melodies to play them for the class. Or, transcribe them for all the instruments and play them as a full band.

Use the rubric below to grade the melodies, again, allow for redoes.

Standards Addressed:

2. Performing on instruments, alone and with others, a varied repertoire of music

4. Composing and arranging music within specified guidelines

5. Reading and notating music

6. Listening to, analyzing, and describing music

8. Understanding relationships between music, the others arts, and disciplines outside the arts

*the following appears in the student packet

Learning objectives:

-identify musical elements of a melody that make it simple, but beautiful

-compose a melody that describes your Hobbit picture drawn in activity one modeled after the Hobbit Hymn found in de Meij’s symphony.

Process:

1.) Simple Melodies:

Many of the most memorable melodies are of a simplistic nature. Think about the Ode to Joy theme, Twinkle Little Star, the Chaconne theme from Holst’s First Suit in E-flat, or Dvorak’s famous theme from the Largo of the New World Symphony. All of these themes use rhythms and a melodic range of the utmost simplicity. Quarter and eighth notes are the primary rhythmic values while the pitch range is well under an octave. This observation of composition proves that some of the best melodies ever written were not necessarily the most complicated technically.

Look at the Hobbit Hymn melody below (given in concert pitch) and note the rhythmic values, pitch range, and overall flow of the melody. Can you sing it aloud just by looking at the music?

You may notice that there are several leaps in this melody, but note that the largest jumps are simply in octaves (F3 to F4, C4 to C3, etc). Without these leaps, the melody that remains is quite simplistic.

2.) Your chance to compose!

Create a melody that is to become the theme song of the Hobbit you drew in the first activity. The criterion for your composition is below. Any exceptions must be first approved by Mr. Schulz. Try to compose in the way Johan de Meij did. Aim for a smooth, beautiful hymn-like melody. Make sure you theme is playable; you will have a chance to perform it for the class!

Criteria:

-written in ¾ time -in a major key

-written in concert pitch or in the key of your instrument

-use only quarter, eighth, and dotted eighth notes for rhythmic values.

-Stay diatonically within the major key you use (I suggest Bflat, F, or Eflat major)

-8 measures in length (try for two, four bar phrases)

Compose below:

Assessment:

_____3/4 time, 2 pts ______major key, 2 pts ______diatonic, 5 pts

______8 measures with all time accounted for in each, 8 pts

______appropriate rhythms, 5 pts ______neatness, presentation, 5 pts

______creative effort, 5 pts

_____32 pts possible

Activity Four: The Power of Harmony

Teacher Considerations: A complicated harmonic activity could be devised for this movement to address issues such as modes, modulations, chromatic inflections, and the sort, but instead I have chosen to cover a broader topic with the idea that most high school students do not possess the higher theory skills/knowledge needed for understanding such complex ideas.

In this activity students will listen to recorded music and evaluate the contribution harmony makes to the music overall. Some suggestions for listening examples are given, but I would encourage you to find your own examples to share in class. Listening selections should begin with a solo instrument or small ensemble on a clear melody, and then other instruments and/or chord tones should add in. You will want to find as clear examples as possible to set students up for success. You know your band best, so chose selections appropriate to their understanding level.

Assessment for this activity is based largely on completion and effort. See that all students fill out the chart with appropriate comments and that the reflection essay exhibits thought and clarity. See rubric and chart below.

Standards Addressed:

6. Listening to, analyzing, and describing music

7. Evaluating music and music performances

8. Understanding relationships between music, the other arts, and disciplines outside the arts

*below appears in the student packet

Learning Objectives:

-listen to recorded music and evaluate what is taking place in terms of harmony and melody

-recognize when harmony is added to a melody and how

-reflect on the emotional/musical impact harmony has when added to a melody, in other words what does it add, or, take-away possibly from the music

Relationship to de Meij’s work:

As the form activity on the Webquest shows, de Meij takes a theme and develops it through several statements. For example, in the Hobbit Hymn (section ‘C’) the clarinet has the melody with simple woodwind accompaniment; this is the first statement. In the second, the horns, flugelhorn, saxes, and flutes are added. This builds to the final statement in which the full band is in complete with countermelody. This building of voices (think harmonies and counterlines) gives the work emotional power and unity. Composing in this manner, giving a melody with simple accompaniment, and then building upon it as the piece progresses is common in other musical works. In this activity you will hear other pieces that use the same compositional process. Listen for similarities and reflect as instructed below on what you hear.

Consider this as well:

One of de Meij’s finest composition qualities is his ability to create amazing canvases of sound. Through layer and transferring of melody between instruments, some wonderfully sonorous sounds are created. Looking at the beginning of this movement, the piece opens with unisons on the pitch A in the low winds. A repeated dotted eighth, sixteenth is used to break up the sustained note but on different counts every few bars. Slowly voices are layered in entering with fanfare-like motives. As this introduction moves into the Allegretto (the segue material before section A) his genius of setting up the melody to come is evident. He begins with a melodic bass line in the low voices, then adds in a bouncy, and rhythmic obbligato-like “melody” in the upper woodwinds, and then finally brings in the main theme on top of it all.

This example also illustrates his constant use of thin and thick textures. For the A and C sections of the movement especially, the first statements of the theme are thin and the last statements are rather thick with varying, independent parts. De Meij uses the through-composed compositional style to let each theme evolve and grow as the work progresses. In doing such, some wonderful musical fabric arises. One of the thickest parts of the score is found at the very end of the work. In both statements of the D section some independent lines are found that are vitally important. Some parts have duple rhythms against triple that are especially important to count correctly.

Thin and thick textures are not the only means in which de Meij composes. In fact, the climax of the work utilizes a largely homophonic texture with an effective counter-line in the horns. Also in the fullest statement, the fourth, of the A section, homophony is used to voice the melody in its grandest hearing yet.

Instructions:

1.) In class I will play several recordings of band and orchestra works (ex, Holst, Barber Adagio for Stings, Britten Young Person’s Guide to the Orchestra fugue). Listen for the melody.

2.) Next, note when harmony is added. How do you know harmony is added (by another instrument, chords heard, new textural colors, etc)?

3.) What affect does the harmony you hear have on the music? What do you think the composer had in mind when writing it? How is the music enhanced or harmed? Think about the use of tension and release, dissonance vs consonance, lush vs harsh harmony, major/minor keys, etc.

Fill in the chart below for the three pieces; you will turn these in for completion points and depth of thought at the end of the activity (15pts).

	Instrument(s) heard on melody	Instrument(s) heard on harmony	Effect of harmony on music, what is the composers intent	Give your opinion on the effectiveness of the harmony
Piece #1
Piece #2
Piece #3

Short Answer Question:

When you feel comfortable having heard the Hobbit Hymn from de Meij’s symphony enough times, describe what you feel emotionally when you play it. What about the music, specifically the harmony, makes you have those feelings? Is it positive or are you not affected by the sound? Describe why you feel one way or the other. (250 words, 10 pts)

Stylistic Articulations & Expressive Terms

Allegretto – a little slower than allegro

Brightly – sharp, with a quick pace

Dolce - sweetly

Grandioso – broad, sweeping in scope and posture

Lentano - distant

Maestoso – majestic

Pesante – heavy, thick, broad

Quasi pizz – somewhat short (pizzicato like)

Sonore – strong

Sostenuto – sustained

Sotto voce – under the voice, beneath

Tenuto, poco marcato – long, somewhat heavy

Tranquillo – quite, calm

Straight Mute –used in trumpets

Resources

Books:

The Lord of the Rings, J. R. R. Tolkien, Houghton Mifflin Company, 1954

The Hobbit, J. R. R. Tolkien, 1954

Recordings:

The Lord of the Rings, Ensemble Vents Et Percussion de Quebec, Rene Joly conducting, Disques ATMA Records, 1997

Websites:

Artwork:

http://www.tolkien-movies.com/images/images.php

http://www.warofthering.net/gallery/galleries/

http://s87802762.onlinehome.us/lotr_art.htm

http://www.lotrplaza.com/directory/artsites.asp

http://www.tolkienart.net/

http://www.john-howe.com/portfolio/gallery/

analysis:

http://www.band-chat.org/research/documents/rings/