The Light of Dawn

By

James Swearingen

Student Handbook

Created

By

Courtney Lambert

Learning Goals

1. The student will understand the meaning behind The Light of Dawn.

2. The student will understand the connection between The Light of Dawn and Thomas Cole paintings.

3. The student will create and notate an eight bar rhythmic composition that includes two of the dotted or syncopated rhythms from The Light of Dawn to show their understanding of these rhythms.

4. The student will know and be able to perform meter changes between 6/8 and 2/4 meter.

5. The student will learn to improvise melodies using the notes of the B-flat scale.

6. The student will learn how to construct I and V chords.

7. The student will learn to identify and describe the musical form ABA.

8. The student will learn how rhythm, melody, harmony, and form relate to the paintings of Thomas Cole.

Introduction to The Light of Dawn and James Swearingen

James Swearingen

About the Composer:

James Swearingen is a well-known composer of music for the young band. He began his career as a band director in the Ohio public school system soon after graduating from Bowling Green State University. He later earned a degree from The Ohio State University.   Swearingen is now a Professor of Music and the Department Chair of Music Education at Capital University in Ohio. Throughout his teaching career he has spent a lot of time composing pieces.  He serves as the staff arranger of the Ohio State University marching band and has worked with several other college marching bands. Swearingen finds time to guest conduct and serve as a clinician.  This has allowed him to travel throughout the U.S., Japan, Canada, Europe, Australia, and the Republic of China.
Over 400 of Swearingen’s compositions have been published.  He has written music for many kinds of ensembles including concert band, marching band, and jazz ensemble. He has composed pieces at varying levels of difficulty, but most are considered to be medium/medium easy. Swearingen has won multiple awards for his work as a composer and as a music educator.

About The Light of Dawn:

The Light of Dawn is one of James Swearingen’s more recent publications.  This work was commissioned by Miller South School for the Visual and Performing Arts Concert Band in Akron, Ohio.  It was written to express the start of a new day.  The underlying rhythmic current of the music represents the sun as it steadily rises over the horizon. Like most of Swearingen’s pieces, this work offers excellent opportunities for learning musical concepts and applying musical skills.

There are several reasons why I chose to do this piece with the band. One reason is the importance of the percussion.  There are four separate percussion parts, but at least two of the parts require more than one player in order to cover all of the instruments.  This will help get all of our percussionists involved in the piece. Through this piece we will be examining meter change between 6/8 and 2/4. There are also syncopated and dotted rhythms that will help band members master those rhythmic skills. We are also going to use this piece to work on legato, marcato, and staccato articulations. The Light of Dawn contains fun aspects like hand clapping and a lot of dynamic contrast. It should provide a fun and exciting way for members of the ensemble to expand as musicians.

Introduction to the Artwork of Thomas Cole

Thomas Cole

(1801-1848)

About Thomas Cole:

Thomas Cole was born in England in 1801. He emigrated with his family to the United States in 1818. During his first years in the country he worked as a portrait artist in Philadelphia, Ohio and Pittsburg. Cole worked with members of the Philadelphia Conservatory but he was generally a self-taught painter.

Thomas Cole is often considered the “Father of the Hudson River School of Art,” through is work as a landscape artist. He helped to found the National Academy of Design in New York City in 1826. He spent the rest of his life making nature sketches the Catskills, White Mountains, Adirondacks, and the coast of Maine. His goal was to capture the unexplored American wilderness. These sketches later served as the inspiration and basis for his paintings. His landscape paintings are considered to be romantic, based on his dedication to depicting the beauty of nature.

As the “Father of the Hudson River School of Art,” Thomas Cole served as an inspiration for later artists. His dramatic use of light and contrast served as a basis for a nineteenth century movement called luminism. The style of this artistic movement can be defined by the realistic rendering of light and atmosphere.

How do Thomas Cole’s paintings relate to James Swearingen and The Light of Dawn?

. Both The Light of Dawn and Thomas Cole’s paintings rely greatly on the representation of light. James Swearingen’s piece is a musical interpretation of the landscape as the sun rises into the sky for the start of a new day. The musical elements in this piece represent this scene as it appears in the composer’s mind. Since Thomas Cole’s paintings are so dependent on light and the contrast between light and dark, his scenes often depict a particular time of day. His use of contrast often gives his paintings meaning and adds to the beauty of the landscape. The main difference between these two artists is that one uses music to create a visual image while the other uses paint and color.

Name________________________________

What Have You Learned?

1. James Swearingen has published over 400 works. What kinds of ensembles has he written music for?

2. What kind of picture is The Light of Dawn meant to create?

3. What are two locations that inspired Thomas Cole’s landscape paintings?

4. What is one of the main elements found in Thomas Cole’s paintings?

5. Getting to Know Artwork

Here are three Thomas Cole paintings:

1. The Course of the Empire: 2. The Voyage of Life: Youth 3. Catskill Landscape

Desolation

Based on the way Cole uses light, can you figure out what time of day is shown in each painting?

6. Getting to Know The Light of Dawn

Listen to your recording of The Light of Dawn. How does Swearingen show the idea of the sun rising? How does the music create this image?

Rhythmic Composition

Objective: Create and notate an eight bar rhythmic composition that includes two of the dotted or syncopated rhythms from The Light of Dawn.

Rhythm is a very important element in The Light of Dawn. It helps create excitement and drives the piece forward, especially in the quick sections. Swearingen likes to use dotted rhythms and syncopation. This is evident in the rhythms that he uses throughout the piece. Some of these rhythms include:

1. 2. 3. 4.

Your task is to create an eight measure rhythmic composition that uses at least two of these measures. The rest of the composition should be based on combinations of quarter notes, dotted quarter notes, quarter rests, eighth notes and eighth rests. Be sure that your composition can be played and performed by you and your peers.

You will be graded on the following:

1. The length of your composition (it should be 8 measures).

2. The correct number of beats in the measure (there should be 4).

3. Using at least two of the rhythms listed above from The Light of Dawn.

4. Filling in the other beats with the appropriate note values as listed above.

5. Playability of your composition.

Helpful Information About the Mixed Meter Sections

*Please do not attempt this activity before it is discussed in class

Objective: For students to understand and feel the difference between 6/8 and 2/4 meter.

In m.31-36, m.101-106 and m.128-131 the time signature changes back and forth between 6/8 and 2/4. The eighth note remains at a constant tempo throughout this section. The difference between the two meters is that 6/8 has eighth notes in groups of three and 2/4 has eighth notes in groups of two (two eights notes within the quarter notes).

We will be working on the meter changes mostly during class, by practicing them vocally. The word hamburger will represent the 6/8 meter and the word pizza will represent 2/4. Each syllable in both words shows the eighth note.

Ham--bur—ger Ham--bur--ger Piz--za Piz--za

Practice saying these words rhythmically and clapping along with the syllables. Eventually you can practice adding accents with your voice and clapping. Here is what this would look like:

Ham—bur-ger Ham--bur--ger Piz--za Piz—za

While still saying all the syllables, practice not clapping on the syllable “za,” at the end of “pizza.” Make sure that you are still saying the words rhythmically as before. You will now be clapping this rhythm:

Ham--bur--ger Ham--bur---ger Piz---za Piz----za

This is the same rhythm that appears in The Light of Dawn. Please be sure to talk with Miss Lambert about any questions or problems you might have practicing this exercise.

Rhythm and Its Relationship to Thomas Cole’s Paintings

Rhythm is often considered to be the core of music. It creates a strong musical structure. Melody and harmony fill in the outline created by rhythm.

Lines and shapes are what provide the structure for visual arts. Similar to rhythm, they create a foundation that the rest of the artwork can be built upon. In this painting The Course of the Empire: Desolation, what two shapes does Cole use throughout the piece to create structure and form?

Practice Exercises

The Concert B-flat scale is one of the best tools for helping you learn some of the skills in this piece. Here are some ideas to help you practice:

1. Play the B-flat scale above using a variety of dynamics. For example, play through it once at a mezzo piano dynamic and then the next time play with a forte dynamic. If you have difficulty playing soft be sure to concentrate on the softer dynamic levels.

2. Practice the B-flat scale above using crescendos and decrescendos. An example might be crescendoing on the way up the scale and decrescendoing on the way down.

3. Practice the same B-flat scale with different articulations. For example, use marcato articulation going up the scale and legato articulation going down.

4. The B-flat scale is also a great way to practice rhythm. You can play a rhythmic pattern on one note before progressing to the next note of the scale. An example would look like this:

The exercise would continue in this fashion up to the top of the scale and then back down to the tonic.

5. This idea of rhythmic patterns on the B-flat scale can also be modified. You can try adding different articulations such as marcato:

or play the exercise legato or staccato.

6. This rhythmic pattern is also a great way to experiment with dynamics. For example, if you start the exercise at a piano dynamic level you could make each successive pattern at a louder dynamic like this:

Melodic Improvisation Activity

Objective: Learn to improvise using the notes of the B-flat scale.

The main melodic lines in The Light of Dawn use the notes found in the B-flat concert scale:

(Concert pitch)

James Swearingen’s melodies often move by step, or use the B-flat arpeggio.

Your job is to practice improvising on these notes. You will use four measures from your rhythmic composition (must be approved by Miss Lambert) or you can use the following rhythmic pattern:

Practice playing the pattern using one note from the B-flat concert scale. Then use two notes from the scale, changing pitch whenever you choose. Once this feels comfortable, you can use three or four notes. After several practice sessions you should be able to improvise using any of the notes from the B-flat scale. Always remember the importance of simplicity. Using stepwise motion or arpeggios like in The Light of Dawn is a great way to come up with a catchy melody.

**If you find that you really enjoyed one of your improvisations, feel free to try and recreate it and then write it down. Improvising and noodling are often good ways to work on composing as well.

Harmony

Objective: To learn how to construct I and V chords.

We have already learned that a triad is made of three notes: the root, the third and the fifth. For example, a triad built on the note G would look like this:

A one chord is simply a triad built on the tonic of a key. For example, in the key of B-flat, the tonic note is B-flat. The I chord would then be a triad built on B-flat and it would look like this:

The V chord, or the dominant, is another triad, but it is not built on the tonic. Instead the V chord is built on the fifth scale degree. Again, the key of B-flat can be used for an example:

By counting the scale degrees you will find that F is the fifth scale degree. The V chord should then be built on F. It would look like this:

Whenever constructing I and V chords, remember to keep the key signature in mind. For example, in the key of B-flat there is a B-flat and an E-flat. Any time these two notes are used in a chord they are included with their accidentals.

Constructing I and V Chords

Objective: To practice creating I and V chords and show student understanding.

Construct the I and V chords in the key of B-flat:

Construct the I and V chords in the key of F:

Construct the I and V chords in the key of E-flat:

Construct the I and V chords in the key of C:

Melody and Harmony in Relationship to Thomas Cole’s Painting

The melody of a piece is often considered to be the main subject of the work. In The Light of Dawn the main melody of the A section starts at m.9 and is played by the clarinets. Throughout the piece, whatever instrument has the melody line should be heard above all others. The other parts or the harmony, is supposed to play a supporting role. That is why the supporting instruments often play quieter. This does not mean that they are less important. What would the music sound like with only one instrument section playing the melody? Harmony is a really important part of what makes the music complete.

Art is constructed in a similar way. In many of Thomas Cole’s pieces there is one main subject, but he does not leave all the other space blank. Instead, he uses other objects and pieces of the landscape to fill in the painting. In this work entitled The Present by Thomas Cole, what is the main subject? What kinds of landscape features, objects and colors does Cole use to fill out the painting in order to create a complete scene?

Musical Form.

Musical form can be described as the structure of a particular piece. It defines how the parts are put together in order to create the whole. The Light of Dawn is based on the ternary form ABA’. A piece in ternary form has three distinct sections. The first two sections are different and contrast one another, but the third section is similar or exactly the same as the first section. If the third section is exactly the same as the first, it is labeled ABA. If the third section is almost the same the first with only a slight variation then the form is called ABA’.

A simple example of ABA form is the well-known song, “Twinkle Twinkle Little Star.”

A Twin---kle twin--kle li----ttle star how I won-der what you are

B Up a---bove the world so high like a dia-mond in the sky,

A Twin---kle twin--kle li----ttle star, how I won-der what you are.

The musical material (and the words) from the first line is exactly the same as the third line. This satisfies the requirements for ABA form.

The two differing sections of the ABA form often vary in style. For example, in The Light of Dawn the A section is in an accented, marcato style. It calls for an upbeat tempo and full dynamics. In contrast, the B section is in the smooth and connected legato style. It calls for a slower tempo and softer dynamic levels.

Form Assignment

Objective: To demonstrate ability to identify and describe the musical form ABA.

After listening to musical examples of ABA form in class, you should have a good understanding of how to identify pieces that follow this structure. For this assignment you will show your ability to identify form by finding another song that follows the ABA structure. The song may be from any genre, but it must not include any inappropriate language (no obscenities, drug references, lude comments). As a basic rule, do not use anything that your grandmother would not approve. With this assignment you will turn in:

1. A recording of the song.

2. If it is not possible for you to turn in a recording, please talk to me so we can come up with another option.

3. A paragraph of 150 words describing how the sections of the song are different and why you think the song is in ABA form.

You will be graded on your ability to correctly identify the form of your piece and how well you describe contrasting musical elements between the sections.

Form and How It Relates to Thomas Cole’s Paintings

In 1842 Thomas Cole painted a series of four works that all together formed a work entitled, The Voyage of Life. Each painting explores a different stage of life and the passage of time. While these are four separate paintings, they come together to create a whole. Just as in music, contrast is what creates the separate parts, but each part is a necessary to complete the piece. Each section of the work is different and contains various artistic elements. What are the differences between these representations of the stages of life? How is one part of the collection different from the other? How are they linked together? Think about how Cole uses artistic elements (color, light, shape, line, balance, size, direction, repetition, contrast) in each individual painting then compare and contrast. Write out your response in complete sentences. Your response should be no less than 200 words and should be in paragraph format.

The Voyage of Life: Childhood

The Voyage of Life: Youth

The Voyage of Life: Manhood

The Voyage of Life: Old Age

Unit Assessment

Throughout this unit on The Light of Dawn you will be assessed in multiple ways. Any written task that is given to you will be graded and assessed. You will be graded on whether the assignment is completed and how well you followed the criteria provided on the assignment and discussed in class. Here is a list of those assignments:

What Have You Learned? Worksheet

Rhythmic Composition

Harmony Worksheet over I and V chords

Form Project, recording and paragraph

Form and Thomas Cole paintings, 200 word response

Webquest

Further assessment will be based on your development of musical skills. The following skills that will be assessed include:

Improvisation: In class we will be practicing melodic improvisation with the B-flat scale as described in the Melodic Improvisation handout. You should also be working on this activity at home during your practice sessions. On May 6^th we will be doing the improvisation activity for the last time. I will record the round of improvisations and use them for a grade. The improvisation will be assessed on just two criteria-

1. You used notes found in the B-flat scale.

2. Your solo contained the correct number of beats and lasted four measures.

Meter Change: On April 5^th, after we learn about the meter changes in this piece and get a chance to practice them in class, you will be assessed on your ability to perform the meter change. Each student will record m.29-38 in a practice room to show your ability to play the meter change sections. You will expected to play this tempo at eighth note=200.

Legato and Marcato Style: Starting on April 20^th you will be assessed on your ability to play in the marcato and legato style. Students will be asked to play the B-flat scale in both styles. The assessment will be done in groups of two or three during class. You will be given a checkmark if you successfully perform the style. If it is not done correctly, you will continue to take the test until you can perform the two styles satisfactorily.

Final Test: The final test/quiz will be given on May 25^th. It will include questions about the following-

-The background of James Swearingen and The Light of Dawn

-How The Light of Dawn is related to paintings by Thomas Cole (rhythm, melody, harmony, etc)

-How to construct I and V chords

-Listening questions about ABA form

Glossary

Arpeggio: The notes of a chord played in succession; a broken chord

Crescendo: Gradually growing louder, <

Decrescendo: Gradually growing softer, >

Forte (f): “Strong.” Loud

Fortissimo (ff): Very loud

Fortississimo (fff): Very very loud; the loudest common dynamic marking

Harmony: The study of the structure, progression and relationships of chords

Legato: Smooth

Marcato: “Marked.” Stressed, accented

Melody: An organized sequence of single notes

Mezzo forte (mf): Moderately loud

Mezzo piano (mp): Moderately soft

Piano (p): Soft

Slur: A curved line connecting two or more notes, indicating that they are to be played legato

Stacato: “Detached.” Short, separated notes

Ternary Form: A compositional form in which an initial section is followed by a contrasting section, which is followed by a return of the initial section (ABA)

Triad: A chord of three notes: root, third, fifth