TITLE: Peregrin A Traveler’s Tale

COMPOSER: Douglas Akey

GRADE LEVEL: Grade 2

LEARNING GOALS: To become proficient in the form, melody, rhythm, and the general character of the piece using different instructional strategies.

NATIONAL STANDARDS: Standard 1, 2, 5, 6, 7, 9

 

TEACHER GUIDE

SCORE ANALYSIS

 

Composer

Douglas Akey went to school in Elmhurst, IL. He attended Arizona State University on a performance scholarship. In 1979, he obtained a Bachelor of Music degree with an instrumental emphasis and later received a Master of Music degree in solo performance in 1985. Akey taught junior high in Arizona for twenty six years. His band was invited to go to the Midwest International Band and Orchestra Clinic in 1994 and the Music Educators National Conference in 1998. He is a well known clinician. In 2006, Akey began teaching fifth and sixth graders. He has received several awards. In 1985, he received the Stanbury Award of American School Band Directors Association as outstanding young junior high band director. He was honored as National Federation of Secondary Schools Music Educator of the Year for Arizona, California, Hawaii, Nevada, and Utah in 1996. Douglas Akey is a well known composer and an active performer. He has played with the Del Sol Brass Quintet and the Arizona Brass Quintet, Phoenix and Tucson Symphony Orchestras. Currently he is principle horn and Assistant Conductor of the Tempe Symphony Orchestra.

 

Composition

The title is inspired by the image of pioneers crossing the country to the homestead in the great west. It is commissioned in 1993. According to dictionary.com, peregrin(e) means foreign; alien, coming from abroad or wandering, traveling, or migrating.

 

Historical Perspective

Peregrin is a result of two twentieth-century musical movements. Aaron Copland brought out widely spaced intervals. Empty octaves and fifths helped create his unique sound. Akey used similar motives in the second theme of Peregrin.

 

Technical Considerations

The majority of the piece is in 4/4. The time changes include 4/4, 2/4, and 3/4. The range of this piece is acceptable for junior high students. There are difficult rhythms such as syncopation, quarter note triplets, and sixteenth note runs. These trouble spots are easily attainable for a good junior high band. The percussion section has a lot going on during this piece. There are eleven possible parts. This can be very busy and hectic. The percussionists have to change brushes and instruments. It is important to have everything accessible. The piece starts out at an Allegro Vivo tempo. The Andante section is less than half the tempo of the beginning theme. The twice as fast section is a happy medium between the beginning section and the second. The end of the piece is the same tempo as the beginning.

 

Stylistic Considerations

This piece begins fast and should feel separated. Blending is important to the mood. The A section begins at measure fifteen. It comes back throughout the piece. It is important to bring out that theme. The Andante section is sweet and flowing. The twice as fast section “chimes”; meaning that each note should be separated like a chime.

 

Musical Elements

There are two themes in Peregrin. The first one begins in measure fifteen in F major. Measure twenty nine is where the second theme begins. It is introduced with half notes and is later brought back with quarter notes. Theme one returns later in the piece. The piece ends with the coda.

 

Form and Structure

Introduction: measures 1-15, low voices have a repeated line, the middle voices join with the melody

Section A: measures 15-55, the same rhythm is played but with different instrumentation, measures 28-42 slows down rhythmically and returns back to theme 1 in measure 43, measures 53-55 transitions to section B

Section B: measures 56-78, measures 56-62 is a call and response, the upper voices take over with the melody in measure 63, the clarinets take over in measure 67 with a “slower” rhythm with the flutes echoing

Section C: measures 79-110, this section is supposed to mimic a chime, the saxes and horns take over the melody in measure 91, measure 107-110 transitions to the next section

Section A’: measures 111-120, the A section returns but with embellishments

Coda: measures 121-end, measures 121-123 has tricky quarter note triplets, measures 1240127 brings back section B, measures 128-132 bring back section C, measures 133-end is difficult with time changes from 4/4 to 3/4 to 4/4 to 3/4 to 4/4, the syncopated rhythms will be hard to keep together, the last measure will be hard to keep clean

 

Suggested Listening

Douglas Akey, Tales of the Emerald Isle

James Curnow, Where Never Lark or Eagle Flew

 

Additional References and Resources

http://www.dictionary.com

http://www.arts.unco.edu/music/bands/allstate/2007/akey.htm

http://listeninglab.stantons.com/item.php?stno=157132

Miles, Richard. Teaching Music through Performance in Band vol. 2. GIA Publications, Inc. 1997

 

 

 

 

 

STRATEGIES AND ACTIVITIES

 

 

Form

Strategies:

• As a band, play each section of the piece, labeling in their music as we go: introduction, Section A (measure 15), Section B (measure 56), Section C (measure 79), Section A’ (measure 111), Coda (measure 121)
• Play a recording of the piece, stopping it at each section. Make sure that the students are clear what section is being played. This allows the students to hear what each section sounds like. You can find a recording of the music at Stanton’s Sheet Music at http://listeninglab.stantons.com/item.php?stno=157132
• Play the main rhythms from each section (see student guide under rhythm), having the students pick what section it is from. This can be incorporated into the warm-ups!

 

Assessments:

• Take home worksheet found in the student guide. Here is the answer key.

Form Worksheet

The beginning of the piece is the introduction . The A section begins in measure 15. In measure 56, the B section begins. The C section begins in measure 79 . The A’ section begins in measure 111 . The coda begins in measure 121.

 

• Definition worksheet found in the student guide.

 

List of Terms

Allegro vivo_fast, lively, intense, faster than allegretto but slower than presto _______

Andante _a moderately slow tempo, faster than adagio but slower than allegretto______

poco a poco__little by little, gradually _________________________________

crescendo__becoming louder, swelling ___________________________________

sostenuto__sustained ______________________________________________________

descrecendo__becoming softer _______________________________________

melody__an organized sequence of single notes ________________________________

fortissimo__very loud ___________________________________________________

rallentando__becoming slower_______________________________________________

These terms were found in the A to Z of Foreign Music Terms musical dictionary by Christine Ammer

 

Melody

Strategies:

• Have the students sing the melody after rehearsing the piece once or twice.
• Ask the students who has the melody. Be sure to let them answer and not answer for them.
• Under the melody section in the student guide, the students are asked to transpose the melody for their instrument. This can be done in or outside of class. Be sure to give them a copy of the score (the section where the melody is) so they can transpose it.
• After the transposition is done (and graded), have the students play the melody. Having the entire band play in unison will correct intonation, rhythm, and will keep everyone busy while you rehearse the melody line! Try asking questions like “how many time does this motive occur throughout the entire piece” or “should this be played loud or soft?”

 

Assessments:

• Transposition worksheet

 

General Character

Strategies:

• Discuss the mood of each section. Write down, as a class, terms that pertain to the mood of the section. Try not to give the students the answers. Let them come up with the words on their own. Examples: light, building, bright, happy, sitting stool, calm, soothing, hurried, chimes, cheery, grand. There is a section in the student guide under general character that the students need to fill out.
• Ask questions that lead the students to higher level thinking such as “how do we create this sound” or “is there an instrument/dynamic that would best fit here?”
• To rehearse dynamics, have the students GENTLY set their instruments on the floor to their right. To make a forte sound, stomp two times. For piano, pat on their knees. Sizzling can be staccato etc. Using body percussion is a great way for the students to hear and experience the dynamics! Make sure the students are producing the correct dynamic!
• Now, transfer the dynamics to their instruments.

 

Assessments:

• Questioning the students about the general character
• Using body percussion to create dynamics

 

Warm-up

Strategies:

• Play the concert F major scale using the different rhythmic patterns from the piece. Remember, the main sections begin in measure 1, 15, 56, 79. (see form section). Choose the rhythmic pattern that best fits your learning goals for the day!
• Some areas to be addressed are rhythmic accuracy, intonation dynamics, correct length of notes/rests, articulation, transitions, etc.
• Ask questions like “what section is this” and “who plays this” to keep the students engaged.

 

Assessments:

• Questioning the students

 

Reflections

This strategy is an ongoing assessment. The final assessment is the end goal but the students are asked to assess themselves throughout the course of the study.

·      Have each student make three goals for themselves after receiving the piece. The goals could pertain to intonation, articulation, intonation, note accuracy, etc.

·      At the halfway point, have the students assess their progress on their goals. The goal of this is to keep everyone honest and on task. If the students feel their goals are unobtainable, they can edit them so they can meet their goals.

·      When we are done studying the piece, have the students write a paragraph describing their reactions to their goals. Did they meet their goals? Why or why not? The goal of this assignment is to make the students want to work hard to achieve great things!

 

Rhythm

Strategies:

• Provide the students with a portion of the theme from each section. Leave out any articulation markings. It will be up to the students to fill in the correct markings.
• To achieve this goal, focus on one section at a time. Make sure that the students are aware of the rhythmic excerpts in their packets. Be sure to rehearse the exact excerpt that is in the packet and ask the students what articulations they heard. This would be an excellent opportunity to have the section that plays this excerpt to demonstrate, focusing on the correct articulation. As you rehearse the excerpt, the rest of the students can fill in the correct articulations.

 

Assessments:

Here are the rhythmic excerpts that are in the student guide.

A Section

 

B Section

 

 

C Section

 

 

 

 

 

Rubric

 

Teacher Name: Ms. Butts Student Name:     ________________________________________

 

CATEGORY	4	3	2	1
Rhythm	The beat is secure and the rhythms are accurate for the style of music being played.	The beat is secure and the rhythms are mostly accurate. There are a few duration errors, but these do not detract from the overall performance.	The beat is somewhat erratic. Some rhythms are accurate. Frequent or repeated duration errors. Rhythm problems occasionally detract from the overall performance.	The beat is usually erratic and rhythms are seldom accurate detracting significantly from the overall performance.
Attention in Class	Student is focused and attentive throughout class and follows directions to the best of his/her ability.	Student is usually focused and attentive during class, but sometimes is distracted by others.	Student is sometimes focused and attentive during class, but is easily distracted by others and sometimes distracts others.	Student is rarely focused and attentive during class. Sometimes disruptive to rest of class.
Dynamics	Dynamic levels are obvious, consistent, and an accurate intrepretation of the style of music being played.	Dynamic levels are typically accurate and consistent.	Dynamic levels fluctuate but can be discerned.	Attention to dynamic levels is not obvious.
Note Accuracy	Notes are consistently accurate.	An occasional inaccurate note is played, but does not detract from overall performance.	A few inaccurate notes are played, detracting somewhat from the overall performance.	Wrong notes consistently detract from the performance.
Articulation	Secure attacks. Markings (staccato, legato, slur, accents, etc.) are executed accurately as directed by the score and/or the conductor.	Attacks are usually secure, though there might be an isolated error. Markings are executed accurately as directed by the score and/or the conductor.	Attacks are rarely secure, but markings are often executed accurately as directed by the score and/or the conductor.	Few secure attacks. Markings are typically not executed accurately.
Style Markings	All style marking were played well and accurately. Made music more than notes and rhythm.	Most style markings were played well and accurately. May have missed one or two, but did not distract from overall style.	Failed to play several style markings accurately. Style of piece was barely recognizable.	Little or no attention was given to style markings. Style of piece was not recognizable.
Expression and Style	Performs with a creative nuance and style in response to the score and limited coaching.	Typically performs with nuance and style that is indicated in the score or which is suggested by instructor or peer.	Sometimes performs with nuance and style that is indicated in the score or which is suggested by instructor or peer.	Rarely demonstrates expression and style. Just plays the notes.
Pitch	Virtually no errors. Pitch is very accurate.	An occasional isolated error, but most of the time pitch is accurate and secure.	Some accurate pitches, but there are frequent and/or repeated errors.	Very few accurate or secure pitches.
Tone Quality	Tone is consistently focused, clear, and centered throughout the range of the instrument. Tone has professional quality.	Tone is focused, clear and centered through the normal playing range of the instrument. Extremes in range sometimes cause tone to be less controlled. Tone quality typically does not detract from the performance.	Tone is often focused, clear and centered, but sometimes the tone is uncontrolled in the normal playing range. Extremes in range are usually uncontrolled. Occasionally the tone quality detracts from overall performance.	The tone is often not focused, clear or centered regardless of the range being played, significanltly detracting from the overall performance.
Phrasing	Phrasing is always consistent and sensitive to the style of music being played.	Phrasing is usually consistent and sensitive to the style of music being played.	Phrasing is usually consistent and occasionally sensitive to the style of music being played.	Phrasing is rarely consistent and/or rarely sensitive to musical style.
Reflection	The reflections were insightful and the student met the goals.	The reflections were insightful and the students almost met the goals.	The reflections were not very insightful and the students almost met the goals.	The reflections were not very insightful and the students did not meet the goals.
Melody	The melody was transposed correctly and was played with good note accuracy and tone.	The melody was transposed correctly and was played with good note accuracy and poor tone.	The melody was transposed semi-correctly and was played with ok note accuracy and poor tone.	The melody was transposed incorrectly and was played with poor note accuracy and tone.