Teacher’s Guide

Rites of Tamburo

Robert W. Smith

Grade 2

Belwin-Mills Publishing Company

Kevin Welch

Kansas State University

 

Learning Goals:

 

1.  Students will know background information on Robert W. Smith and what he composed this piece for.

Standards 9

 

2.  Students will create your own cultural rituals that relate to the music in this piece.

Standards 8, 9

 

3.  After listening to this piece of music, students will find examples of art that represent this piece of music.

Standards 6, 8, 9

 

4.  Students will identify ostinato patterns throughout the piece and understand how the placement of accents affects the momentum of the piece.

Standards 5, 6

 

5.  Students will identify and perform the main rhythmic building blocks of the piece.

Standards 2, 5, 6

 

6.  Students will identify the main melodic motives of each theme and explain how the countermelody fits in with these melodic motives.

Standards 5, 6

 

7.  Students will transpose a melody and countermelody for their instruments and play it on their instruments.

Standards 2, 5, 6

 

8.  Students will compose their own melodies based on the harmony of this piece.

Standards 2, 4, 5

 

9.  Students will identify and mark in their parts the basic form of the piece.

Standards 5, 6

 

10.  Students will prepare the practice material given to them for this piece.

Standards 2

 

11.  Students will correctly define words used in this piece.

Standards 5

 

Unit Study

 

Unit 1: Composer

 

            Robert W. Smith is one of the most popular and prolific composers of concert band and orchestral literature in America today. He has over six-hundred publications in print with the majority composed and arranged through his long association with Warner Bros. Publications and the Belwin catalog.  He is currently published exclusively by the C. L. Barnhouse Company and serves as the Director of Product Development for C. L. Barnhouse and Walking Frog Records.

            Mr. Smith's credits include many compositions and productions in all areas of the music field. His original works for winds and percussion have been programmed by countless military, university, high school, and middle school bands throughout the United States, Canada, Europe, Australia, South America and Asia. His Symphony #1 (The Divine Comedy), Symphony #2 (The Odyssey) and Africa: Ceremony, Song and Ritual have received worldwide critical acclaim. His educational compositions such as The Tempest, Encanto, and The Great Locomotive Chase have become standards for developing bands throughout the world. His numerous works for orchestras of all levels are currently some of the most popular repertoire available today. His music has received extensive airplay on major network television as well as inclusion in multiple motion pictures. From professional ensembles such as the United States Navy Band and the Atlanta Symphony to school bands and orchestras throughout the world, his music speaks to audiences in any concert setting.

            As a conductor and clinician, Mr. Smith has performed throughout the United States, Canada, Japan, Europe and Australia. He is the principal conductor of the American Symphonic Winds and the American Festival Philharmonic Orchestra, professional recording ensembles based in Washington D.C. He is also co-creator of the Expressions Music Curriculum. This comprehensive Pre-K through 12 music program includes Band Expressions, an innovative new approach to teaching music through the band.

            Mr. Smith is currently teaching in the Music Industry program at Troy University in Troy, AL. His teaching responsibilities are focused in music composition, production, publishing and business.  In addition, he is a managing partner and conductor/producer for American Audio Unlimited, an audio production company specializing in recordings for concert band and orchestra.

 

Unit 2: Composition

 

            Rites of Tamburo does not refer to the rites of any particular place or culture, but does draw upon the concept of a formal celebration.  “Tamburo” is Italian for drum, and as the name suggests the percussion family is largely the driving force behind the piece.  The piece blends many different musical styles drawn from many different cultural roots.

 

Unit 3:  Historical Perspective

 

            Rites of Tamburo was commissioned in 1998 by Dr. Anne Hardin and the E.L. Wright Middle School Band in Columbia, South Carolina.  The piece was premiered with the composer conducting on May 11, 1999, at the Koger Center for the Arts on the campus of the University of South Carolina.

 

Unit 4: Technical Considerations

 

            Written with a young band in mind, most parts lay generally well on the instruments, and ranges are consistent with the abilities of most students in their first few years of study.  Parts are doubled quite generously, and cues are indicated in the alto saxophone and oboe parts.  The primary challenges of this piece will occur in the soli passages in French horn and the flute at the beginning of the piece, and in the syncopated rhythms of the melodies and countermelodies of the two main themes.

            Specifically, one should note that the range required of the flutes is a bit extreme, requiring a long crescendo on low D and a repetitive high E.  The low D will have a tendency to be flat, and the high E sharp.  In the B-flat clarinet parts, the unison motive of the second theme has some more difficult chromatic passages.  The alto sax part has several trills between B and C, which are best played with the side C key.  In the trumpet part there are octave D’s between parts, the high one runs flat and the low one runs sharp and should be compensated for, the low one can be compensated by sliding out the third valve slide.  In measures 77-93 the French horns may have difficulty hearing and playing the correct intervals, especially the G of measure 78 and the B-flat of measure 81.  The chromatic passage in measure 82 may also be difficult. 

           

Unit 5: Stylistic Considerations

 

            There are several distinct styles within Rites of Tamburo.  The introduction is slow, lyrical, and mysterious.  The phrases must have both shape and direction.  From measure 20 on the rest of the piece is very rhythmically driven.  Accents on off beats are common in the main melodies and countermelodies.  The sf markings will require strong attacks yet still with good tone.  Theme 2 is more lyrical than the first theme and should be conducted with a more legato motion.  The feel of the second theme also makes it so that it might be conducted in two.

 

Unit 6:  Musical Elements

 

Melody:  There are two main melodies in Rites of Tamburo, both based on modes of the G minor scale.  The melody of Theme 1 is overall a descending G-natural minor scale.  Theme two uses a raised 6th that suggests (but is not fully) G melodic minor.

 

Harmony:  The harmonies in the piece are mostly quite simple; they are often based on unison or perfect fifth block statements that help to move the melodies forward.  After a theme is introduced, a countermelody appears to give the piece some more interesting harmonic content.  At two times in the piece cluster chords and the instructions in the brass to “pick a note” provide some extreme tension and dissonance.

 

Rhythm:  Rhythm is the driving element of this music, and syncopated nature of the melodies and countermelodies could be challenging to students.  The syncopated accents may be difficult for students to accomplish right away.  It might be worth having the students play the main them all on one note with the accents in the right places.  The flute and clarinet interplay at 55 may also prove difficult for students.  The students should be instructed that the two parts will not line up.  Careful listening will help the parts achieve balance and counter play.

 

Timbre: Central to Rites of Tamburo is the percussion writing.  The piece requires a large percussion section of seven players to play bells, vibraphone, timpani, snare drum, bass drum, finger cymbals, conga drums, claves, wind chimes, cabasa, and suspended and crash cymbals.  These colors combine to influence the timbre of the entire work.  Important passages appear for soli French horn and flute in the introduction, and soli clarinet and soli flute in Theme 2.  Timbral contrast is achieved through thematic orchestration.  Upper woodwinds and mallet percussion provide a bright feeling to theme 1, and the clarinet, low reeds, and low brass give the second theme a darker sonority.

 

Unit 7: Form and Structure

 

Introduction     1-19                 “Mysterious”; quarter note = 72; atmosphere created by bells and vibes suggesting G minor, wind chimes, timpani, finger cymbals, and optional triangle; melodic elements presented by soli French horn, and joined by soli flute; tutti band creates sound effects with vocalizations on ‘sss’ and ‘ahh.’

 

Theme 1          20-28               “With overwhelming energy!”; quarter note = 152+: melody in the area of G-natural minor presented in flute, oboe, clarinet, alto saxophone, tenor saxophone, and marimba; bass clarinet, bassoon, baritone saxophone, and all brass provide harmonic accompaniment.

 

                        28-33               Syncopated countermelody is introduced in flute, bass clarinet, bassoon, French horn, baritone, and marimba.

 

Transition                                34-35   Tutti harmonic cluster built by indicated pitches; parts notated “Pick a note”

 

                        36-45               “Comfortable groove”; multi-percussion transitional material

 

Theme 2          44-51               Melody in B-flat clarinet in key area of G melodic minor

 

                        52-59               Addition of canon-like countermelody in tutti flute

 

Theme 1          60-67               Exact repeat of mm. 20-36

 

Theme 2          77-84               Melody in clarinet, alto saxophone, and French horn; displaced perfect fifths in bass clarinet, bassoon, tenorsaxophone, baritone saxophone, trombone, baritone, and  tuba

 

                        85-92               Addition of countermelody in flute and oboe from mm. 52-59

 

Transition        93-100             Combination of motive elements of Themes 1 and 2; “Pick a note” indication utilized again

 

Theme 1          101-114           Exact repeat of mm. 20-33

 

Coda                115-end           Exploration of and experimentation with the Theme 1 motif “with unyielding intensity” to the end

 

Unit 8: Suggested Listening

           

Robert Smith:

            The Divine Comedy

                        Recorded on The Music of Robert W. Smith, Volume 1, by George Mason University Wind Ensemble, Anthony Maiello, conductor.

 

            Inchon

                        Recorded on The Music of Robert W. Smith, Volume 2, by Houston Symphonic Band, Robert McElroy, conductor.

 

            The Odyssey

                        Recorded on The Music of Robert W. Smith, Volume 3, by Washington                                Winds, Edward Peterson, conductor.

 

            The Great Locomotive Chase

                        Alfred Publishing, listen to at http://www.alfred.com/alfredweb/front/ProductDetail.aspx?itemnum=%20%20BDM00030&pubnum=0

 

            Africa: Ceremony, Song, and Ritual

                        Alfred Publishing, listen to at http://www.alfred.com/alfredweb/front/ProductDetail.aspx?itemnum=%20%20%20BD01057&pubnum=0

 

            The Tempest

                        Alfred Publishing, listen to at http://www.alfred.com/alfredweb/front/ProductDetail.aspx?itemnum=%20%20%20%20BD9561&pubnum=0

 

Many more flash recordings of selections by Robert W. Smith at the Alfred Publishing website:  www.alfred.com

 

Unit 9: Additional References and Resources

 

Smith, Norman. Program Notes for Band.  Chicago: GIA Publications, Inc., 2000

 

Web Site:  Robert W. Smith:  http://www.RobertWSmith.com

 

Blocher, Larry.  Teaching Music through Performance in Band, Volume 5.  p. 203-207.  Chicago: GIA Publications, Inc., 2004

 

Unit Study Based on Teacher Resource Guide found in Volume 5 of Teaching Music Through Performance in Band, which was contributed by:

 

Daniel A. Belongia

Graduate Teaching Assistant

Frost School of Music

University of Miami

Miami, Florida

 

Further Detailed Score Analysis for this piece is attached in a .pdf file.
Teacher’s Guide to the Student Guide:

            The intent of the student guide is to provide independent learning for the students.  It is intended to be completed outside of class.  Completion of the student guide will help students better understand the piece and come to rehearsals better prepared. 

            The order that the student guide presents material is not necessarily set in stone.  If the teacher wishes to assign the melody section first, and the composer background later, he is free to do so.  Also, the student guide should not be assigned all at once, each page should be assigned before that element is to be focused on in rehearsal, e.g. if you want to focus on the rhythmic elements of the piece in rehearsal on a particular day, assign the page on rhythm to be completed before that rehearsal.

            All answers to the student guide can be found in the analysis of the piece given above.

 

After student completion of Historical and Composer Background:

            Discuss with students why this piece was composed and what a ‘commission’ is.  This piece was also scored for orchestra; you may wish to play a recording of the orchestral version (free flash recording at http://alfred.com/alfredweb/front/ProductDetail.aspx?itemnum=%20BFOM00004&pubnum=0).  Ask students what the composer did the same and different between the two versions.  Why might the composer have scored this for orchestra as well as band?  After listening to the orchestra recording, what do you think this ritual might be about? (no wrong answers).

 

After student completion of Rhythm page:

            It would be good to assign the practice page (found in the student packet) at the same time as assigning this page.  In rehearsal, go through the same practice patterns as described on the practice page.  Ask students, what about this pattern seems to ‘drive’ the music?  Play through Theme 1 several times with all students playing the melody.

            On the percussion pattern, use body percussion to have the class learn all four ostinato patterns (claps, snaps, pats, stamps, etc.).  After the whole class can do the percussion ostinato pattern, add in the four percussionists playing that part on their actual instruments.

 

After student completion of the Melody page:

            Play through the melody with everyone learning the melody and countermelody parts, and then have the students switch to the other part.  Students should get a chance to play both parts (this will be of particular help to the flutes and clarinets in understanding how they fit with one another.)  Discuss answers for compare and contrast section.

 

After and during completion of the Harmony page:

            When giving guidelines for the composition of the 8 measure melody, ask students what helps establish a tonal center.  Talk about what helps establish a tonal center in this piece (repetition of certain pitches, V-I progressions, what pitches occur at cadence points).  Tell the students that the ostinato pattern does not have any traditional harmonic progressions so they will have to use other techniques to establish tonality in their melody.

            Ask for volunteers to play their 8 measure melodies while you have a percussionist play the ostinato patterns.  After each volunteer goes, ask the class what they liked about the melody and how the composer made it interesting.

 

After completion of the Form page:

            Ask why do you think the composer kept Theme 1 exactly the same each time it occurred.  Play through the 2 theme 2 sections twice in succession.  Ask what the composer did the second time and how it made the 2nd theme more interesting.  Ask why do you think the composer did this?

 

Extra Practice Material Page:

            Assign this early in the unit.  It can then be used for warm-up activities in the full band rehearsal.  Have the full band play the first line on a single pitch, concentrating on correct placement of the accents, you may also choose to have them play the pattern on various G minor scales (repeating the pattern on each pitch).  Then have the entire band play the second practice line.  After students are familiar with both parts, divide the band in half and assign each half one of the parts.  Have them play together, focusing on how the parts line up.  Then have the students switch parts.

 

Art Examples:

            Before assigning the webquest, talk about what images might be associated with this piece. Have students turn to the art examples page.  The first and third images were selected because they reminded me of ritual and ritual dance, which is an image I have of the piece.  The middle example to me represents the colors of the mysterious intro of the piece.  Encourage the students to be creative when they choose to use artwork in completion of the webquest.  Remind students that there are no wrong answers when it is a personal interpretation. 

 

Webquest: can be found at

http://www.k-state.edu/musiceducation/eportfolio/kevinw/mywebquest/

The webquest should be used as an outside of class assignment to go along with this unit.  Further details of how to implement the webquest are found on the teacher pages of the webquest.

 

 

 

 

 

                                                                                                Name:__________________

                                                                                                Hour:__________________

 

Rites of Tamburo Unit Test

 

Multiple Choice (2 points each)

1. The following excerpt is

 

 

A. Introductory Theme

B. Theme 1

C. Theme 2

D. Theme to Batman

 

2. What instrument plays the countermelody to Theme 2 the first time it is introduced in the piece?

A.  Clarinet

B.  Alto Sax

C.  Flute

D.  Sarousaphone

 

3. What is a cabasa?

A.  A percussion instrument of Afro-Brazilian origin that is a small cylinder covered by several strings of beads that is shaken with a circular motion.

B.  Small, hand-held instrument made of concave shells of ivory or hard wood used by Spanish dancers to accompany dances such as the bolero, cachucha, etc. with a sharp clapping sound.

C.  A percussion instrument made from an oil drum. Developed in Trinidad in the 1940s, they are made in a variety of sizes and are cut to a shallow depth.

D.  The name of Mr. Welch’s dog.

 

Short Answer (3 points each)

1. What are the four percussion instruments that provide the ostinato that sets up and continues during Theme 2?

 

 

 

2. Give at least 3 words you would use to describe the overall character of the piece?

 

 

 

Short Essay (answer on back) (10 points)

Discuss the various uses of ostinato in this piece. (You could identify what instruments have them, where they occur, how they fit in with themes, etc.)

Assessment: The unit is worth 100 points and is scored as followed.

 

___/28 Webquest Assignment

 

___/22 Unit Test

 

___/25 Announced Playing Tests

 

___/25 Completion of Student Packet (pt values for each section may be assigned as the teacher sees fit)