By

David Holsinger

TRN Music Publishing Company

Grade 6

Created By

Amy Heikes

Teacher’s Guide

Goals for Student Achievement

• Research the Tactical Air Command

o National Standards- 8, 9

• Develop part independence

• National Standards- 2, 5
• Exhibit knowledge of counting rhythms

• National Standards- 1, 2, 5
• Perform rhythms on a drum or single pitch on an instrument

o National Standards- 2, 5

• Develop an understanding of the melody involved in the piece

o National Standards- 6, 7

• Relate the melody to a picture
• National Standards- 6, 7, 8
• Understand the relationship of harmony in the piece
• National Standards- 2, 3, 4, 5, 6
• Identify the 5 sections of the piece
• National Standards- 6, 7
• Identify characteristics of each of the 5 sections of the piece

o National Standards- 6, 7

The Composition…

This piece has 5 sections. The texture in each section has a trend of being thin at the beginning, and thickening throughout the section as instruments enter. The most challenging aspects of this piece are rhythmic accuracy, part independence, and dynamic contrast. The phrases vary within each section, and each instrument group generally has separate phrases. The melodic material varies between instruments as well. Most instrument groupings have a melodic idea and the groupings enter at different times. The exception to this is section A, in which the instruments have the same line but enter at different times. The rhythmic content is very complex, and to make it more difficult, different rhythmic ideas are played the same time. There is often a 3 against 2 feel in the piece. Tonal centers often vary between instruments and change frequently. The orchestration requires a full band, including piccolo, E-flat clarinet, and a thorough percussion section. The dynamics vary greatly, and there are many sforzandos throughout the piece.

Score Analysis

Section A

(m. 1-55)

The piece begins in 4/4 time with the 2^nd clarinet and vibraphone. The 3^rd clarinets enter on beat 4 of measure 1 with the same melody. Next, the flutes enter on beat 3 of measure 2, followed by the 1^st clarinet on beat 1 of measure 3. Each instrument plays the same melody, but enters at different times. In measure 14, the horns, tenor saxes, and alto clarinets enter with the same melody that the woodwinds began the piece with. The wind chimes also enter in measure 14 and continue throughout the entire section. In addition, the triangle has an eighth note and triplet rhythm that is entirely different from the rest of the ensemble throughout the section. This polyphonic texture will most likely be a problem area because of part independence and soft dynamics. The tonal center of the melody is B-flat and there are several simple meter changes.

In measure 26, the 1^st flute introduces a new melody, which is a two-bar phrase that is repeated. There are some variations to the melody throughout, but the same notes exist. The other woodwinds are continuing the melody from the beginning of the piece. In measure 30, there is a gradual crescendo throughout the ensemble. The 2^nd clarinets begin to play two bar phrases of triplets in measure 31, while the 3^rd clarinets begin to play two bar phrases of quarter notes. This duple against triple is an area, which could prose problems. In measure 33, the alto saxophones begin to play eighth notes. Next, the 1^st coronets enter in measure 34 with a new, 3-measure idea, which is repeated. While the texture is still thin, the coronets add thickness to it. While continuing the melody from the beginning, the 1^st clarinet adds small sixteenth note passages starting in measure 40. In measure 41, the 1^st trombone enters with the same motif as the trumpet, except the tonal center is A-flat, while the rest of the instruments are still in B-flat. The 2^nd coronets enter in measure 44 with a melody that is similar to that of the 1^st coronet. However, the parts are not in unison and enter at different times. In measure 46, the baritone sax, Horns, and baritones enter with the melody from the beginning of the piece. There is also a gradual crescendo throughout the ensemble starting in measure 46. Then, the trumpets enter on beat 3 in measure 49. The texture is still polyphonic and as the different instruments enter, the texture becomes thicker. From measure 50 to 55, the different instrument groups are playing their own melody that they entered with. Measure 55 consists of most of the instruments playing a sextuplet, with a crescendo into measure 56.

(m. 56-87)

The melody begins in measure 56 with the full band, except the tenor sax, horn, and baritone play a sixteenth note passage that fits into the melody. The melody is 4 bars and the dynamic is forte. The tonal center in the horns is A-flat major, while the tonal center in the tenor sax is B-flat major and the tonal center in the baritone is C-flat major. In measure 60, the tenor sax and horn carry the melody that the trumpets introduced in the beginning of the piece for 2 measures. The tonal center is A-flat major in the tenor sax and trumpets, and the baritones have a tonal center of C-flat major. Then the trumpets take the melody in measure 62 with a variation of the line the tenor sax and horn just played. The trumpet tonal center is D major. Next, the trombones take the melody in measure 64 with a variation of the same line. This tonal center is C Major. The trombones continue their line until measure 82. The trumpets enter in measure 65 with the melody that they played earlier. Throughout this entire section, the woodwinds play sixteenth sextuplets until measure 82. The tonal center of the sixteenth sextuplets in the clarinets is D major and the flutes have a tonal center of C major. The dynamic is forte and fortissimo until measure 62, when a diminuendo throughout the entire band occurs. Then the brass and low woodwinds have a gradual crescendo starting in measure 64. The brass continues with the main melody. In measure 78, the brass has a half note triplet pattern, which could be difficult to line up with the running sixteenth notes in the woodwinds. In measure 82, the woodwinds cease their sixteenth notes and the brass has the melody until the fermata in measure 86. There is a crescendo in measure 86 to bring in the new section. There are several simple meter changes in this section as well. The snare drum, bass drum, tuba, and 2^nd and 3^rd trombone have a syncopated rhythm that is different from the rest of the ensemble. The texture throughout this section is polyphonic and thick. This measure has a chord, which has a lot of tension.

(m. 87-100)

The next G major chord in measure 87, releases the tension from the previous measure. The upper woodwinds hold out the fermata in measure 86 until the downbeat of measure 88. The texture is thin for measure 86. Then, in measure 88, there is a sforzando and decrescendo, which thickens the texture only for measure 88 and 89. The woodwinds begin to play the melody at different times, just like the beginning of the piece. The texture immediately becomes thin in measure 90. The texture stays like this until the end of the section and it carries over into measure 101. Dynamics are a major part of this section, and intonation will be an issue with the thinner textures. The tonal center changes to G major.

Section B

(m. 101-164)

In measure 101, the clarinets, alto saxophones, and horns carry over their whole notes from the previous section. The clarinets continue to hold their note until measure 112. This requires the section to use staggered breathing. The texture starts out homophonic, with the low brass and low woodwinds playing an eighth note pattern. The tenor saxophone and baritone fills in the pattern, while the rest of the instruments play together on different beats. Throughout this entire section, there are accents over different beats. It is important for the players to play the accents so that the style of the piece is portrayed. In measure 104, the meter switches to 2/4 and the low brass and low woodwinds play a sforzando on beats 1 and 2. Then the low brass and low woodwinds begin their eighth notes again and a variation of the previous motive is repeated. Throughout this section, the meter changes frequently from 4/4 to 2/4 and back to 4/4 or 4/4 to 3/4 and back to 4/4. Between measures 104 to 127, whenever the meter switches to 2/4, the band plays on the downbeats. In measure 107, the flutes have a small eighth note pattern, which contrasts the lower woodwinds eighth note line. The flutes line is slurred, while the lower winds are separated and accented. The difficulty is lining the flutes up with the rest of the band. Since the eighth notes only last for 2 beats at a time, the flutes have to be confident in their counting. The tonal center throughout this section again, varies between instruments. The dynamics are mezzo forte, except on the sforzandos. In measure 113, the low instruments play four sforzando quarter notes on each beat, and begin their eighth note pattern. However, the texture turns polyphonic in measure 14 and the clarinets and horns have a triplet and sixteenth note motif that lasts 3 measures. The line requires the players to start at a mezzo forte and crescendo until the downbeat of the 3^rd measure where there is a sforzando. The rest of the low brass and low woodwinds continue their pattern, but instead of playing sforzandos on beats 1 and 2 of the 2/4 measures, it switches to accented. Starting in measure 123, the clarinets and horns have longer notes interspersed with their triplet figure. In addition, coronet 1 begins to play with the horns and clarinets in measure 128. In measure 130, the meter changes to 2/4 and the entire ensemble does not play on the downbeats as it did before. Instead, the low brass and low woodwinds continue their eighth note pattern and the clarinets, coronets, and horns play an eighth note/sixteenth note figure with a sforzando on the downbeat. The meter switches back to 4/4 and the clarinets, coronets, and horns begin their line again. In the following 2/4 measure (measure 133), the low brass and low woodwinds play on the downbeat as they did before. In measure 134, the bass drum begins a new pattern of a quarter notes, which is a sforzando, followed by eighth notes, which are piano. In measure 138, the clarinets, trumpets, horns, and baritones begin to crescendo and the entire band should be playing forte in measure 140. The baritone switches groups in measure 40 from playing eighth notes with the saxophones, to longer notes with the clarinets and trumpets. The alto clarinet and alto saxophones continue with their eighth note pattern, except add a triplet to the phrase occasionally. Between measures 140 through 145, there is a meter change in every measure. The texture is thick and still polyphonic. In measure 146, the texture changes to homophonic and most instruments play 3 quarter notes, and then all of the instruments charted play eighth notes. There is a crescendo written in every part that begins on measure 147, and continues to measure 150 with a sforzando on beat 1. From measure 151 to measure 163, the texture remains homophonic. The band crescendos from measure 151 to the end of the section.

Section C

(m. 163-203)

The texture in this section is polyphonic as well. The section starts piano and builds until the end of the section. In measure 164, there is a sforzando on the downbeat throughout the entire band, then the baritone and 1^st trombone decrescendo with eighth notes. This section is full of compound meter changes, which proves to be difficult for the conductor and ensemble. The key is to remember that the eighth note stays constant throughout the section. The low woodwinds and tambourine join the baritone and trombone. There are 2 ideas playing throughout this 4-bar phrase. Throughout the section, the ideas unite in the 2/4 measure and there are 2 quarter notes on the downbeat, just like the prior section. Next, the flutes and piccolo enter in measure 169 with a new eighth note idea. This idea requires much concentration because it is difficult to fit into the rest of the parts in the band. Rhythmic accuracy is very important. The dynamic is soft, but the texture is becoming thicker as more instruments enter. Measure 170 is a 2/8 measure and should be conducted in one. It is important for the ensemble to subdivide. Next, in measure 173, the clarinets enter with a quarter note triplet idea, followed by the flutes in measure 174, which begins with a new quarter note triplet idea and changes to sixteenth notes in the upper woodwinds. In measure 178, the alto clarinet and alto saxophone joins the trombone with the main eighth note idea. The tenor saxophone joins the clarinets and bassoons with the quarter note triplet idea. In measure 185, there is a crescendo, which grows to mezzo forte until measure 190. The trumpets begin to play the quarter note triplet idea with the clarinets, bassoon, and tenor sax in measure 189. In measure 190, the coronets enter with the same idea that the baritone and tenor sax began the section with. However, this time the coronet is the only instrument playing this idea. A crescendo begins throughout the entire ensemble in measure 196, leading to forte in measure 197. By measure 203, there are 3 ideas being played. One idea is the sixteenth notes in the piccolo, flute, oboe, 1^st alto saxophone, and marimba. The next idea is the triplet idea played in the clarinets, 2^nd alto saxophone, 2^nd coronet, trumpets, and 3^rd and 4^th horn. The last idea is the eighth note motif played by the 1^st coronet and low brass.

(m. 204-213)

In measure 204, the texture changes to homophonic, and the low brass play quarter notes, while the rest of the band plays longer notes. Measure 204 begins mezzo forte and by the end of this idea in measure 213, the ensemble has built to fortissimo.

(m. 214-231)

In measure 214, the meter changes to 3/2 and the half note stays constant. The dynamic is fortissimo, which was built up from the crescendo in the previous measures. The upper woodwinds play running eighth notes throughout the rest of the section, occasionally playing a sixteenth or quintuplet pattern. The low brass have longer, accented notes throughout the section. The coronets begin their eighth note melody, then the trumpets and horns answer with their eighth note melody. Whenever the coronets are playing whole notes, the trumpets and horns are playing eighth notes and vice versa. The flutes and bells have a different part than the rest of the group, with a quarter note pattern throughout the rest of the section. The texture is still thick and polyphonic and the tonal center differs from each grouping, and changes throughout the section. From measures 214 to 217, the tonal center in the piccolo, flutes, and the low brass is D Major. The rest of the ensemble has a tonal center of E Major. Then, in measure 218 the tonal center in the piccolo, flutes, and low brass changes to E-flat Major and the clarinets change to a tonal center of F Major. The trumpets and horns also change their tonal center to B-flat Major. The tonal center changes every 3 measures throughout the rest of the section. The meter stays in 3/2 until the end of the section. The dynamics are still forte and fortissimo.

Section D

(m. 232- 392)

The texture in the section, like other sections, begins thin with only a few instruments playing, and becomes thicker as instruments enter. It is also polyphonic. Measure 232 switches to 4/4 and begins with a sforzando throughout the entire band, then the horns take the melody with a variation of the eighth note pattern that the tenor sax and baritone started the previous section. The bass clarinet, bassoon, and tuba play eighth notes on various beats. In measure 234, the meter changes to 2/4 and the 3 bar phrase ends with 2 sforzando quarter notes played in all of the instruments that were playing. Next, in measures 235 to 236, the coronets play the eighth note pattern with the lower instruments accompanying as before and end with a 2/4 bar in measure 237. Then the horns and tenor sax begin with their eighth note melody in measure 238, which switches to 6/8, and end in measure 239, a 2/4 measure, with the ensemble playing quarter notes on the downbeat. Measure 240 switches to 4/4 and the woodwinds take over playing an eighth note passage that lasts only one measure, and has a crescendo throughout the measure. Players are to play the passage “snarley”. Then the meter changes to 3/4 in measure 241 and the alto saxophone and tenor saxophone begin the eighth note pattern that the horns and coronets had previously, except there are no 2/4 measure with sforzandos. The saxophones have continuous eighth notes until measure 293. The flutes, e-flat clarinet, and 1^st clarinet enter in measure 244 with a separate eighth note passage that contrasts to the eighth notes in the saxes. The upper woodwind passage lasts 5 measures, the fifth measure containing sixteenth notes. The instrumentation changes in measure 249 and the coronets have a sforzando, in which they are to play “snarley”. Their idea lasts for 4 bars, and is repeated. The upper woodwinds enter again in measure 251 with a variation of their 5 bar idea. Measure 253 calls for the clarinets to enter, playing a cluster chord. This chord lasts for 4 measures and is repeated in every 4 measures until measure 281. The horns enter on beat 2 of measure 253 as well, with a quarter note and dotted half note passage with a tonal center of B-flat. This idea lasts for 3 measures, and a variation of the idea is repeated throughout the section. Beginning in measure 263, the trombones begin an idea, which contains a glissando. The phrase lasts 4 measures, and then the trombones join with the coronets in measure 269. In measure 269, these instruments have a sforzando dotted half note, which grows into measure 270. The coronets have a triplet figure, while the trombones have a glissando over a beat and a half. The clarinets begin playing eighth notes with the saxophones in measure 281. The other instruments introduced at the beginning of the section continue their ideas until measure 293. The sixteenth notes in the upper woodwinds appear more often and the clarinets stop their long note pattern and play eighth notes with the saxophones in measure 281. In measure 292, the trumpets and horns join the saxes and clarinets with the eighth note idea. There is a crescendo into measure 294 and the brass and lower woodwinds play accented eighth notes into measure 298. There is another crescendo from measure 294 into measure 298.

In measure 298, the meter changes to 2/4 and the upper woodwinds begin with sixteenth notes and quintuplets, beginning with a sforzando and growing until measure 299. In measure 299, the meter changes to 3/4 and the entire ensemble plays the same rhythm. Then the time changes again in measure 300 to 4/4, and the upper woodwinds begin with a sixteenth note pattern, tied to long notes.

Analysis in Excel

About the composer…

David R. Holsinger was born in Hardin, Missouri. He received his degrees from Central Methodist College, Central Missouri State University, and the University of Kansas. Holsinger has won the American Band Ambassador’s Ostwald Composition Prize twice and was the composer-in-residence at Shady Grove Church in Grand Prairie, Texas for 16 years. Holsinger now lives in Cleveland, Tennessee and is the Director of the Lee University Wind Ensemble. Some of Holsinger’s other compositions include On a Hymnsong of Philip Bliss and Cityscape.

Historical/Stylistic Background

To Tame the Perilous Skies is a programmatic piece about a collision between two forces in combat. The rest of the piece is up to the interpretation of the audience regarding the plot. The 564th Tactical Air Command Band commissioned this piece and the band played its premier performance of the piece in late 1990.

In the spring of 1990, as the news media paid tribute to the 50^th anniversary of the air battle for Britain, the composer envisioned this work as a tribute to the modern fighter pilot. Little did Holsinger realize the visionary nature of the work, when at the time of its premiere, United Nations forces were assembling in the Persian Gulf, and only a few months later the world watched as modern technological air power ‘tamed the perilous skies’ over Iraq and Kuwait. In retrospect then, let this work be dedicated not only to the exceptional men and women of the Tactical Air Command, but to the spirit of the modern military aviator, taming perilous skies that all men might live free of tyranny and oppression. (From the Score)

Teacher Considerations: Understanding the background of this piece will help students interpret the music. In order to do this, students are asked to research the duties of a military aviator. Listed below are some website, which will assist students in researching the topic. Use additional resources to aid students in learning more about the topic.

Learning Goals:

• Research the Tactical Air Command

Task

• Write a report about military aviators – specifically their duties in the air

o 1 page

o Word-processed

o 12 pt. Times New Roman

o Free of spelling and grammatical errors

Sites to visit:

http://usmilitary.about.com/od/airforceenlistedjobs/a/afjob1c4x1.htm

http://www.airforce.com/careers/job.php?catg_id=2&sub_catg_id=3&af_job_id=297

Rubric for grading:

	0	1	2
Basic Requirements (Length, font)	The student did not fulfill the basic requirements of the report	The student did not fulfill part of the requirements of the report.	The student fulfilled all of the requirements of the report.
Spelling and Grammar	The student had more than 5 spelling and grammatical errors.	The student had 5 or less spelling and grammatical errors.	The student had no spelling or grammatical errors
Content	The report did not pertain to the assigned topic.	The report strayed from the assigned topic.	The report related to the assigned topic.

Warm-Up Exercises

At home…

Dynamics are vital in this piece. Practice the following example, paying close attention to the dynamics. Remember to keep a controlled sound, never sacrificing tone quality or pitch for dynamics. The example is in concert pitch.

To practice articulation, play the scale below. Pay attention to the accented and slurred notes. The example is in concert pitch.

There are many complicated rhythms in this piece. Practice the following example to help in grasping the rhythmic ideas. The example is in concert pitch.

In rehearsal…

This piece contains a lot of part independence between the instruments in the ensemble and within the instrument families. The exercise below (in concert key) is a warm-up exercise, which practices this part independence. Each instrument family is assigned a number. Group 1 begins the exercise and when each instrument family sees their number, they play the exercise from the beginning on that beat. For example, group 3 would enter on beat 4 of the 1^st measure, playing the concert B-flat scale. Once the group has finished the scale, they continue to hold out a concert B-flat until all groups have finished playing the scale.

Instrument Groups:

1- Clarinets

2- Trumpets/Cornets

3- Percussion

4- Flutes/piccolo

5- Saxophones

6- Trombone/Baritone

7- Oboe/Bassoon

8- Tubas

9- French Horns

Teacher Considerations: This exercise may pose to be confusing, but it will be very beneficial to establish part independence within the ensemble. Students are simply playing a Concert B-flat scale. When first starting the exercise, cue instrument families until they become comfortable entering on their own.

Rhythm

There are challenging rhythms throughout this piece. Often times there are difficult sixteenth and triplet passages in the upper woodwinds. The following is an excerpt from the flute part in measure 71.

There are simple rhythms, but it becomes a challenge because different instruments are playing a different rhythm at the same time. The example below is from measure 69.

			Rhythm 5
			Rhythm 6
				Rhythm 7

Teacher Considerations: Rhythms in the upper woodwinds are particularly tricky because they are fast, but they are repetitive. Other rhythms throughout the ensemble are moderate in difficulty, but prove to be difficult when playing with another instrument group who is playing a contrasting rhythm. In order to master this part independence, students must practice playing contrasting rhythms with others. The following activity will help in overcoming this challenge.

Learning Goals:

• Develop part independence
• Exhibit knowledge of counting rhythms
• Perform rhythms on a drum or single pitch on your instrument

Task:

• Write in the counting for the rhythms below and draw a vertical line to clarify each pulse.

a.

b.

c.

• Count/sing and clap each of the rhythms.
• Play each of the rhythms on a concert B-flat or for percussion, on the snare drum.
• In groups of 3, play the rhythms on a concert B-flat, each person playing a different line.
• Rotate the parts so that every person plays each line one time.

Rubric for Grading:

	0	1	2	3	4
Rhythm sheet	The student did not write any counting or vertical lines on the rhythms.	The student wrote only vertical lines or counting.	The student wrote vertical lines and counting on only 1 or 2 of the examples.	The student wrote the incorrect vertical lines and counting on the examples.	The student wrote the correct vertical lines and counting on all 3 of the examples.
Playing test	The student did not play the examples.	The student had 5 or more mistakes on the examples.	The student had 3-4 mistakes on the examples.	The student had 1-2 mistakes on the examples.	The student played all three of the examples correctly.
Group playing	The student did not play the examples with the group.	The student had 5 or more mistakes when playing with the rest of the group.	The student had 3-4 mistakes when playing with the rest of the group.	The student had 1-2 mistakes when playing with the rest of the group.	The student played all three of the examples correctly with the rest of the group.

Melody

Much like the rhythm, the melody of this piece varies greatly from instrument to instrument. During most of the piece, different instruments are playing different melodies at the same time. The lines vary greatly within the piece. Below is an example of the beginning. Notice the soft dynamic, simple rhythms, and smooth note changes.

Teacher Considerations: The most challenging part of the melody is that it is different in each instrument group. Once again, establishing part independence is essential. Most often, there is no pattern to the melody and problem areas will most likely occur in the counting of rests. The following assignment will assist students in understanding the melodic content. Encourage students to be creative in finding their picture. The website provided contains a large amount of pictures and should be sufficient in finding a picture, which suits the student. Read the rationales carefully to be sure that students understand the melodic structure.

Learning Goals

• Develop an understanding of the melody involved in the piece.
• Relate the melody to a picture.

Task

• Look at the example above and listen to a recording of the piece.

o What do you notice about the different lines?

• Find a picture from http://office.microsoft.com that relates to the melodic lines of the piece.
• Write a paragraph as to why you chose the picture.

For Example…

In this piece, the melodic lines are intertwined with each other, while the accompaniment is interspersed with small rhythmic ideas. The top of this picture looks like the melodic lines that are intertwined with each other, while the bottom of the picture looks like the accompaniment, which is sporadic and interspersed.

Rubric for Grading

	0	1	2
Picture	No picture is provided	The picture is not appropriate for the piece.	An appropriate picture is provided
Rationale	No rationale is provided	The rationale for choosing the picture is not appropriate	The rationale for choosing the picture is appropriate

Harmony

Much like the rhythm and melody, different instruments are playing different harmonies at the same time in the majority of the piece. The piece starts out with a tonal center of B-flat, but soon changes to various harmonies. The picture below is a diagram of the harmonic content of the piece. The lines at the end of the drawing represent all of the different tonal centers that the different instruments are playing.

Teacher Considerations: Like most aspects of this piece, the harmony varies greatly between instruments. In order for students to understand how the harmony varies between instruments, the following activity was established. Allow students to be creative in their composing, making sure they follow the specified guidelines.

Learning Goals

• Understand the relationship of harmony in the piece.

Task

• Compose a harmony that does not have a specific pattern to it.
• Required length is 8 measures.
• The harmony must start in the key of B-flat, then move to a key of your choice
• The rhythm must be whole notes, half notes, quarter notes, or eighth notes.
• You must be able to play your harmony!
• Every person in the ensemble will play his or her harmony at the same time.

Rubric for Grading

	0	1	2	3	4
Harmony (Length, key, rhythm)	Student did not complete a harmony.	Student did not fulfill any of the requirements.	Student did not fulfill 2 of the requirements.	Student did not fulfill 1 of the requirements.	Student fulfilled all of the requirements.

Form Analysis

There are 5 sections in this piece, each with different characteristics. The picture below represents the form in that it starts out with a small number of instruments at the beginning of the piece, and by the end, the full band is playing. In addition, within the sections, the beginning begins with a small number of instruments and by the end of the section, a larger amount of instruments are playing.

Teacher Considerations: When labeling sections in the music, be sure to tell students use a pencil. In writing in their music, students will be able to use a visual aspect to understand the form. Students may have difficulties in writing characteristics, so be sure to give suggestions in describing music.

Learning Goals

• Identify the 5 sections of the piece.
• Identify characteristics of each of the sections.

Task

• Listen to a recording of the piece.
• Follow along with your music.
• In your music, label the 5 sections.
• On a separate piece of paper, write down the characteristics of each section.

Rubric for Grading

	0	1	2	3
Music	The student did not label the sections in his or her music.	The student labeled 3 or less of the sections in his or her music.	The student labeled 4 of the sections in his or her music.	The student labeled all sections of the piece in his or her music.
Characteristics	The student did not record the characteristics of each section.	The student recorded the characteristics of 3 or less of the sections.	The student recorded the characteristics of 4 of the sections.	The student recorded the characteristics of all of the sections.

Glossary

Brittle- Having hardness and rigidity but little tensile strength; breaking readily with a comparatively smooth fracture, as glass.

Div. (Divisi)- Divided within the part

Gliss. (Glissando)- Performed with a gliding effect by sliding one or more fingers rapidly over the keys, or sliding a trombone slide.

Loco- At the written pitch.

Polyphony- Music with two or more independent melodic parts sounded together.

Program Music- Music intended to convey an impression of a definite series of images, scenes, or events.

Sfz- A notation written above a note, indicating that it is to be played with a strong initial attack. 

Sfz/mf- A notation written above a note, indicating that it is to be played with a strong initial attack, then at a mezzo forte.

Simile- The same.

Snarley- To growl viciously while baring the teeth.

Somewhat Strident- Having a shrill, irritating quality or character

Stagger breathing- Breathing in a different spot than the people sitting next to you.

Subito- Suddenly; abruptly.

Resources

Recordings: To Tame the Perilous Skies, The United States Air Force Band (cond. Col. Alan Bonner).

Information about the composer: http://www.davidrholsinger.com/

http://trnmusic.com/composers/holsinger.html

Artwork: http://office.microsoft.com

Score: Available at www.trnmusic.com

Assessment

Unit Test

1. What is the name of the piece, which we have been studying? (Hint: David Holsinger wrote it.)

2. How many sections are in the piece?

3. Write in the counting for the example below, adding vertical lines on the beats.

4. What is the meaning behind the piece?

5. What is a characteristic of the 1^st section of the piece?

6. Define program music.

7. Explain the melodic material involved in the piece.

8. Define stagger breathing.

9. What is a characteristic of the harmony in this piece?

10. What was the most difficult part about the piece?

Answers

1. What is the name of the piece, which we have been studying? (Hint: David Holsinger wrote it.) To Tame the Perilous Skies

2. How many sections are in the piece? 5

3. Write in the counting for the example below, adding vertical lines on the beats.

1 e & a 2 e & 3 4 e & a 1 e & a 2 e & 3 4

4. What is the meaning behind the piece? Holsinger wrote as a tribute to the modern military aviator.

5. What is a characteristic of the 1^st section of the piece? Soft, slow, flowing, simple rhythms

6. Define program music. Music intended to convey an impression of a definite series of images, scenes, or events.

7. Explain the melodic material involved in the piece. The melody varies greatly from instrument to instrument. Instruments play different melodic lines at the same time.

8. Define stagger breathing. Breathing in a different spot than the people sitting next to you.

9. What is a characteristic of the harmony in this piece? Different instruments play different harmonies at the same time. The piece starts out with a tonal center of B-flat, but soon changes to various harmonies.

10. What was the most difficult part about the piece? Answers will vary… sample: the rhythm, part independence, dynamics

Checklist for Assessing Proficiency

1. _______ Student is able to play his or her part without help. Student is able to play his or her part while others are playing a different part.

2. _______ Student can count the rhythms correctly without assistance.

3. _______ Student can play the correct rhythms on his or her instrument.

4. _______ Student can explain the melodic material presented in the piece.

5. _______ Student can explain the harmonic material presented in the piece.

6. _______ Student can identify the 5 sections of the piece and identify characteristics of each section.

7. _______ Student can recite the meaning of the glossary terms.