West Highlands Sojourn

by Robert Sheldon

Teacher Guide

by Chris Johnson
Instructional Goals

Standards addressed in this unit: 2, 3, 5, 6, 7, 8

1. To teach applied differences in mixed articulation markings including: marcato, staccato, accent, and tenuto.
2. To teach the elements of canon through musical analysis and performance.
3. To teach the musical concept of harmonic suspensions through analysis and performance.
4. To teach the musical concept of ostinato through musical analysis and performance.
5. To teach the elements of musical form through analysis and performance.

The Composition

About the Composer

Robert Sheldon earned his Bachelor of Music in Music Education from the University of Miami, and the Master of Fine Arts in Instrumental Conducting from the University of Florida. He has taught in both the Florida and Illinois public schools, and has been a member of the faculty of Florida State University as a conductor and professor. Sheldon is a well-respected clinician and has conducted honor bands both within the U.S., and outside its borders. He has received numerous awards from the American School Band Director's Association, Phi Beta Mu, and the American Society of Composers, Authors and Publishers. Sheldon is currently the conductor of the Prairie Wind Ensemble in East Peoria, Illinois, and serves as the Concert Band Editor for the Alfred Publishing Company.

About the Composition

The task of writing quality music for young musicians is one that is often underestimated. The late 20^th and early 21^st centuries have seen an increase in the number of quality pieces for young bands. From 1990-1999 Robert Sheldon composed more than 30 pieces for younger bands, and three during 1993 alone. While these pieces all have good teaching elements, and attainable technical requirements, they are also musically interesting, and entertaining to hear.

Robert Sheldon was commissioned to compose West Highlands Sojourn in 1993 by the Cobb Middle School Band in Tallahassee, Florida. The movement titles are taken from historic English destinations. Stow-on-the-Wold is a market town in Gloucestershire, England, known for its trading fairs. Bradford, a borough located in West Yorkshire, England, is an industrious city, known for its part in the industrial revolution and its wool production. Derwentwater is a scenic body of water in England’s Northern Lake District National Park.

The piece is a three-movement work with a fast-slow-fast structure. The first movement is a light march in 2/4 with most of the melody in woodwinds and trumpet. The second movement is a slow ballade in 3/4 time with solos for trumpet, alto saxophone, and clarinet. Tempos change often, and there is plenty of room from rubato. The third movement is a dance in 6/8 time with a driving ostinato pattern, and an opportunity for polyrhythmic playing between brass and woodwinds.

Technical Considerations

The ensemble must be comfortable with Eb and F Major scales. Measure 71 requires woodwinds to play chromatic passages in eighth notes, both slurred and staccato. First trumpets must be able to play up to a concert G (written A) and first trombones must play to high F. Also trumpets are required to play eighth and sixteenth note rhythms with consecutive skips of thirds at measure 38. Quick octave leaps are also common in all trumpet parts. The third movement requires sixteenth note and septuplet rhythms to be played in 6/8 time by woodwinds in the first measure. Trumpets and trombones are also required to play simple duple rhythms against the triplet figures played by other instruments at measure 201. Fast, light tonguing will be required for every wind player. The entire piece should take longer than five minutes to perform, so stamina must also be taken into consideration.

Stylistic Considerations

The ensemble must maintain light articulations throughout the first and third movements to keep the tempo from slowing down. Players must pay attention to accent, tenuto, staccato, and marcato markings as they play an important role in the character of the piece. The second movement requires sensitive playing from all members of the ensemble. Melodic lines are often thinly orchestrated so accompaniment must listen and adjust. This movement also demands that the ensemble watch the conductor for tempo variations. Instant style and mood changes are necessary from movement to movement.

Musical Elements

The first movement is in 2/4 time and largely remains in the key of Eb Major. A brief modulation to C Minor is present halfway through the movement. Sixteenth notes are the smallest subdivision, and dotted rhythms are present throughout. The second movement, in 3/4, contains may examples of rallentando, allargando, and stringendo markings, as well as several tempo recommendations. The third movement is in 6/8 and begins with a combination of sixteenth notes and septuplets in the woodwinds.

Form and Structure

I. Stow-On-the-Wold (2/4) Quarter=104, Allegretto

Main Theme Key: Eb Maj.	March melody in woodwinds and trumpet. Repeated with added low brass accompaniment. Measures 1-16
Theme 2	Question and answer between brass and woodwinds. Measures 17-40
Main Theme restated	Main theme is repeated with a thicker texture and more accompaniment. Measures 41-48
Theme 3 Key: C min	Modulation to C Minor. Theme introduced by clarinets, and then written in fugue between clarinets and saxophone, and the combination of flute, oboe, and trumpet. Measures 49-70.
Coda Key: Eb Maj.	Main theme restated with added harmonic and rhythmic interest. Measures 71-82.

II. Bradford Ballade (3/4) Quarter=72, Gently

Main Theme Key: Bb Maj	Lyrical melody, first in clarinet and alto sax, then joined by flute. Measures 83-99
Bridge Theme	Short secondary theme in flute, then trumpet. Measures 100-107
Main Theme restated	Main theme with a louder dynamic, more instruments on the melody. Measures 108-116
Main Theme modulation to Key: Eb Maj.	Entire trumpet section takes the melody as tempo picks up after the modulation to Eb Major. Measures 117-130
Coda	Coda section slows down with soli in flute and baritone, and alto sax solo. Measures 131-139

III. On Derwentwater (6/8) Dotted Quarter=138, Giocoso

Intro Key: F Major	Melody centered around dominant. Flute and xylophone introduce ostinato pattern. Measures 140-159
Theme 1	Main theme introduced by 1^st trumpet, countermelody added in woodwinds eight measures later. Measures 160-178
Theme 2	Short transition theme with a bVI tonal center. Measures 179-192
Theme 1	Theme 1 returns in oboe solo. Selected woodwinds take over theme after eight bars while trumpets and trombones play countermelody in 2/4 time. Measures 193-208
Theme 2 expanded	Minor chords centered around bVI, harmonic motion at quarter tempo compared to initial statement of Theme 2. Woodwinds and xylophone continue ostinato. Measures 209-224.
Coda	Introduction material returns and builds toward forte-piano, then builds again to the end. Measures 225-246.

Suggested Listening

Clare Grundman, American Folk Rhapsodies

Robert Russell Bennett, Suite of Old American Dances

Robert Sheldon, A Symphonic Narrative

Robert Sheldon, Spirit Lake Overture

Robert Sheldon, Silver Spring Soliloquy

Robert Sheldon, Danse Celestiale

Additional Resources

FJHmusic – Robert Sheldon. http://www.fjhmusic.com/composer/rsheldon.htm

Sheldon, Robert. Images. Oskaloosa, Iowa: Walking Frog Records, 1994. (WFR 104) Compact Disc.

Blocher, Larry. Teaching Music Through Performance in Band. GIA Publications, Inc., Chicago: 1997.

The Music of Robert Sheldon. http://www.robertsheldonmusic.com/

Activities in Student Guide

Activity One: Rhythm

Discuss similar rhythms in class. Especially measures 21, 25, 29, 33.

Activity Two: Articulations

Quick answers: B, D, C, A.

Have students give examples of ways to think about the different articulations. Give them verbal descriptions of the different articulations.

Activity Three: Canon

The canon referred to in activity three begins in measure 59. Flute, oboe, and first trumpet begin playing the theme. The clarinets, and alto saxes join in one measure later.

The students will need to have access to a recording of Percy Grainger’s Lincolnshire Posy: IV. The Brisk Young Sailor.

Quick answers:

1. The oboe plays the theme first.

2. The English horn begins the theme one measure later.

Activity Four: Suspensions

The second movement of West Highlands is an excellent piece to teach suspensions. As you rehearse the piece ask the students to listen for the tension-creating chords, and for their resolutions. Make sure they understand the concept that suspensions must resolve downward.

The activity requires access to a piano. Students will play major chords on their own, and will explore the concept of suspensions. If you have a piano available, play through major chords for the class and demonstrate your own suspensions. The students will complete a journal entry detailing their exploration.

Activity Five: Ostinato

As you rehearse the third movement of West Highlands instruct the students to listen for the ostinato pattern. When a particular section is playing the pattern they must be cognizant of the purpose of their playing; are they foreground or background?

Quick answers:

1. Flute and xylophone play the ostinato at the beginning.

2. The entire band plays the ostinato pattern at measure 175.

3. The bassoon plays with timpani at measure 187.

4. This question depends on the instrument that the student plays

5. The pattern is in the foreground at the following measures: 141-142, 158-159, 175-178, 223-224, 241-242.

Activity Six: Form

You may want to go through each movement with the students to point out the different sections of the piece. Have them write reminders in the measures where each new section beings. Let them know why it is important to know the form of a piece. Work on transitioning from one section to another.

The form diagram for the third movement will be completed by the students. The completed diagram looks as follows:

Movement 3 – On Derwentwater

140-159 160-178 179-192 193-208 209-224 225-246

Rubric for assessment of performance:

CATEGORY	4	3	2	1
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.
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.
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.
Expression	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.

Assessment of information: West Highlands Sojourn

Terms: Circle the best definition for each musical term. (2 Points Each)

Ostinato

A) An articulation marking that indicates a strong, heavy accent.

B) The ending section of a piece.

C) A pattern that repeats throughout a piece or movement.

D) A chord tone that changes one or more beats later than the rest of the chord tones, and resolves down by step.

Suspension

A) A chord tone that changes one or more beats later than the rest of the chord tones, and resolves down by step.

B) A chord tone that changes one or more beats later than the rest of the chord tones, and resolves up by step.

C) A chord tone that changes one or more beats before than the rest of the chord tones, and resolves down by step.

D) A chord tone that changes one or more beats before than the rest of the chord tones, and resolves up by step.

Marcato

A) An articulation marking that indicates shortness and separation.

B) An articulation marking that indicates a strong heavy accent.

C) A pattern that repeats throughout a piece or movement.

D) The ending section of a piece.

Coda

A) A pattern that repeats throughout a piece or movement.

B) The beginning section of a piece.

C) The ending section of a piece.

D) An articulation marking that indicates shortness and separation.

Canon

A) An artillery weapon.

B) A type of imitative counterpoint that uses a single theme, played by two sets of instruments at the same time, and “offset” by a certain number of measures.

C) The ending section of a piece.

D) A pattern that repeats throughout a piece or movement.

Essay

Two articulation markings that are used frequently in West Highlands Sojourn are staccato and marcato. Describe these two articulations commenting on their similarities and differences. (5 points)

Your student guide has introduced several compositional elements used in West Highlands Soujourn. Write a brief essay describing the elements that you’ve learned, and how you will use each of them to enhance your performance of this piece. (10 points)