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Rain Composed by Brian Balmages
Shayan VanMeter MUS 3470 Instrumental Methods II Fall 2011
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Table of Contents Contents
Basic Information .......................................................................................................................................... 3 Program Note ................................................................................................................................................ 4 Historical Information ................................................................................................................................... 5 The Work ....................................................................................................................................................... 6 Performance Notes: ...................................................................................................................................... 7 Glossary of Terms.......................................................................................................................................... 8 Major Concepts/Skills Required to Perform this Work .......... ................... .................. ................... ................... .................. .................. .................. ................ ....... 9 Objectives for Students ............................................................................................................................... 10 Strategies and Activities .............................................................................................................................. 11 MOVIE SOUNDTRACK PROJECT ................................................................................................................... 12 Practice Guide ............................................................................................................................................. 14 Evaluation of Students ................................................................................................................................ 15 Rehearsal Schedule ..................................................................................................................................... 17 NMS Weekly Practice Log ........................................................................................................................... 18 NMS Band Audition/Final Exam Form ........................................................................................................ 19 NMS Playing Test Grading Form ................................................................................................................. 20 Similar Works by Other Composers ............................................................................................................ 24 Bibliography ................................................................................................................................................ 27 Recordings ................................................................................................................................................... 27
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Basic Information Title: Rain Composer: Brian Balmages Year: 2008 Publisher: FJH Music Company, Inc. Grade: 2.5 Style: Contemporary Key: B-Flat Major (with chord clusters) Meter: 4/4, 3/4 Tempo Indications: Andante Lirico (Q.N.=64), the tempo is fluid throughout Performance Time: Approx. 4:15 Instrumentation: Full Score Flute I-II Oboe Bassoon Bb Clarinet I-II Bb Bass Clarinet Alto Saxophone I-II Tenor Saxophone Baritone Saxophone Trumpet (in Bb) I-II Horn in F Trombone I-II
Euphonium Tuba Timpani Percussion I-II-III, including: Bass Drum Cymbals (crash and suspended) Glockenspiel Marimba Triangle Tubular Bells Vibraphone
Score: Full Score, transposed Range Concerns: None present for an advanced middle school band (such as an eighth grade band). Unusual Concerns: Solo in the trumpet I part, trumpets require mutes at the end of the piece.
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Program Note Rain is a contemporary piece featuring long, flowing melodies that evoke the feeling of a
soft rain. It was commissioned in 2008 by the Virginia Band Band Directors Association District District 10 and was premiered by the All District Middle School Symphonic Band. Brian Balmages is the current Director of Instrumental Publications for the FJH Music Company in Ft. Lauderdale, Lauderdale, Florida. He has written a variety of pieces for concert band, string string orchestra, small ensembles, and soloists. He is also a conductor, having spent spent time with numerous middle and high school bands, orchestras, university ensembles, and professionals throughout the United States.
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Historical Information The Work Rain is a contemporary work, commissioned in 2008 for the All District Middle School Symphonic Band from Virginia, District District 10. The piece explores what the composer describes as “the complexity of rain—the sadness it brings to some, the calmness it brings to others, and its ability to rejuvenate.” Rain is full of expression; it slowly unfolds with lush chord clusters and an introspective melody in the woodwind section. The percussion is also key in creating the atmosphere atmosphere of the piece —a gently falling rain with rolling thunder heard somewhere in t he distance.
The Composer Brian Balmages was born in 1975. He received his Bachelor’s degree from James Madison University and his Master’s degree from the University of Miami (Florida). Balmages is an accomplished composer, having been commissioned by groups ranging from elementary ensembles to professionals. He has also composed for a variety of ensembles including concert bands, orchestras, small ensembles, and soloists. Balmages is also a conductor, having premiered a number of his own works at venues such as the Midwest Clinic and the College Band Directors National Conference. Conference. Additionally, he has served as a professor of instrumental conducting and Director of the Symphonic Band at Towson University in Maryland. Brian Balmages is the current Director of Instrumental Publications for the FJH Music Company, Inc. in Fort Lauderdale, Florida.
Related History Although the following events aren’t specifically related to Brian Balmages or t he composition of Rain, Rain, they helped to shape the American thought process throughout the 2000’s. The 2000’s were a decade that marked huge changes in the American way of life. On September 11, 2001, hi-jacked planes were used to attack both the World Trade Center and the Pentagon, which resulted in the loss of life of approximately approximately 3000 people. This sparked the “War on Terrorism,” which was directed towards the Taliban and Al-Qaeda, terrorist organizations associated with Osama Bin Laden. Another tragedy occurred in 2003 when the space shuttle Columbia exploded during its reentry. All of the passengers onboard were killed, and the space program was put on hold. It wasn’t until the summer of 2005 that a space mission was launched in the United States. More positively, in 2005 Lance th Armstrong defied odds by winning his 7 consecutive Tour de France, winning him international recognition. This also helped helped to spur cancer awareness and research. The 2000’s also were marked by several several weather anomalies. On December 26, 2004, one of the largest earthquakes ever recorded (9.3 on the Richter scale) occurred in the East Indian Indian Ocean. The resulting tsunami struck the coasts of dozens of countries, countries, killing approximately 290,000 people. This was one of the largest losses of life in modern history. Hurricane Katrina struck the southern coast of the United States in 2005, creating one of the largest natural disasters in U.S. history. This event spurred country wide relief efforts and helped to create a renewed se nse of patriotism in the country.
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The Work Errata: None found Formal Analysis: Ternary Form Mm. 1-8 Rain begins with slow-moving block chords chords in the upper woodwinds, horn, and trombone. The marimba softly rolls on the first and third scale degree of each chord, creating mellow undertones for the opening of the piece. In the fourth measure the low woodwinds enter along with the euphoniums, followed by the rest of the ensemble in measures 6 and 7. This passage cadences with a chord cluster containing E-flat, F, G, B-flat, and C. Mm. 9-16 The theme is introduced in the clarinet section section and accompanied by the low brass. The texture thickens with the addition of the alto voices in mm. 12 and the trumpets join the clarinets on the melody in mm. 13. This section contains contains the first instance of mixed meter. Mm. 17-27 The flutes take over the melodic line in mm. 17, which is temporarily passed to a t rumpet soloist in mm. 20 and the trombones/euphoniums trombones/euphoniums in mm 25. This section ends with long block chords played throughout the ensemble. This change change in note duration duration creates the contrast contrast needed for the effectiveness of the next section. Mm. 28-36 This section presents the first major impact of the piece. piece. The texture thickens and there is a constant alternation of 4/4 and 3/4 time, creating a feeling of forward motion and instability. instability. Also, the note duration becomes much shorter. This impact occurs occurs in mm. 33, signified by the crash cymbal, a broadening of the tempo, and a crescendo. Following this impact, note duration lengthens, the time signature settles into four, and there is a ritardando. Mm. 37-47 This is the second major section of the piece. piece. It is characterized by a thinner texture and an emphasis on the percussion section. The bells and vibraphone create the feeling of falling raindrops; raindrops; the timpani is used to create the sound of rolling thunder. Mm. 48-57 The main melodic idea returns in the flute, oboe, clarinet, and alto saxophone parts, followed by the trumpet section in mm. 52. The time signature changes to 3/4 in mm. 54, and the tempo accelerates to push towards the climax of the piece in mm. 58. There is a change back into 4/4 and a molto rit. in mm. 57. Mm. 58-63 This is the climax of the piece, m arked by the ff dynamic level. The upper voices play in a higher tessitura and slowly fall in both dynamics dynamics and range by the end of the section. All of the percussion parts are active and the timpani part is accented. There is a fermata on the third beat be at of mm. 63 played at a piano dynamic level, followed by a caesura. caesura. This section cadences on a B-flat 7 chord. chord. Mm. 64-69 This section begins with an ‘a tempo,’ and re turns to the thinly textured block chords seen in the opening of the piece, with similar phrase markings. The ending is soft reserved, ending with a tone cluster containing B-flat, C, D, E, F, and G.
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Performance Performance Notes: The key to this piece for both the conductor and the students students is phrasing. There are a lot of very slow-moving harmonies, and it is up to the conductor to make sure that the students shape each phrase to make the piece move forward. Rain is slow and very smooth, and there is a lot of room for rubato. Take advantage of stretching the phrases where it seems appropriate, even outside of the marke d areas. On a technical note, be aware of the many changes in meter that happen throughout the piece. Also, be mindful of the fermata and caesura at the end of measure 43. The students should be playing softly with good air support.
Specific Considerations Mm. 1-8 During this section, it is important that the instruments enter softly but but confidently. While there are not traditional triadic chords, students should should still be listening for blend and intonation. intonation. Cue appropriate entrances, especially those in the percussion section. Mm. 9-16 In this section, the clarinets are very exposed. They need to have a good handle on their rhythm, especially with the sixteenth notes. Make sure that the alto voices bring out their entrances in mm. 12. Cue the timpani in mm. 16. Musicians with whole whole notes in mm. 16 must must play them for their full full value to set up the flute and clarinet entrance for the next segment. Mm. 17-27 There is a relatively short trumpet solo in this section, give give him or her a clear cue. This section is characterized by an alternation of 3/4 and 4/4 time. There is also a fair amount of melodic interplay between different voices in the band. Make sure that these players enter in time, as there may be a tendency to rush in t he slow tempo. Mm. 28-36 The tempo both speeds up and slows down in t his section, so it is important that the students are watching carefully. Also, this section contains independent independent parts, so the students must have a solid grasp of their individual notes and rhythms. rhythms. Be sure to cue the crash cymbal in mm. 33. Mm. 37-47 The percussionists are featured during this section. section. It is important that the bells and vibraphones play together in time. The timpanist should should take care not to over-play the ‘gently-rolling thunder,’ and the wind players should make sure that they pay special attention to shaping their phrases. Mm. 48-57 Because the melodic material returns in multiple instruments, the rhythm should be consistent and accurate. accurate. Also, this section includes includes the largest change change in tempo. The students need to watch carefully for their timing. Mm. 58-63 This section begins at the ff dynamic level, the loudest loudest dynamic in the entire piece. It is important that the students play confidently with a full full sound (without overblowing). overblowing). Cue the crash cymbal in mm. 58 and give strong downbeats on mm. 59 -61, to help the timpani, bass drum, and suspended cymbal come in strongly. Mm. 64-69 The final section of the piece resembles the opening and should be treated with a similar attention to style, phrase shaping, and dynamics. The trumpets are muted for the only time in the piece. Cue the chimes in this section. Also, for the final note it is important that that the students play with with a supported tone, even at the piano dynamic level.
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Glossary of Terms Terms to introduce to the students:
Program Music—music that expresses a certain story or idea
Film Music—music used to accompany films
Rubato—fluidity of tempo usually associated with a lyrical composition
Terms found in the music:
Andante Lirico—Lyrically, at a walking tempo
Poco piu moso —A little more motion
Poco rit.—Becoming gradually (a little) slower
Cresc. poco a poco —Becoming gradually louder little by little
Poco accel.: Becoming gradually (a little) faster
Molto rit.: Becoming gradually (very m uch) slower
// (Caesura): A symbol indicating a sudden pause in the music
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Major Concepts/Skills Required to Perform Perform this Work The performers must possess: o
The ability to play a variety of rhythms which may be unfamiliar to them, including sixteenth note patterns and dotted eighth patterns (see performance notes for specific measure numbers).
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The ability to change from 4/4 time to 3/4 time in a frequently alternating pattern.
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The ability to play in time at a very slow tempo.
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The ability to think beyond the notes on the page, so that they can effectively shape phrases and use expression.
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The ability to play unison phrases in tune with the members of their section.
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The ability to play at dynamic extremes with a rich, supported tone quality.
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The watchfulness required to follow the conductor throughout throughout rubato sections that accelerate and decelerate (both of which will happen on a small scale throughout phrases, and on a large scale throughout the major sections of the piece). The confidence to play well when the section of the music is very exposed.
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Objectives for Students Throughout the course of this concert cycle, students will: o
Play each selection with a high level of musicianship.
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Play correct notes and rhythms, paying special attention to those which are unfamiliar.
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Make confident entrances, even at a very soft dynamic level.
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Shape phrases convincingly. convincingly.
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Listen for blend, balance, and intonation.
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Keep a watchful eye on the conductor, especially when the tempo changes.
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Be able to identify major sections and themes within each piece.
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Understand the historical background of each piece in the context of the culture and time in which it was written.
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Understand music’s role in disciplines outside of music and other arts.
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Strategies Strategies and Activities o
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In order to play with a slow, connected style, t he students will incorporate Bach Chorales into both their personal and ensemble warm-ups. In order to smoothly transition between 3/4 and 4/4 time in Rain, students will alternate time signatures in each measure of their warm-up. For example, the teacher will have have the students play a scale on long tones conducting conducting in whatever pattern they choose. The students must follow along without any given verbal cues from the teacher. In order to train the students to respond to tempo changes in a piece that is rubato, the teacher will take tempo liberties with the Bach Chorales played during during the warm-up routine. This can also be done with the aforementioned long tone metr ical exercise. In order to play the dynamic contrasts required to perform this piece the ensemble will incorporate dynamic contrasts into their warm-up exercises. In order to be able to play confidently within small and very exposed instrument sections throughout the piece, the students are r equired to play in front of their peers, both as individuals and as sections. sections. This will be both part of the testing procedure and an integral integral part of their rehearsal. In order to play the difficult rhythms that are found within the piece the students will be given a rhythm sheet which they can use for various warm up exercises. In order to better understand music in relation to other disciplines, students will be given an assignment that allows them to explore creative writing, m edia, art, and film. In order to understand the programmatic nature of this piece, st udents will be given an assignment that requires them to think critically about the composer’s intent and find other pieces that function in a similar way. In order to gauge if t he students are practicing their music outside of class, a weekly practice log will be completed, signed by a parent or guardian, and submitted at the end of each week. In order to gauge if st udents are successfully learning their music, two playing tests will be given over the course of each ‘concert series.’
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MOVIE SOUNDTRACK PROJECT Guidelines What if Rain, by Brian Balmages, w as as a movie soundtrack? soundtrack? What do you think might be happening “onscreen” as each section plays?
The purpose of this assignment is to explore the way t hat composers use music to depict ideas, thoughts and emotions. Your job is to listen to a recording of the piece Rain and create your own story that depicts what what you think could happen. Then, write a brief explanation of how your story corresponds to the music, citing specific sections of the piece (with measure numbers.) The story should be no shorter than 2 pages in length, typed, double-spaced, using a 12 point font. The explanation should should be between 0.5 and 1 page. This assignment is due on Friday, October 14. For those of you who decide to complete the filming portion of the extra credit, there will be a film premiere during our Fundraiser Reward Party. EXTRA CREDIT Each of the following sections is worth up to 3 points of extra credit, for a total of 6 points (This is equivalent to 6% of your total grade). Be creative with these!
Story Board A storyboard is like a short short comic strip, displaying displaying how the director director envisions the scenes. Screen play writers often use them to further depict what is happening happening onscreen. Create a storyboard that goes along with your story version of Rain. These can be hand drawn or created digitally. digitally. For full credit, credit, you must have at least 5 frames fr ames in your story board.
Filming For those of you who are tech savvy, convert your story into an original script and film it, syncing the music with your short film. Feel free to recruit other members of the band, your friends, and your family to be actors and actresses in your scene. I will be available during during Band Jam after school on Mondays and Wednesdays if you need help with the editing process. Remember that your film project
must be school appropriate . All videos must be submitted for screening no later than Tuesday, October 11, if you would like them to be premiered during our party.
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PROGRAM MUSIC PROJECT Guidelines describe a piece that has has a story or meaning meaning behind it. Your Program Music is a term used to describe job over the course of the the next few weeks is to find three three pieces of programmatic programmatic music and write an essay about about the story behind each each of them. More specific details will will be given during class. Feel free to use pieces that we’ve played, pieces that you’ve heard other ensembles play, or
pieces that we use for our listening assignments. There will opportunities throughout throughout the semester to listen to both the high school and beginning bands perform, just check the schedule posted on the either my office door or the website. You may also use internet sources as well, but you MUST include where you found them in a bibliography at the end of your essay. Both JWPepper.com and SheetMusic.com have a number of high-quality recordings that you can listen to, as well as basic information about each of the pieces.
The Process Start with Rain, by Brian Balmages Answer the following questions:
What is the composer composer depicting throughout throughout the piece? What story is he trying to tell? (We talked about this in class.)
How did the composer accomplish accomplish this? (Did he use specific specific instruments? instruments? How does tempo and style help to create the the ‘story’ of the piece? Use specific measures measures and
instruments when possible.)
Do you think that the methods the composer used to convey his ideas were effective? Why or why not?
What other ways could you convey the same idea?
Use these same questions to guide your thought process as you find and write about two additional pieces. This assignment is due on Friday, December 16. It must be 1-2 pages typed typed in 12 point font, double spaced. If you need help with with the project, feel free to ask. I’m available during Band
Jam on Mondays and Wednesdays after school.
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Practice Guide Ten Steps to Having a Productive Practice Time: 1. Practice daily! Practicing in small chunks chunks is much better than trying to “cram” your practice time into the evening before your practice log is due. 2. Warm-up before you practice. Use long tones, lip slurs, scales, and technical exercises to help you prepare for the repertoire section of your practice time. 3. Check the weekly rehearsal schedule (which I will post on the bulletin board) to find which pieces/sections we will be rehearsing throughout the week. Practice sections that you know will be difficult. 4. Practice scales from the key signatures of the reper toire for the semester (they may come up on tests!) Use your Band Expressions Book II to help you reference them if needed, but but actively work towards memorizing them. 5. Check for any Bach Chorales that are in that key as well, and play through the parts in your clef. When you’ve played through those, challenge yourself to read the o pposite clef. 6. To practice difficult rhythms: go through each of your pieces and pick out difficult rhythmic sections. Find those rhythms on your rhythm sheet and practice scales scales using the selected rhythm. 7. To practice scales, pick two scales each day from the Band Expressions Book II and practice them. Start at a slow tempo first, working slowly up to the written tempo. 8. When practicing repertoire, it is important important that you use a metronome. There are free metronomes online (use google.com to find one) or you can purchase a metronome inexpensively from the music store. 9. Isolate difficult parts in your your music. Start at a slow tempo, and slowly work your way up to the written tempo. 10. Have Fun!
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Evaluation of Students The semester grade will be determined as follows: Audition
5 Points
Repertoire Assignments Assignments (2@10 (2@10 points) 20 Points Points Practice Log
20 Points
Playing Tests (2@15 points)
30 Points
Daily Performance Grade
10 Points
Final Performance Test
10 Points
Extra Credit Points
10 points
Total Points Possible
110/100 Points
Audition (Formative) At the end of the first week of the semester, students will have an audition to determine chair placement. The students will play a short audition piece piece (which will be assigned from the Band Expressions Book II on the first day of class), sight-read a short exercise, and play through two scales that will be selected at random fr om concert B flat, F or E flat. The audition process: Each audition will be proctored by one of the weekly lessons instructors and take place in the practice rooms. Students will receive a number and letter, assigned at random, and will record their performance on the device provided in each of the rooms. The students can bring in their own Band Expressions book if they choose (with their own rehearsal markings), although there w ill be one provided. Students are allowed to mark their own copy of their prepared exercise. The proctor will provide the students with the sight-reading materials. The student will play the scales from memory.
Repertoire Assignments Students will be assigned two projects that will be related to this semester’s repertoire, one per quarter. The students will be responsible to complete the given assignment and turn them in on the date specified on their assignment sheet. These assignments will require the student to take time outside of class to listen and research, then synthesize their research into a short paper. For 6 points of extra credit (which would be equivalent to 6% of the semester grade) students will have the option to complete a supplementary assignment. An information sheet will be provided for the students students outlining each assignment.
Practice Log
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Students will then be required to k eep a weekly practice log, which must be signed by a parent or guardian and returned on the Monday following each week of practice. Grades will be assigned based upon the average practice time per week: 90 minutes average = A (20 points) 60 minutes average = B (17 Points) 45 minutes average = C (14 Points) 30 minutes average = D (12 Points) 0 minutes average = F (0 points) Total Points Possible: 20 One point of extra credit will be awarded for each additional 15 minutes of average playing time/week (for a total of four extra extr a points).
Playing Tests There will be two playing tests given over the course of the semester. These will cover material which is in the repertoire for the current semester. Tests will be announced announced one week prior to the first day of testing. Students will be given the excerpts at that time. Testing will take place throughout the rehearsal, and individuals will be called on by section.
Daily Performance Grade include, but This grade will assess the students’ preparedness and approach to the rehearsal. This may include, is not limited to: Coming to rehearsal o n time with instrument, music, and any necessary accessories (reeds, mouthpieces, mutes etc.), knowing (being able to play) the material that is scheduled for each rehearsal and coming to band with a winning attitude.
Final Performance Test (Summative) This assessment is designed designed to map the student’s progress progress over the course of the the semester. Students
will be given an exercise two weeks before the day of the test that they must prepare during their own personal practice time. They will also be given a sight-reading exercise and will play play memorized scales. The scale section of the Band Expressions book will provide a useful reference for the students as they prepare their scales. The final performance test process: This exam will be given to each individual student during the last wee k of classes before the students are scheduled to take their final examinations. The exam format will be similar to the audition process and will take place in the practice rooms.
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Rehearsal Rehearsal Schedule Monday 9-5 LABOR DAY
Tuesday 9-6 Review Band Expressions II
Wednesday 9-7 Review Band Expressions II
Thursday 9-8 Review Band Expressions II
Friday 9-9 Review Band Expressions II
9-12 Bach Chorale Band Expressions II Rain mm. 1-17
9-13 Scale/Rhythm Practice Band Expressions II *Selection 2
9-14 Bach Chorale Band Expressions II Rain mm. 18-25 *Selection 2
9-15 Scale/Rhythm Practice Band Expressions II Rain mm. 26-37
9-16 1/2 Day (shortened schedule)
Fundraiser Presentation (Pizza/Cookie Day) 9-19 Bach Chorale Band Expressions II *Selection 2 *Selection 3
9-20 Scale/Rhythm Practice Band Expressions II Rain mm. 1-37 *Selection 3
9-21 Bach Chorale Band Expressions II *Selection 2 Rain mm. 37-48
9-22 Scale/Rhythm Practice Band Expressions II *Selection 3
9-23 Bach Chorale Band Expressions II *Selection 2 *Selection 3 Rain mm. 1-48
9-26 Bach Chorale Band Expressions II Rain mm. 48-58 *Selection 2
9-27 Scale/Rhythm Practice Band Expressions II *Selection 3 *Selection 2
9-28 Bach Chorale Band Expressions II Rain 58-End *Selection 3
9-29 Scale/Rhythm Practice Band Expressions II Rain Chunk-Through
9-30 Bach Chorale Band Expressions II *Selection 2 ChunkThrough
10-3 Bach Chorale Band Expressions II Full Chunk-Through
10-4 Scale/Rhythm Practice Band Expressions II Full Run
10-5 Bach Chorale Band Expressions II Full Run
10-6 Elem. Assembly Performance!
10-7 Bach Chorale Band Expressions II
10-10 Bach Chorale Band Expressions II
10-11 Rehearse in PAC Bach Chorale/Scales Full Run
10-12 Rehearse in PAC Bach Chorale/Scales Full Run
10-13 CONCERT@7PM Bach Chorale/Scales Full Run
10-14 Watch the Performance
Rain HW films due
Fund. Reward Party Rain HW Due
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NMS Weekly Practice Log Student Name_____________________________________ Total Time For Week:________________
Day Monday
Material Covered (Include Warm Up and Scales practiced )
Time
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Parent Signature____________________________________ Date__________________
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NMS Band Audition/Final Exam Form Name___________________________________________________ Score _________
Instrument____________________________ Class______________ Grade _________
I.
Prepared Exercise (50%) Correct Notes
_______
Correct Rhythms
_______
Steady Beat
_______
Dynamics
_______
Interpretation
_______ Total
II. Scales (20%) ____________ _____________ _
____________ ____________
Total _______
_______
III. Sight Reading Excerpt (30%) Steady Beat _______
Comments:
Approx. Rhythms/Articulations_______ Expression
_______ Total
_______
5 – Superior Performance. Student plays accurately accurately at tempo without major errors. 4 – Above Average Performance. Performance. Student plays accurately accurately most of the time with few errors. 3 – Average Performance. Performance. Student plays accurately accurately at times, with many errors. 2 – Needs Improvement. Student was inaccurate most most of the time. 1 – Unattempted. Student Student did not perform for the test.
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NMS Playing Test Grading Form Name___________________________
Excerpt_________________ Excerpt__________________________ _________
Notes
_______
Rhythms
_______
Steady Beat
_______
Dynamics
_______
Interpretation
_______ Total
_______/15
Unlike the audition and final exam, the in- class playing test is designed to be a quick evaluation. For each of the categories categories listed, the students students will be given a score of 0-3, with three being the highest. These scores will then be added together for their final grade on the test. A student is guaranteed at at least one point for attempting the material. Students Students will be tested individually, section by section, over the course of one week. Students will have to play their test material in front of their peers. Material for the test will be provided at least one week in advance, to give the students adequate time to prepare. Grades will be determined as follows: 3 — Superior. The section is played accurately accurately with good style. 2 —Meets expectation. The section is played accurately much of the time, with few errors. 1 —Below expectation. expectation. The student was inaccurate inaccurate much of the time. 0 —No Attempt made to play the part.
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Materials for Playing Tests The following segments of Rain will be given in addition to selections from other repe rtoire and exercises from the Band Expressions Book II. It is important to add these to the student’s weekly practice schedule as appropriate. These should be posted in the band room at least one week prior to the test.
Flute—mm. 17-23 Oboe—mm. 48-58 Bassoon—mm. 48-58 Clarinet—mm. 48-58 Bass Clarinet —mm. 29-37 Alto Sax—mm. 48-58 Tenor Sax—mm.12-16 Bari Sax—mm. 29-37 Trumpet—mm. 28-37 Horn—mm. 29-37 Trombone—mm. 28-37 Tuba—mm. 29-37 Percussion—as a section will test over mm. 37-48.
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Other Band Works by Brian Balmages : EASIER DIFFICULTY LEVEL
Proclamation
O Mio Babbino Caro
Conquest
Scenes from an Ocean
Proudly We Hail
Creatures in the Attic
Voyage
Reverberations
Fanfare Heroica
Stampede
Summer Resounding!
Jingle Bell Tones
Whispering Winds
Temple of the Murals
Midnight Madness
Waves
Midnight Mission
SAME DIFFICULTY LEVEL
When Spirits Soar
Midnight Sky
Apparitions
Arabian Dances
Miramar Fanfare
Blue Ridge Impressions
Beyond the Summit
The Nutcracker
Camptown Variations
Elements
Starsplitter Fanfare
Chant and Savage Dance
Escapades
African Journey
Electricity
Flight of the Griffin
Chesapeake Serenade
Escape from the Deep
Gravity Wave
Colliding Visions
Images of Ireland
In Nature's Glory
Courtly Dance and
Instant Christmas Spirit
Loudoun Praises
Procession
Jungle Dance
Motion
Dragonfly
Kitsune: The Fox Spirits
Pele
Five Progressive Chorales
Legacy
Sound Prisms
Moscow, 1941
Summer Dances
Gettysburg
Rhythms and Riffs
Star Above, Shine Brightly
Legend
Shenandoah Triptych
Three Celtic Dances
Majestica
Sparks
Winter Dances
Olympia
Starscapes
The Awakening
Rite of Passage
Through Courageous Eyes
Flight
Rocky Mountain Romp
Whale Warriors
Fusion
Smithsonian Suite
Winged Victory
Ichabod Fanfare
for Developing Bands
Through the Mist
Invictus
Tomorrow's Yesterdays
HARDER DIFFICULTY LEVEL
Midnight on Main Street
Winged Victory
Among the Clouds
Of Emperors and Chariots
Comet Ride
A View of the World
Raging Machines
Etowah
Apollo
Silence Overwhelmed
Incantation and Ritual
Journal for a Soldier
Summit City
Kilauea
Kindred Spirits
Symphonic Episodes
Parade of the Jesters
Nevermore ...Not Afraid to Dream
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Similar Works by Other Composers Co mposers Adapted from the Ontario Band Association resource List of lyrical concert band music
Grade 1 A Mighty Fortress A Shaker Hymn A Song for Friends At Daybreak Atlantic Crossing Amazing Grace Arioso Believe Me If All Those Endearing… Brother James’ Air Canticle Cathedral Chippewa Lullaby Country Wildflowers December Sky Dorian Dreamscape Early One Morning Greensleeves Hotaru Koi (Japanese Folk Song) In Quiet Times Jeanette, Isabella Largo from Symphony No. 9 Let All Mortal Flesh Keep Silence Maesong Night Star Shenandoah Skye Boat Song St. Anthony Chorale Song of the Hebrides Simple Gifts Tales of the River Wye Who Can Sail Against the Wind Grade 2 A Childhood Hymn A Scottish Ballade A Song of Hope A Shaker Gift Song A Quiet Rain Adagio Air for Winds All the Pretty Little Horses Anthem As Torrents in Summer Balladair Ballade Brother James' Air Greenwillow Portrait
EASIER DIFFICULTY LEVEL Arranger J. Edmondson J. O’Reilly L. Daehn Robert W. Smith Alan Lee Silva J. Edmondson J. Visconti/Del Borgo Trad/D. Marlatt MacBeth Bain/Wagner D.Wagner L. Conley A. McGinty L. Daehn E. Morales R. Sheldon D. Stubbs Michael Sweeney N. Fairchild J. Swearingen W. Ryden C. Sharp Anne McGinty W. Owens S. Hodges R. Smith & M. Story J. O’Reilly M. Williams L. Daehn J. Bullock Philip Sparke A. McGinty SAME DIFFICULTY LEVEL Arranger D. Holsinger R. Sheldon J. Swearingen F. Ticheli W. Cummings Albinoni/de Haan M. Shelton A. McGinty Edmonson Elgar/Davis F. Erickson D. Jenkins Bain/Wagner M. Williams
Publisher
CL Barnhouse Carl Fischer
Belwin Alfred/Belwin Queenwood/Kjos
Studio Music Hal Leonard
Schirmer Music TRN Music
Alfred/Belwin
Dehaske
Publisher
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Horkstow Grange I Saw Two Clouds At Morning In the Bleak Midwinter Let Me Weep Linden Lea Old Scottish Melody: Auld Lang Syne Our Kingsland Spring Prospect Rivers Romantic Ballad Shadows in Time Shenandoah The Red River Valley The Spirit Endures Too Beautiful For Words Water is Wide When the Stars Began to Fall While I Watch the Yellow Wheat Grade 3 A Quiet Moment Adagio for Winds Air for Band Ammerland Appalachian Morning As Summer was Just Beginning At Morning’s First Light Canterbury Chorale Daydream Deir' in De Down a Country Lane Evensong Fantasy on “The Minstrel Boy” Forever Holding Close the Memories Gentle Clouds Roll By Gently Blows the Summer Wind Harvest Hymn Heaven's Light If Thou Be Near In Heaven’s Air Intermezzo for Band Loch Lomond Misty Rain, Softly Falling My Jesus! Oh, What Anguish Nettleton On a Hymnsong of Philip Bliss On a Southern Hymnsong On Angel Wings Orfeo's Song Prelude on an Irish Folk Tune Quiet Music Reverie for Bonita
arr. Micheal Sweeney K. Mixon Holst/Smith G.F. Handel/de Haan R. Vaughan Williams/Stout Wiley S. Hazo P. Le Plante S. Hazo T. Doss Q. Hilliard R. Sheldon P. La Plante James Hosay Rob Grice James Swearingen F. Allen L. Daehn HARDER DIFFICULTY LEVEL Arranger P. Sparke E. Del Borgo F. Erickson Jacob de Haan R. Sheldon Alfred L. Daehn D. Gillingham . Van Der Roost T. Mahr W. Barker Copland arr. Patterson W. Harbinson M. Grauer Richard Saucedo D. Coakley R. Standridge P. Grainger S. Reineke Bach/Reed S. Hazo J. de Haan F. Ticheli F. Erickson J.S. Bach/Reed J. Vinson D. Holsinger D. Holsinger E. Huckeby Gluck/Beringen P. Sparke Douglas Wagner Bray
Hal Leonard
Hal Leonard
Curnow CL Barnhouse CL Barnhouse
Publisher Dehaske
Alfred Hal Leonard Grand Mesa
Hal Leonard
Dehaske Alfred/Belwin
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Rhosymedre Shenandoah Star Ship Sure on this Shining Light The Whispering Tree Then I Saw The Lucent Sky Walden Wind Windsong With Each Sunset With Quiet Courage Ye Banks and Braes O'Bonnie Doon Yorkshire Ballad Grade 4-5 A Hymn For The Lost & Living A Movement for Rosa Amazing Grace American Elegy Be Thou My Vision Cantus Chorale Prelude: Be Thou My Vision Come Sweet Death Contre qui, rose Down Longford Way Dusk Elegy Elegy for a Young American Eternal Father, Strong to Save Hennepin County Dawn I Am In Memoriam: Kristina In this hid Clearing Irish Tune from County Derry Lux Aurumque Lyric Essay Morning Alleluias My Heart is Longing Night – Movement II None But the Lonely Heart October Of Strength and Peace Perthshire Majesty Remembrance of Things to Come Salvation is Created Sheep May Safely Graze Sleep Suo-Gan Trauermusik Watchman, Tell Us of the Night Whisper to Their Souls Who Will But Let Himself be Guided
Williams/Beeler F. Ticheli Y. Nishimura S. Barber/Saucedo G. Farmer Todd Stalter C. Sharp Darren Jenkins J. Zdechlik R. Saucedo L. Daehn P. Grainger Barnes HARDER DIFFICULTY + Arranger Eric Ewazen Camphouse F. Ticheli F. Tichelli D. Gillingham T. Doss J. Stamp Bach/Reed M. Lauridsen/Reynolds P. Grainger S. Bryant J. B. Chance LoPresti C. T. Smith S. Hazo Boysen B. Yurko J. Stamp P. Grainger E. Whitacre D. Coakley R. Nelson Bach/Reed R. Rumbelow Kjos Tchaikovsky/Curnow E. Whitacre G. Farmer S. Hazo J. Stamp Tschesnekoff/Houseknecht Bach/Reed E. Whitacre J. Curnow R. Wagner/Leidzen M. Camphouse S. Hazo Bach/Reed
Daehn Publishing Alfred Alfred Kjos
Publisher
DeHaske
Peer-Southern Music
Hal Leonard
Kjos
Daehn Publications
Hal Leonard
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Bibliography Balmages, Brian. Rain. Florida: FJH Music Company, Inc., 2008. Cooper, Lynn G. Teaching band & orchestra: methods and materials. Chicago: GIA Publications, 2004, 253-267. Harnsberger, Lindsey C. Essential dictionary of music: definitions, composers, theory, instrument & vocal ranges. 2nd ed. Los Angeles: Alfred Pub. Co., 1997. Montgomery, David. "Rhythm Patterns, by Joe Berry m an." (Handout presented during class lecture, Instrumental Methods 1 from Western Michigan University, Kalamazoo, January 18, 2011.) "Resource List: Lyrical Band Concert C oncert Music." Ontario Band Association. www.onband.ca/cbf/downloads/Lyrical-Resource-List_09-10.pd www.onband.ca/cbf/downloads/Lyrical-Resource-List_09-10.pdff (accessed December 1, 2011). Smith, Robert W., Susan L. Smith, Michael Story, Garland Markham, and Richard Crain. Band Expressions, Book Two Teacher Edition, Curriculum Package. Alfred Publishing Company, 2006.
"U.S. History Timeline 2000-2009." America's Best History. http://americasbesthistory.com/abhtimeline2000.html http://americasbesthistory.co m/abhtimeline2000.html (accessed December 1, 2011).
Recordings The following websites offer high quality recordings of Rain suitable for the students to model, free for streaming. o
http://www.fjhmusic.com/band/b1357.htm
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http://www.jwpepper.com/10047846.item
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http://www.musicdirectltd.com/concertbandtitle.html
The following YouTube videos display Middle School performances o f Rain, and may be useful for classroom discussion. o
http://www.youtube.com/watch?v=ebhaxf0U9j8&feature=related
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http://www.youtube.com/watch?v=mDRdVsbotGg
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http://www.youtube.com/watch?v=NyOkU3h6xdg&feature=related
