1. Choose one selection from the list provided and acquire a score.

2. Before you begin marking it, scan the score and upload a PDF file to Canvas.
3. Study the entire score and develop an outline that includes the following elements:

Tonality
- Determine tonality (major, minor, dorian, mixolydian, other)
- F Major

Melody
- Extract (a) melodies and (b) countermelodies to teach everyone; document where they
occur (i.e., specific instruments and specific measure numbers).
- The Melody is clearly stated in the Bb clarinets starting in ms.1 which can be
found again clearly at the end in the bb clarinets
- The Countermelody is found initially in the 3rd Bb and Alto Clarinet (but mostly
the Alto clarinet carrying moving 8ths and harmony)
- Analyze thematic transformation techniques the composer employs with your melodies:
- Sequence, transposition
- Leitmotif, ostinato
- Augmentation or diminution
- Repetitions with variations of pitch, rhythm, timbre
- Inversion (mirror), retrograde, retrograde inversion
- Combinations of the above
One of the most notable things about this piece is that the melody is clearly and purely
stated at the beginning, however, goes through transitions through the entire middle and does
come back until the end in its pure form. Also, in the middle it starts to be more heavily
emphasized by the cornets. It also becomes significantly more dense in the middle and thins at
both beginning and end.

Harmony
- Extract bass lines to teach everyone; document where they occur (i.e., specific
instruments and specific measure numbers). (Note: all melodies and countermelodies
you extract above should be paired with a bass line you extract at this step.)
- Bass Line notable to look at in contra bass clarinet at beginning and trombones
especially after having gone through the melody a few times in the opening.
- The bass line(s) you extract should contribute to students learning the harmonic
progression(s) in your selection.
- Identify functions (e.g., tonic, dominant, subdominant, subtonic, other) in your piece.
- Document any non-tertian harmony (e.g., quartal), bitonality, tone clusters,
harmonic tension/dissonance and release/consonance, use of nonharmonic
tones to create tension
- There isn't much of this non-tertian harmony, but in the middle of the piece, right
where there is a start to build around ms.33, the piece started to play around with
 some minor keys and modes in order to build tension throughout the music and
resolve at the end in the same way it did at the beginning.
- Identify important harmonic events:
- Cadences (e.g., perfect, half, plagal)
- Modulations (e.g., by fifth, third)
- Sequence
- Cadences are big within the melody, following a pattern of coming to a
half cadence in the middle of the melodic line and finishing with a perfect
cadence. The melody does start to break up in the middle, however, it
follows the same musical ideas and outlines regardless of the rhythm
throughout the whole piece.

Meter

Determine meter (duple, triple, other, e.g., ⅝ or ⅞)

Duple
- Identify rhythm motives/”motors” to teach everyone; these should contribute to students
learning important rhythmic theme(s) in your selection.
Quarter note - two eighth notes - half note
- Identify functions (e.g., macrobeat, microbeat, divisions, elongations) in your piece
The middle of the piece veins to stretch the melody out into longer notes divided
between everyone which brings a sense of tension and pulling.
- Identify and document specific rhythmic techniques employed:
- augmentation or diminution
Ex: Ms. 20 in Fl.1
- polyrhythms
N/A
- thematic rhythmic motifs
Ex: When the horns and baritones come in at measure 8 with the hymnal idea
- ostinato rhythms
Ex: the trombones starting in measure 12
- juxtaposition of diverse rhythm groupings
Ex: Bass Clarinet and Contrabass Clarinet in ms. 19
- rhythmic patterns that give energy and drive to the music
Ex: Once the piece hits ms. 38, lots of instruments have the driving rhythm of quarter
note - two eight notes - repeat; Cl 1-3, Alto Cl, Alto Sax, Ten. Sax, and Baritone
- techniques that shift, obscure, or destroy pulse and/or meter (e.g., hemiola,
syncopation, displaced accents, disjunct rhythmic figures, omission of bar lines, silence)
Ex: Bass Clarinet and Contrabass Clarinet in ms. 19
- Examine tempo markings throughout the composition and document:
- specificity (or lack thereof) with which the composer indicates tempi (e.g., specific or
general metronome markings, musical terms used to indicate tempo with/without specific or
general metronome markings).
 Roughly all of the same temp. Throughout; Andantino
- relationships among tempi (i.e., similar, contrasting)
Roughly all of the same temp. throughout
- use of tempo as a factor in establishing general moods (e.g., slow, fast, tragic,
energetic)
Mostly slow through entire piece - Hymn
- internal variations or tempo changes (e.g., ritardando, accelerando, rubato, stretto)
Rubato at beginning, accelerando potentially at ms. 38, ritardando at end
- interruptions of tempo (e.g., grand pause, fermata, luftpause)
NA

Expression

Stylistic Articulations and Expressive Terms

- Document the composer’s expressive use of stylistic articulations (i.e., symbols, words),
for example: legato, staccato, marcato, tenuto, polyarticulations.
- Most of this piece is assumed to be simply legato throughout; this can be inferred
from the phrase markings
- Document musical terms used by the composer to indicate expression (e.g., leggiero,
cantabile, dolce, expressivo)
- There are no explicit phrase markings, or any for that matter outside of andantino
and a few legato’s
Orchestration
- Special effects: mutes, flutter tongue, trills, tremolo, glissando, pitch bending, bells in the
air, multiphonics
- NA
- Extreme register scoring (high or low tessituras)
- No extremes
- Unusual unison or octave doublings
- NA
- Composite tone colors (instrument timbre mixing)
- Mostly just standard, lower and smoother brass mixed with mild woodwind timbre
- Imaginative instrumental scoring combinations (e.g., stopped horn and natural horn
flutter tongue)
- NA
- Contrasting tone colors: vertical (melody to accompaniment) and/or horizontal (section to
section, phrase to phrase)
- Na
- Percussion instruments for coloristic effects
- Not much a use of percussion, simple parts across the board. There is a use of
tempany but it just doubles the woodwinds

Texture
 - Identify/compare musical textures employed in the work (movements, sections,
subsections):
- Monophonic (unison playing, one line)
- The beginning and end are mostly unison between all instruments playing
- Homophonic (chordal (“familiar style”, note against note); melody with
accompaniment (sustained chords, repeated chord, arpeggiated/Alberti bass))
- Starts up at 13 and carries through in the bass instruments until ms. 50
- Polyphonic ​(Ex. Starting at 30)
- Number of parts
- 6
- Relative importance of each part
- Each part plays a large role in chordal formation and moving the
energy throughout the piece
- Degree and melodic independence of each line
- There’s a strong sense of melodic independence between the
different sections of instruments as opposed to assigned parts
- Spacing and crossing of parts
- The parts cross extremely often handing the melody off to the
other every half-measure
- Contrapuntal techniques employed (e.g., imitation, stretto, augmentation,
inversion, retrograde; parallel, oblique, contrary motion)
- The only contrary motion present is within the bass and
contrabass clarinets against all of the upper woodwinds
- Hybrid textures (combining homophonic and polyphonic): e.g., prominent melody
with polyphonic accompaniment; quasi-contrapuntal style; figuration
- Most of the parts have the same type of melodic interpretation that has
been augmented in a way to slow down the melody while still maintaining
the energy through the different instruments.
- Special texture-related effects: antiphonal, responsorial
- NA
- Examine the density (thickness, thinness) of each movement, section, and subsection.
Notice how the orchestration (and the harmony) contribute to the textural sound of the
musical fabric.
- This piece starts off with an incredibly thin orchestration; only including mainly the
clarinets. It slowly builds over time and once the piece hits measure 30 the
density builds significantly and continues to do so until measure 50 where it starts
to thin out again reverting back to the beginning orchestration this time however
including some lower brass.

Form
- Analyze the overall form of your selection to determine if it aligns with a common formal
design, such as:
- Compound or multimovement forms (e.g., concerto, symphony, sonata,
divertimento, oratorio, mass)
- NA
- Sectional forms (e.g., binary, ternary, rondo, combinations/variations thereof)
- NA
- Variational forms (e.g., theme and variations, passacaglia, chaconne)
- This piece is based off of a hymn and focuses on this melodic phrase of
the hymns melody through the piece holding different variations and style
changes through the different instruents
- Developmental forms (e.g., sonata allegro)
- NA
- Imitative forms (e.g., fugue, canzona, ricercare, canon)
- NA
- Stylized dance forms (e.g., bourree, minuet, gigue, gavotte)
- NA
- Free forms (e.g., toccata, prelude, fantasia, rhapsody)
- NA
- Based on extra musical ideas (e.g., poem, story, play, mythology)
- NA
- Analyze the internal form of your selection and document sections, subsections, periods,
and phrases (indicate specific instruments and specific measure numbers).
- The beginning starting at ms. 1-7 comes in with the main melody and theme that
will prevail, however, this is just an opening to the hymn. The Hym is then
introduced by the horns and gets picked up by the baritone - this only continues
until ms. 13. The main melody comes back in more instruments and goes
through a few different phrasing ideas until measure 19 where it picks back up
more solidly in ms. 19. Measure 31 picks up an interesting polyphonic moment
and breaks the melody up into the main melody and the hymns theme - this gets
passed between the 12 different parts and instruments mainly remaining in the
mid-lower woodwinds. Then, at measure 35, the hymn starts to prevail and the
melodic instruments now get put on driving rhythms to push the piece forwards.
The hymn then dies out to the rhythmic motives in measure 43. Finally at the
end, the orchestration dies out and the melody takes back the main idea like in
the beginning.
- Document the composer’s use of:
- Balance (symmetry)
- Follows and thin - thick - thin form with instrumentation
- Unity (coherence, continuity)
- Starts off with unity, divides, and comes back to unity once more, just with
more instruments involved at the end.
- Variety (contrast)
 - The biggest contrast section is in the middle of the piece where there is a
battle between the melody and hymn
- Number and relationship of movements
- No movements
- Time factors (total length of movement or large sections)
- The entire piece is roughly 3:48

Dynamics
- Examine the overall dynamic scheme of the composition (horizontal dynamics):
- Perimeters (loudest and softest dynamics)
- mp-f
- Climaxes, subclimaxes, and low points
- Subclimax at ms. 20 and climax at 40
- Low point at beginning and diminuendos at the end
- Examine the dynamic curve of large sections, subsections, periods, phrases
- I will look at the whole piece as some sort of very large section that starts small,
grows to 20, continues to grow even more until 40 where it reaches its largest
peak and sound, and then proceeds to diminuendo until the end where it finally
ends soft once more.
- Study the balances within each phrase (vertical dynamics)
- Melody to accompaniment
- Melody heavier through most unless the hymn is being played
- Primary to secondary (subordinate) material
- Primary always in instruments that can play out and secondary usually
underrepresented
- Instrument tessituras (register strength or weakness)
- All instruments play in a strong range that is able to speak
- Document the composer’s use of dynamic effects:
- Terrace dynamics; extremes; polydynamics (simultaneous use of contrasting
dynamics); dynamic accent (​fp​, ​sf,​ ​sfz,​ ​sfp)​ ; orchestrated crescendo or
diminuendo; subtle dynamic nuances; subito dynamic changes; extremely
quick/slow crescendos or diminuendos
- There isn't much subtlety or explicit dynamic markings. The composer
does use a few crescendos and diminuendos, however the only explicit
dynamic markings range from mp-mf which isn’t a large range at all.
- Document the specificity (or lack thereof) with which the composer indicates dynamic
crescendos and decrescendos. Observe whether or not specific dynamic markings are
indicated at the beginning and ending of crescendos and decrescendos.
- There are very few dynamic markings; only showing at important peaks and
moments such as the beginning, end, and climaxes

Executive Skills
- Range for each instrument
 - Fl 1: C in staff - F above staff
- Fl 2: E bottom of staff - F above staff
- Ob 1: C below the staff - Bb above the staff
- Bsn 1: F below staff - F above staff
- Bsn 2: C below the staff - F in the staff
- Cl 1: A below the staff - A above the staff
- Cl 2: F# below the staff - G above staff
- Cl 3: F# below the staff - D in the staff
- Alto Cl.: F# below the staff - F# on top of the staff
- B Cl: E below the staff - B in the staff
- Cb Cl: F# below the staff - E at the top of staff
- A Sax 1: F# below the staff - D above the staff
- A Sax 2: C# below the staff - G on top of staff
- T Sax: D below the staff - G on top of staff
- B Sax: B below the staff - G on top of staff
- Cnt. 1: F bottom of staff - C# on top of staff
- Cnt 2: F bottom of staff - G on top of staff
- Cnt 3: B below staff - D in staff
- Hn 1: G below the staff - G on top of staff
- Hn 2: G below the staff - G on top of staff
- Tbn 1: C in staff - C above staff
- Tbn 2: C in staff - B above staff
- Bar: C in the staff - E above the staff
- Bs: A below the staff - F in the staff
- Timp: F on bottom of staff - B above the staff
- Chimes: F in the staff - C in the staff
- Percussion needs
- There is only use of a timpani in this piece
- Instrument-specific technical considerations
- Consider specific problems for individual instruments in certain sections of your
selection (e.g., tonal elements, rhythm elements, executive skills, register,
fingerings, articulation, embouchure, dynamics, phrasing, balance, intonation,
endurance). Indicate specific instruments and measure numbers.
- There don’t seem to be any immediate issues in any of the parts in terms
of playing difficulty or issues. All of the parts are written in a mid range for
each instrument and the fingerings are straightforward across the board

Background/historical summary
- Composer
- Ralph Vaughn Williams was an english composer who was known to write for
mostly orchestras and orchestral types of instruments. He was born in1872 and
 died in 1958, a short while before this arrangement for concert band was written.
Walter Beeler was widely known in the 20th century for his success in leading the
Ithaca band program and for his arrangements of band pieces and method
books.
- Composition
- This piece was originally written for organ by Ralph Vaughn Williams.
Rhosymedre is a hymn that was put into the three movement organ piece and
was widely accepted as the most popular movement of those three welsh tunes.
Beeler arranged this in 1972 for concert band due to its popularity.
- Consider the performance practices of the historical style period represented by the
composition (e.g., instrumentation and orchestration, tempi and rhythms, dynamics,
ornaments and embellishments, articulations and vibrato).
- This piece was written in the 1970’s where the concert band was nearing its peak
in popularity. This was probably written in mind of a typical lyric, standard contest
piece. The periods would infer that there is a big band sound through most of the
piece having pretty standard chords, rhythmic moments, dynamics, and
articulations. Nothing about this time period of concert band was necessarily
extreme or out-there; it was just a time period of big and lush sound coming from
the band and produced in a way that any crowd would objectively enjoy
- Related recommendations for listening/reading/watching
- https://youtu.be/Eyzvztg5VLM
- https://youtu.be/B6A7OTVSC78
- https://youtu.be/2nrXL4Ky0VU
- https://youtu.be/s9HCceQbNUA