SONGS OF

PARADISE
JoAnn Irvin

9th Grade Band

 Table of Contents

Introduction 3

Score Unit Study 4-10

Score Grid Analysis 11-15

Warm – ups 16-20

Historic Lesson 21-22

Melodic Lesson 23-24

Rhythmic Lesson 25-26

Texture/Timbre Lesson 26-27

Form Lesson 27-28

Resources 28

Glossary of Terms 30

Practice Log 31

Student Guide 32-42

 Introduction
Title: Songs of Paradise
Composer: Kevin Walczyk
Publisher: Alan Publications
Grade Level: 3

Unit Goals:
 Technical and performance skills will be improved
 Rehearse and perform Songs of Paradise
 Increased knowledge of historical context and music theory.
 Create and analyze performed music.

Unit Objectives: 
Students will:
 Assess and evaluate their performance during rehearsals as well as after the
concert. 
 Demonstrate an understanding of the form of this piece and its impact on
other musical elements within the composition. 
 Develop control over changes in musical elements such as dynamics, style,
and articulation. 
 Apply learned concepts from warm-up strategies to compositions. 

National Standards Addressed:

 MU:Pr4.2.EIa: Demonstrate, using music reading skills where appropriate,

how compositional devices employed and theoretical and structural aspects
of musical works impact and inform prepared or improvised performances
 MU:Pr4.3.E.Ia: Demonstrate an understanding of context in a varied
repertoire of music through prepared and improvised performances
 MU:Pr6.1.E.Ia: Demonstrate attention to technical accuracy and expressive
qualities in prepared and improvised performances of a varied repertoire of
music representing diverse cultures, styles, and genres
 MU:Pr6.1.E.Ib: Demonstrate an understanding of expressive intent by
connecting with an audience through prepared and improvised performances
 MU:Re9.1.E.Ia: Evaluate works and performances based on personally- or
collaboratively-developed criteria, including analysis of the structure and
context
 MU:Cn11.0.T.Ia: Demonstrate understanding of relationships between
music and the other arts, other disciplines, varied contexts, and daily life
 Score Study

Songs of Paradise
Kevin Walczyk

Unit 1: Composer

Kevin Walczyk is a well-known American composer. He was born in Portland, Oregon in

1964. Walczyk attended Pacific Lutheran University in 1987 where he received a Bachelor of
Arts in Education. Kevin went on to get his Masters of music and Doctor of music Arts degree
from the University of North Texas. There he also received the Hexter prize for being the
outstanding graduate student. He also learned from many teachers during his composition career,
Larry Austin, Jacob Avshalamov, Thomas Clark, Martin Mailman, and Cindy McTee. Walczyk
is also an accomplished jazz arranger and composer, he studied Tom Kubis and Frank Mantooth
to refine his craft. He also served as a jazz arranger for the renowned University of North Texas
One O’clock lab band. 
Today, Walczyk is Professor of music at Western Oregon University in Monmouth,
Oregon. He teaches composition, orchestration, jazz arranging, and film scoring/media
production. He has also served as the resident composition instructor and/or guest composer of
young composers’ initiative with the Oregon Symphony, Portland youth Philharmonic, the
Metropolitan learning center of Portland, and the international school of Brussels Belgium. He
has also served as guest composer at many universities, a couple being the University of
Oklahoma and the University of Kansas. Walczyk has also received many prestigious awards, a
few being the Pulitzer Prize in music composition (2011) and Grawmeyer award (2012) as well
as being elected into the American Bandmaster’s Association.  His works have also been chosen
to participate in many prestigious events such as Midwest Orchestra and Band Clinic as well as
the American Bandmaster’s Association. His works have been featured through Europe, Asia,
and the Americas. Walcyk also works closely with many organizations for commissions. Kevin
Walczyk has a very intense resume. 

Unit 2: Composition

This piece was written in 2011 and commissioned by Dr. Paul Popiel, Director of Bands
at the University of Kansas and the Kansas Music Educators Association Northeast District
Honor Band. It is a small collection of hymns that comes from African American composer
Charles Tindley’s larger collection of 46 hymns. This piece is a grade 3+ and appears on many
state recommended literature lists. Songs of Paradise was rewarded the composition competition
prize by the Big East Conference Band Directors Association in 2012. Songs of Paradise was
first premiered in early December 2011 at the Northeast KMEA conference at Blue Valley High
School in Overland Park, KS.

Unit 3: Historical Perspective

This piece was written as a setting for hymns written by African-American composer
Charles Tindley.  Songs of Paradise is setting of hymns by African-American composer Charles
Tindley. There are five hymns which are only a few of Tindley’s 46 hymns that were in his
complete compilation. The 46 hymns were published in a collection titled New Songs of
Paradise which was published in 1941. As for Walczyk’s piece, it is five concert band settings
and they introduce new harmonies, rhythms, counterpoint and structural designs to the hymns.
The only thing not tampered with in the hymns is the melodies and contextual implications of the
lyrics.

Unit 4: Technical Considerations

1. Come, Saints
This piece is in mixolydian mode which is used during the entire first portion. For
the first movement, there will be a lot of discrepancies about lengths of notes since the
ensemble is in unison for the most part. I would have the ensemble play in sections so
that we can listen around a learn more about the passage of the melody and what style we
are looking for. The general tonal center for this movement is C and E. There is a string
bass part so that can be considered if we have a string bassist. The meter is 2/2 which is
not abnormal but not common. There are also no meter changes throughout this
movement. Tempo is labeled “animated (HN= 112)” to start the piece. The middle slows
down to (HN = 84) then at the end speeds back up to (HN = 126-132) which takes us to
the end. 
2. The Home of the Soul
In this movement, the tempo is to fluctuate. The beginning of the ballad is to be
more care-free and flowing. The middle must be more of strict tempo and have a gentle
feeling of pushing forward. Each phrase throughout the hymn begins on a quarter note
pick up (not including the final 5 measures) and the newly established tempi begins. This
piece is still in C major so the tonal centers are like those of the previous movement.
Tempo begins at (QN = 74) and is in ¾ time which is more common than the previous
movement. This piece is also a lot slower so the expression should be considered more.
Articulation is much more legato and full. There are trills that skip notes in measures (94
– 96) in the clarinets. In this movement, the time signature changes quite frequently from
¾ to 2/4 and 4/4. The piece finds its end slower than the initial tempo and is back in ¾.
There are other sections in this movement where the music is intended to be pushed
forward or pulled back to help with tempo change within meter. 
3. Someone is waiting for me
This beautiful piece is written in a mixture of duple (6/8) and compound triple
(9/8). There is a ton of changes between the duple and the compound triple meter
throughout this movement. The marked tempo is rather slow (dotted quarter = 52) but
should not be allowed to slow down. The tempo is driven by recurring eighth notes yet
should not be directed to the eighth notes. The eighth notes should also not be felt, the
dotted quarter notes should be the pulse. There is only one tempo change in this
movement. 
4. The Pilgrim’s Song
The hymn is primarily in Aeolian mode. This movement begins with an Alto
Saxophone soloist with their sorrowful melodic line accompanied by woodwinds that
sound to be mourning. The saxophone solo turns into a soli with a trumpet and
euphonium in m. 161. This is a very short movement and does not change tempo or time
signature at all.
5. I have found at last
 Mixolydian mode is favored in the passage beginning at measure 233. In measure
249, the final statement, the melody is transposed up from E-flat major to F major. The
tonality returns to the key that opened the first two hymns which provides a grandiose
coda for the march. Listening again for the unison ensemble sound. Making sure the
cymbal crashes are not too harsh. There is a trumpet soloist in this movement (m. 216 –
231). The woodwinds begin to catch on to the call and they begin to echo him in a
cannon. There are also just a couple time signature changes.

Unit 5: Stylistic Considerations

1. Come, Saints
There are a lot of dynamic contrast in this movement. The overall style of the
movement is a march style so the loud to soft contrast will help sell the march style more.
There are a lot of staccato and slur articulations that are for a lot of different sections, this
is going to be a challenge getting that many people to decide what length of note we
need. Phrasing is built into the music so the students should find the flow of the piece to
be very effortless.
2. The Home of the Soul
The middle part of the piece is to be more strict time with the emphasis on the
first note of each two-note pairing. The emphasis should not be over-exaggerated. There
are Ritardando and tenuto markings help sections obtain a feeling of freedom from the
marked tempo. Take more liberties in this section to help with the flow on the song. Keep
the strict tempo in the middle section and allow for slight push for the tempo to be set in
place for the last section of the piece. Phrasing is built into the music so it is easy to feel
when the dynamics and tempos lock in. The call and response between brass and
woodwinds happens over a lot of time signature changes so this is vital for students to
make sure the dotted eighth is getting the emphasis and not the quarter notes.
3. Someone is waiting for me
A chamber music texture is intended in measure 145-149. The parts are marked
“lo” meaning one to a part. The fermata in measure 144 should not be too short or too
long. There is a lot of unison in this piece so making sure that everyone has the right idea
of length and sluring the notes. Making the big points HUGE is a good way to sell the
dynamic changes. There is a massive amount of dynamic contrast to help this piece flow. 
4. The Pilgrim’s Song
The dynamic climax occurs in m. 177-178 which is called the Golden mean
section. After this section, the hymn subsides into a peaceful, lyrical setting. The
dynamics are very important in this movement because they will help with the sorrowful
tone the composer was going for. There are some accents in this movement but overall
everything is legato and long. The phrasing is long and grand so stand partners should
coordinate breathing options so that the sounds can continue with no break.
5. I have found at last
The final movement is a march like feel with two sections. The sections (206-216)
and (240-248) function in a way to provide a canon. Listen for the woodwinds in their
high register so that they do not sound spread. Keep the tempo light and bouncy like a
ball. Dynamics range from piano to forte so making sure to be aware of a true dynamic.
 The phrasing works in a little more cookie cutter style in this piece.  Articulation is much
more on the separated end of things during this movement as opposed to ones previous.

Unit 6: Musical Elements

1. Come Saints
The melody of this movement is compromised by the mixolydian mode and is
utilized in the melody throughout the movement. The melody is presented in a round and
then flipped backwards at measure 14. The melody is then inverted and the tonal stability
supplanted by parallel major thirds in the melody with a chromatic bassline. In measure
56, the hymn expands and the melody’s rhythm is augmented.
This movement starts out in mixolydian mode and is utilized harmonically
throughout the movement. This includes measure 6-7, 23, 46, 56-57, and the final
cadence in measures 70-73. The hymn ends with a playful spirit that it started with. There
are some crunchy chords in the high woodwinds that are meant to occur so encouraging
the woodwinds to play with confidence.
For the most part the rhythm is universal across the ensemble and everyone is
playing the melody, harmony, or bassline. The most challenging rhythm that may occur is
the eighth note followed by a dotted quarter note. The long notes may be drug out so we
need to focus on those too and making sure they are not too loud. 
As the sections of the movement change, the amount of people playing varies.
With the back and forth of the common idea, it helps make this a more fun and light
hearted piece.
2. The Home of the Soul
This section is a lyrical, expressive ballad. The timbre of this movement is
intended to be a free feel. The melody of this movement is sent in a sort of echo around
the ensemble and received by so many others. This will require a lot of listening and
identifying on the ensembles part to know where the melody is and where it is going
next. The harmony’s job in this movement is to know WHEN TO STAY OUT OF THE
WAY. As beautiful as this piece is, there are a lot of differing supporting lines so the
players need to be confident in the parts they have and the dynamics they are playing at.
The rhythm is rather repetitive and this movement is short so the differentiation among
rhythm is very small.  The sound of this piece is peaceful, so we want a nice relaxed
sound to come through that can make someone want to take a nap.
3. Someone is Waiting for Me
The melody is written to float above a harmony line that could be drown out
easily. The 4-part harmonic line is somewhat dissonant which requires balance to favor
the lead line. This can be truly effective with slightly less dynamic level, equal
distribution of dynamics in the remaining three lines. Rhythm is rather straight forward in
the movement because the primary note value is an eighth note. This is also problematic
because the pulse should fall on the doted eighth note so players should be extra attentive
to feeling the big beat. The timbre of this movement is also very serene and peaceful so
there should be no heavy sections. 
4. The Pilgrim’s Song
At the beginning of this selection, it is vital that the woodwinds stay out of the
soloist’s way without sacrificing tone and intonation. The triplet figures in m. 160 can
begin to meld into eighth notes if students are not careful. The saxophones (m 170-173)
 must be allowed to project but should not sound above the main melody. The melody at
measure 170 should soar above everyone else as a nice ray of sunshine. The rhythm in
this movement could get a little jumbled if articulations are not clear and then ensemble
sound will be very muddy. We also move back to the brass with the call and the
woodwinds with the response towards the end of the movement which leads to a delicate
timbre and resolves in a peaceful fade-away.
5. I have found at last
The low brass start out with the main bass line. The entire ensemble has the main
melody idea. There are articulations and slurs among this melody to give it character and
work naturally with how it would sound. In m. 216, the trumpet soloist takes over the
melody and then joins a cannon with the flutes. The timbre of the ensemble sounds like a
service band marching. The rhythm in this piece can be jumbled if not handled properly
by all the instrumentalists. This movement is the tie up of all the other movements and
acts a coda like we have gone full circle.

Unit 7: Form and Structure

1. Come, Saints
Measure Section Musical Consideration Tonal
# : Center(s):
m. 1 - Intro 2/2-time signature. Staccato articulation. Starts like a march C, E
13 with a light-hearted sound, don’t let it drag or be heavy.
Dynamic contrast is key to selling the style of the music,
make sure it happens. Make sure everyone is agreeing on
length and style.
m. 14 - A There are crunchy notes in m. 18 – 22. The moving ling G
55 gets spread to every instrument in this section.
m. 56 - B This is the climax of the movement. Make sure there is tons C, E
73 of growth into this section. Should be fluid and beautiful
and it makes its way to the end of the movement.

2. The Home of the Soul 

Measure Section Musical Considerations: Tonal
# : Centers:
m. 74 – A The beginning section is very smoothe and sweet. It is a soli C
93 with three instrument groups, flts, clts 2&3. There is a
harmony line in cl. 1. This should be monitored so it does
not affect the soli. Dynamics should also be considered to
help with balance.
m. 94 – B This section is intended to help fluctuate the tempo with it C, G
101  still being strict time. The ensemble should be pushing
forwards and playing at a slightly faster tempo. There are
also ritardanos to help move into the next section with ease.
The decrescendo in m. 101 is very important as it sets up the
final section. 
m. 102 – A We have returned to the first section once again. This is the C, F
114 same as the first section of the movement. It ends at a slower
tempo because there is a ritard in measure 105 that brings us
to a hushed ending. 

3. Someone is Waiting for Me

Measure Section: Musical Considerations: Tonal
#: Centers:
m. 115 – Introduction With the sparse voicing at the beginning it is important G, E
126  to have the ensemble listen and match length and
dynamics. When more of the ensemble joins in the
ensemble may begin to rush because they will be
fighting you on the pulse of the dotted quarter.
m. 127 – A This section has the dotted quarters playing as one of the C
139  harmony lines so this will help with the pulse of the
ensemble. Everyone is playing here so it is important to
make sure ensemble and dynamics are balanced. Make
sure to include contrast into the next section.
m. 140 – B Everyone is in unison again. There is a ritardando in m. B-flat, E
144  143 that leads to a resolution and a fermata in m. 144.
Make sure this is not held too long or too short.
m. 145 – A’ This is the closing section and it has returned to the C
152 tempo we began with. Parts begin to thin out again so
make sure ensemble is confident with entrances and can
keep the pulse as the dotted eighth notes drop out.

4. A Pilgrim’s Song
Measure Section Musical Considerations: Tonal
#: : Center:
m. 153 - A Listening for balance and blend between the soloist and the D, G
169 accompaniment. When the soli comes in, listen for balance
and help it remain the same. The section does not get louder
than mf. 
m. 170 - B Balance with the saxophones and the main melody. Make F
180 sure the overall ensemble dynamic is not too loud. When the
ensemble fades away, make sure it is not too fast.
m. 181 - A Call and response between brass and woodwinds need to be D, G
192 the same style. Melt away into nothing.

5. I Have Found at Last

Measure Section: Musical Considerations: Tonal
#: Centers:
m. 193 – Introductio Make sure the base line is light on their feet so the G
205  n melody does not drag. It is a unison ensemble sound so
make sure everyone is aware of that. The dynamics are
 also important. Time signature change in m. 203.
m. 206 – A The woodwinds have the melody here. Listen for E-flat
216  intonation from top to bottom since the low voices here
are sparse. 
m. 217 – B We are now building, adding people into the ensemble F
239 sound to help it grow stronger. Our dynamics should
also be growing stronger. When we get to m. 233 we
must be bold like the description says. 
m. 240 – A’ We have returned to a similar idea that we already G
248  know. This leads us the section where everyone plays
up an octave. 
m. 249 – Conclusion Make sure the tone does not spread here as people begin F, C
258  to play higher and louder since this is the climax of the
entire song. The end should be triumphant. 

Unit 8: Suggested Listening

Eloi, Eloi – Kevin Walczyk 

Stardust – Hoagy Carmichael 

Unit 9: Additional Resources

“Composer.” Keveli Music, kevelimusic.com/composer/.
Pease, Andy, et al. “Songs of Paradise by Kevin Walczyk.” Wind Band Literature, 30 Aug. 2018,
windliterature.org/2018/05/31/songs-of-paradise-by-kevin-walczyk/.
“Songs of Paradise.” Keveli Music, kevelimusic.com/portfolio-item/songs-of-paradise/.
 Warm Up Strategies
The purpose of these warm-ups is not only about preparing the instrument to be played
but they also focus the student’s attention on the concepts that will be used in rehearsals. By
using the warm-up beforehand, students get good practice at the techniques being focused on
during the rehearsal as well as isolating it for better understanding and times to ask questions.

Strategy #1: Melody Awareness

There are a lot of different moving lines in any given piece of music. This exercise is
intended to highlight the main melody and supporting line of the piece. This will help develop a
student’s ear to listen for these different moving lines. Through this, students will begin to play
“within” the ensemble, meaning they are able to play under the main melody or on top of the
supporting line. This will contribute to aural development and awareness in students. The
example below would be transposed for respective instrument keys.
 Strategy #2: Vertical Alignment
In this strategy, students are focused on listening for vertical alignment top to bottom in
the ensemble. For students to practice this, they all must be reading off the same music sheet
with rhythms listed on it.  Starting big, the ensemble can split as much or as little as needed for
the student’s success and opportunities for one on one help. Groups will play one of the rhythmic
lines. This will help the teacher identify who is struggling with understanding these rhythms.
This will exercise the idea of keeping moving notes in time with the notes of longer duration. If
desired, everyone can play the same concert pitch, or they can build a chord or play a scale.
 Strategy #3: Articulation Development
One of the key aspects of playing this piece well is to understand the differences between
the articulations. This exercise focuses on building on top of clear articulations on the basic
rhythms and then slowly adding on to it.  Students can run through this exercise on a single
concert pitch (preferably E-Flat major) or in chords and scales to focus on clean articulations and
the apparent differences between them. Students will also use this exercise to hear the difference
between legato and staccato playing.
 Strategy #4: Scale Work
This activity focuses on scale study with direct application to rhythms from the piece we
are studying. Through this exercise, students will play a various set of rhythms we see in our
piece. From there, we play through the home key’s scale in many ways so that students can get to
know the home key quite well. Students will receive an individual copy that is transposed and in
the correct clef for their respective instrument. 
 Strategy #5: Dynamic Contrast
Jumpstart Fanfare is a piece that relies heavily on dynamics for it’s true
character. In this warm-up sequence, students will be playing the same excerpt at the Melody
Awareness warm-up. This time students will use this excerpt to discover different ways to
change the dynamics in this section. Through this, students will learn how to manipulate
dynamics to make music sound more interesting. Students will be instructed on the dynamics
by the conductor.
 Historical Lesson
Standard Being Addressed:
MU:Re7.1.E.Ia: Apply criteria to select music for specified purposes, supporting choices
by citing characteristics found in the music and connections to interest, purpose, and context.

MU:Re8.1.E.Ia: Explain and support interpretations of the expressive intent and

meaning of musical works, citing as evidence the treatment of the elements of music, contexts,
the setting of the text, and personal research.
 
MU:Cn11.0.T.Ia: Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life.

Objective
This piece was written as a setting for hymns written by African-American composer
Charles Tindley. Students will break into groups of 5s and pick one of the 5 movements to study.
Each group will present the historical and cultural background of their movement.

Sequence
Students will be divided into groups of 3-4 students. They will begin by researching their
movement on the internet and as a group they will choose one to present. Students must have
their resources approved by the instructor before starting on the analysis. Students will then
begin to collect data about their piece. Things that should be on their presentation; information
about the historical background, cultural affiliations, and what defining characteristics of this
movement. Students will be expected to put a PowerPoint together to present their information.
At the end of the class period, students will present their findings to the class so everyone can
hear about the different movements and how they all fit together. 

Assessment 
A rubric will be to measure exactly how well a student did for each criteria. This is a
good way for a teacher to properly assess a student’s understanding of each concept addressed in
the assignment, but it is also helpful in keeping a student accountable for their work on the
assignment. 

Student Name: ____________________________________

Category 4 3 2 1
Required The presentation All required All but 1 of the Several elements
Elements includes all elements are elements are are missing from
required included on the included in the the presentation. 
elements as well presentation.  presentation. 
as additional
information and
resources. 
Knowledge Students can Students can Students can Students show little
of Content accurately accurately accurately answer to no
answer any answer most about 50% of comprehension of
questions their questions from questions from their presentation. 
peers may have their peers about their peers about
about their their their
presentation. presentation. presentation. 
Use of Class Stayed on task Students stayed Students Students constantly
Time during class. on task most of distracted others distracted others
Students used the time and and stayed on task and were not on
their time to used their time some of the time. task at all. They did
create and to create their They did not used not use any of their
research their project.  a lot of their time time to create their
presentation.  to create their project. 
project. 
Presentation Presentation is Presentation is Time was spent Time was spent
attractive and attractive and searching for making the
organized, contains quality quality additions presentation
contains quality content.  to the presentation attractive.
content, and has such as pictures.
resources. 
 Melodic Lesson
Standards Being Addressed:
MU:Cr2.1.E.Ia: Preserve draft compositions and improvisations through standard
notation.
MU:Cr3.1.E.Ia: Evaluate and refine draft melodies, rhythmic passages, arrangements,
and improvisations based on established criteria, including the extent to which they address
identified purposes.

Objective:
Students will demonstrate and understanding of the form and style of the first movement
of Songs of Paradise by composing a new supporting line to go along with the pre-existing
melody of the original composition. 

Sequence:
Students will be split into groups of 2-3 and complete this assignment. They will be given
the beginning melody of the first movement(the one used in warm ups) and asked to use notation
software to compose one percussion line for rhythmic context, a bassline for harmonic context,
an appropriate chord progression consisting of I – IV – V chords, and a counter-line to interact
with the given melody. The piece does not have to be long, yet it needs to replicate the basic
form of the original composition. When projects are completed, students will turn in their
composition along with the following discussion questions answered as a group:

1. How is your groups composition similar to the melody from the first movement?
2. How does your groups composition differ from the melody in the first movement?
3. What was the most challenging part of working on this composition as a group?
4. What was your favorite part of working on this composition as a group?
5. What did you learn from your peers and yourself during this project?

If enough time, students will perform their group compositions for the class on their respective
instruments or play their compositions on their computers for their class. 

Assessment 
A rubric will be to measure exactly how well a student did for each criteria. This is a
good way for a teacher to properly assess a student’s understanding of each concept addressed in
the assignment, but it is also helpful in keeping a student accountable for their work on the
assignment.
Student #1 ______________________
Student #2 ______________________
Student #3 ______________________

Category 4 3 2 1
Music Score Music score is neat Music score is Music score is Music score is
with all the neat. Two or legible, yet illegible and
required elements less of the three to four of many of the
present. (Included: required the required required
Song title, elements are elements are musical score
composer, name, missing from missing from elements are
instrument, clef the music the musical missing.  
sign, time score.  score. 
signature, key
signature, and
copyright.)
Music Notation Notes are all Most notes are Notes are Notes are
written neatly written written written in an
using proper bar correctly using correctly, but illegible
line placement.  proper bar line bar line manner. Bar
placement.  placement is lines are
often incorrect.  incorrect. 
Instrumentation Composition One missing Two missing Three or more
includes given part. parts. missing parts.
melody, harmonic
progression,
bassline, counter-
line, and at least
one percussion
part. 
Overall Composition was Composition Composition Composition
Performance creative, clean, was creative, was basic and was not
easy to read, and yet legibility lacked legibility.  complete,
includes all was not fully composition
required present.  was not
elements.  legible. 
 Rhythmic Lesson

Standards Being Addressed:

MU:Re7.2.E.Ia: Explain how the analysis of passages and understanding the way the
elements of music are manipulated inform the response to music.

MU:Re9.1.E.5a: Identify and describe the effect of interest, experience, analysis, and
context on the evaluation of music.

Objective:
Students will analyze the prevalent rhythms in the first section of Jumpstart Fanfare and
explain how the style, mood, and forward momentum are impacted by a variety of these rhythms.

Sequence:
In this lesson, students will be asked to complete a chart that covers the most prevalent
rhythms in measures 14 – 55. Students will listen to this section and look at the score. They will
identify the 10 most prevalent rhythms in this section. This allows students to practice listening
for detail in the music that will create a better pulse, vertical alignment, and precision when
performing.

Rhythm # Most Prevalent Rhythm

1
2
3
4
5
6

8
9

10
Assessment 

A rubric will be to measure exactly how well a student did for each criteria. This is a
good way for a teacher to properly assess a student’s understanding of each concept addressed in
the assignment, but it is also helpful in keeping a student accountable for their work on the
assignment. 

Student Name ___________________

Date of 4 3 2 1
Assignment 
4 - Aug All There are one There are three There are four
rhythms or two or more or more
are correct. rhythmic rhythmic rhythmic
mistakes. mistakes. mistakes. 
12 - Sept All There are one There are three There are four
rhythms or two or more or more
are correct. rhythmic rhythmic rhythmic
mistakes. mistakes.  mistakes. 
10 - Oct All There are one There are three There are four
rhythms or two or more or more
are rhythmic rhythmic rhythmic
correct.  mistakes.  mistakes.  mistakes. 
4 - Nov All There are one There are three There are four
rhythms or two or more or more
are rhythmic rhythmic rhythmic
correct.  mistakes.  mistakes.  mistakes. 
10 - Dec All There are one There are three There are four
rhythms or two or more or more
are rhythmic rhythmic rhythmic
correct.  mistakes.  mistakes.  mistakes. 
 Timbre/Texture Lesson
Standards Being Addressed: 
MU:Re7.2.E.Ia: Explain how the analysis of passages and understanding the way the
elements of music are manipulated inform the response to music.
MU:Re9.1.E.5a: Identify and describe the effect of interest, experience, analysis, and
context on the evaluation of music.

Objective:
Students will learn how to differentiate the timbre (sound) of instruments and talk about
how it contributes to the texture (depth) or the piece. 

Sequence:
We will analyze section by section of this piece in isolated chunks. Students will be asked
to think first about what each instrument sounds like (looking for things like bright, dark, happy,
sneaky) and then they will be asked to describe the texture (looking for answers like how many
melodic lines are present). Once students have listened and analyzed all sections of the piece,
they will have a debrief section with their group about what they heard and what others learn.
They will collaborate about what they know and at the end of class, each group will share what
they learned in this lesson. 

Movement Timbre (Description of Texture (Melodic Lines Present)

Sound)
Movement
1
Movement
2
Movement
3
Movement
4
Movement
5

Discussion Questions:
1. How did your interpretation of these sections differ from your groups?
2. How did your interpretation of these sections match your groups?
3. What did you find the most challenging from this activity?
4. What did you learn from this activity?

Assessment:
Checklists are an effective way to measure student participation in activities. They also provide a
list of things that are expected of students during assignments which will help them be more
successful.
 1. Completed the measure column Y or N
2. Completed Timbre Analysis Y or N
3. Completed Texture Analysis Y or N
4. Student participation in activity Y or N

Form Lesson
Standards Being Addressed:
MU:Cr1.1.E.8a: Compose and improvise ideas for melodies and rhythmic passages
based on characteristics of music studied in rehearsal

MU:Cr2.1.E.IIa: Select and develop arrangements, selections, and short compositions

for specific purposes that demonstrate understanding of characteristics of music from a
variety of cultures studied in rehearsal

Objective:
Students will familiarize themselves with the musical elements if a biggie and Songs of
Paradise. To do this, they will change the elements to form a new arrangement of this
composition as well as research and understand what a biggie is. 

Sequence:
During this lesson, students will use the form analysis in their student guide to point out
musical elements such as dynamics, key, articulation, and style so that this draws their attention
to these details of the music and how it effects the music over all. Students will first analyze
what a biggie form is. Then they will figure out the initial mood of each movement in Songs of
Paradise. In groups, they will then rearrange the details of the music to make a different mood of
the music. Students will use the music already in the piece so there are endless ways to rearrange
these concepts. By completing this assignment, students will see what makes each section unique
within the piece and know how these parts work together to make the piece the way it is.

Analysis of Origin:

Movemen Key Overall Style Dynamic Marking Articulation

t
#1
#2
#3
#4
#5

New Arrangement:
 
Movemen Key Overall Style Dynamic Marking Articulation
 t
#1
#2
#3
#4
#5

Assessment:
Checklists are an effective way to measure student participation in activities. They also
provide a list of things that are expected of students during assignments which will help them be
more successful.

1. Complete the measure column Y or N

2. Complete the key column Y or N
3. Complete overall style column Y or N
4. Complete dynamic marking column Y or N
5. Complete articulation column Y or N
6. Student participation in activity Y or N

Resources
“Composer.” Keveli Music, kevelimusic.com/composer/.

Pease, Andy, et al. “Songs of Paradise by Kevin Walczyk.” Wind Band Literature, 30 Aug. 2018,
windliterature.org/2018/05/31/songs-of-paradise-by-kevin-walczyk/.

“Songs of Paradise.” Keveli Music, kevelimusic.com/portfolio-item/songs-of-paradise/.

 Glossary

Articulation The start in the production of a musical sound

Beat (pulse) Regular pattern within the bar or measure.

Counter-Line More than harmony or melody. This is a line that opposes the
original that may work or not work with the initial idea of the piece.

Dynamics The volume the piece should be played at.

Form shape or organization of a musical concept

Melody a linear succession of musical tones that the listener perceives as a single
entity.

Style mood of the music

Subido quickly or suddenly

Texture how the tempo, melodic, and harmonic materials are combined in a
composition, thus determining the overall quality of the sound in a piece.

Timbre tone color or tone quality

Vertical Alignment rhythmically aligned from top to bottom in an ensemble.

 Practice Log
(as seen in student guide)
Songs of Paradise, Kevin Walczyk

Student Guide
 Learning Goals
You will be able to . . .

1. Develop control over musical elements such as dynamics, style, and

articulation. 
2. Assess and evaluate performance during rehearsal as well as after the
concert performance.
3. Demonstrate and understanding of form, timbre, and texture. 
4. Apply learned concepts to warm-up strategies.
5. Discuss musical elements with peers and create presentations to
demonstrate understanding.

Historical Context

This piece was written as a setting for hymns written by African-American composer
Charles Tindley.  Songs of Paradise is setting of hymns by African-American composer Charles
Tindley. There are five hymns which are only a few of Tindley’s 46 hymns that were in his
complete compilation. The 46 hymns were published in a collection titled New Songs of
Paradise which was published in 1941. As for Walczyk’s piece, it is five concert band settings
and they introduce new harmonies, rhythms, counterpoint and structural designs to the hymns.
The only thing not tampered with in the hymns is the melodies and contextual implications of the
lyrics.

Practice Guide
Practice tips:
- Use metronome to help with rhythmic accuracy and vertical
alignment.
- Don’t practice for more than 2 hours a day.
- Articulation exercises can be found online on
johnmccalistermusic.com for more ideas
- Begin with long tones, move in scalar motion, and then moved into
the music with a metronome.
- Don’t practice just to practice, use time wisely, when frustration
occurs stop playing.
 Articulation Development
Articulation
Articulation contributes a lot to different styles of music. Use this excerpt to
apply different styles of articulation in. Practice with a metronome.

Melody Awareness
Melody
It is important for musicians to know where the melody is always so they
know how to support the melody, play the supporting line, and develop ensemble
listening.
 Activities and Assessments
Vertical Alignment
Focus: keep time with the conductor while playing these rhythm, keep time
with the section, and keep time with your internal metronome. Strive for steady
pulse.

Dynamic Contrast
Dynamics 
This is very important that students understand how to use dynamics to
make music more interesting. Practice the dynamics by playing through this melody
and make it grow or decay based on what you want to hear.
 Scale Work
Scales
Knowing scales is a corner stone to being able to play songs with accurate 
technique in all keys all the time. Practice scales with different tempos, rhythms, 
articulations, dynamics, and a metronome. 
 Historic Lesson

Within your groups, you will research a movement, get your resources
approved by the teacher, and use it to create a presentation. You will build a
presentation on historical background, cultural affiliations, and what defining
characteristics of this movement. You will present this to your class at the end of
the project.

Student Name: ____________________________________

Category 4 3 2 1
Required The presentation All required All but 1 of the Several elements
Elements includes all elements are elements are are missing from
required included on the included in the the presentation. 
elements as well presentation.  presentation. 
as additional
information and
resources. 
Knowledge Students can Students can Students can Students show little
of Content accurately accurately accurately answer to no
answer any answer most about 50% of comprehension of
questions their questions from questions from their presentation. 
peers may have their peers about their peers about
about their their their
presentation. presentation. presentation. 
Use of Class Stayed on task Students stayed Students Students constantly
Time during class. on task most of distracted others distracted others
Students used the time and and stayed on task and were not on
their time to used their time some of the time. task at all. They did
create and to create their They did not used not use any of their
research their project.  a lot of their time time to create their
presentation.  to create their project. 
project. 
Presentation Presentation is Presentation is Time was spent Time was spent
attractive and attractive and searching for making the
organized, contains quality quality additions presentation
contains quality content.  to the presentation attractive.
content, and has such as pictures.
resources. 
 Melodic Lesson

Students will be split into groups of 2-3 and complete this assignment. You will be given
the beginning melody of the first movement (the one used in warm ups) and asked to use
notation software to compose one percussion line for rhythmic context, a bassline for harmonic
context, an appropriate chord progression consisting of I – IV – V chords, and a counter-line to
interact with the given melody. The piece does not have to be long, yet it needs to replicate the
basic form of the original composition. When projects are completed, students will turn in their
composition along with the following discussion questions answered as a group:

1. How is your groups composition similar to the melody from the first movement?
2. How does your groups composition differ from the melody in the first movement?
3. What was the most challenging part of working on this composition as a group?
4. What was your favorite part of working on this composition as a group?
5. What did you learn from your peers and yourself during this project?

Student #1 ______________________
Student #2 ______________________
Student #3 ______________________

Category 4 3 2 1
Music Score Music score is neat Music score is Music score is Music score is
with all the neat. Two or legible, yet illegible and
required elements less of the three to four of many of the
present. (Included: required the required required
Song title, elements are elements are musical score
composer, name, missing from missing from elements are
instrument, clef the music the musical missing.  
sign, time score.  score. 
signature, key
signature, and
copyright.)
Music Notation Notes are all Most notes are Notes are Notes are
written neatly written written written in an
using proper bar correctly using correctly, but illegible
line placement.  proper bar line bar line manner. Bar
placement.  placement is lines are
often incorrect.  incorrect. 
Instrumentation Composition One missing Two missing Three or more
includes given part. parts. missing parts.
melody, harmonic
progression,
bassline, counter-
line, and at least
 one percussion
part. 
Overall Composition was Composition Composition Composition
Performance creative, clean, was creative, was basic and was not
easy to read, and yet legibility lacked legibility.  complete,
includes all was not fully composition
required present.  was not
elements.  legible. 

Rhythmic Lesson

In this lesson, you will be asked to complete a chart that covers the most prevalent
rhythms in measures 14 – 55. Students will listen to this section and look at the score. You will
identify the 10 most prevalent rhythms in this section. This allows you to practice listening for
detail in the music that will create a better pulse, vertical alignment, and precision when
performing.

Rhythm # Most Prevalent Rhythm

1
2
3
4
5
6

8
9

10

Timbre/Texture Lesson:

We will analyze section by section of this piece in isolated chunks. You will be asked to
think first about what each instrument sounds like (looking for things like bright, dark, happy,
sneaky) and then they will be asked to describe the texture (looking for answers like how many
melodic lines are present). Once you have listened and analyzed all sections of the piece, they
will have a debrief section with their group about what they heard and what others learn. You
will collaborate about what you know and at the end of class, each group will share what they
learned in this lesson. 
 Movement Timbre (Description of Texture (Melodic Lines Present)
Sound)
Movement
1
Movement
2
Movement
3
Movement
4
Movement
5

Discussion Questions:
1. How did your interpretation of these sections differ from your groups?
2. How did your interpretation of these sections match your groups?
3. What did you find the most challenging from this activity?
4. What did you learn from this activity?

Form Lesson

During this lesson, you will use the form analysis in your student guide to point out
musical elements such as dynamics, key, articulation, and style so that this draws their attention
to these details of the music and how it effects the music over all. You will first analyze what a
biggie form is. You will figure out the initial mood of each movement in Songs of Paradise. In
groups, they will then rearrange the details of the music to make a different mood of the music.
You will use the music already in the piece so there are endless ways to rearrange these concepts.
By completing this assignment, you will see what makes each section unique within the piece
and know how these parts work together to make the piece the way it is.

Analysis of Origin:

Movemen Key Overall Style Dynamic Marking Articulation

t
#1
#2
#3
#4
#5

New Arrangement:
 
Movemen Key Overall Style Dynamic Marking Articulation
t
#1
#2
#3
#4
#5
 Glossary

Articulation The start in the production of a musical sound

Beat (pulse) Regular pattern within the bar or measure.

Counter-Line More than harmony or melody. This is a line that opposes the
original that may work or not work with the initial idea of the piece.

Dynamics The volume the piece should be played at.

Form shape or organization of a musical concept

Melody a linear succession of musical tones that the listener perceives as a single
entity.

Style mood of the music

Subido quickly or suddenly

Texture how the tempo, melodic, and harmonic materials are combined in a
composition, thus determining the overall quality of the sound in a piece.

Timbre tone color or tone quality

Vertical Alignment rhythmically aligned from top to bottom in an ensemble.