Handel in the Strand

Percy Grainger
Arr. Richard Franko Goldman
Galaxy Music Corporation - grade 4-5/≈4:00

Broad Description
● This piece is a dance of sorts. It swells in the melody and the harmony keeps the beat going through constant eighth
note rhythms.

Composer Biography
● Percy Grainger was born in 1882 in Australia, he began studying piano at a young age, and later moved to london and
became a concert pianist. He then moved to The United States in 1914 and stayed there for the rest of his life continuing
to play music, compose, as well as educate.

Background Information
● Handel in the Strand is a piece of music that is meant to feel like a dance. Originally Percy Grainger was going to name it
“Clog Dance” but his friend, who the piece is dedicated to, suggested a new name, “Handel in the Strand”. He thought this
fit the piece better as it sounded as if Handel was dancing down the strand, a street

Elements of Music
Measure Meter Form Melody Rhythm Harmony Timbre Texture Expression
and
Tempo
When only the melody the rhythm The The upper The in the
quarter
paying starts in the in this harmony in woodwinds woodwinds harmony it
note =
attention to 5th bar in phrase is this phrase and , trumpets, tends to
1-8 120-132
the melody it the 1st pretty is mainly in additional baritone, have a swell
bpm in
seems that horn, alto straight the parts begin and every two
4/4
there are 3 saxophone, forward, woodwinds here with a xylophone measures
 distinct parts, and tenor lots of with some bright are the first which gives
the beginning saxophone, straight other dancy to play in it some
where they it begins on eighth instrument feeling, the this phrase flow. The
rest, the tonic and notes, but ation in tone of the with the melody
middle, where uses mostly the melody there. Every instrument harmony. comes in
they play, and stepwise uses part that s on the Then the and really
the end where motion to syncopatio isnt playing harmonizat melody tries to
they play create a n to stand the melody ion is comes in emphasize
something rise and fall out and is playing generally with the the longer
else. But feeling create a constant bright. alto saxes, notes. since
looking at the through the new feel eighth When the tenor saxes, the
harmony it phrase notes, melody and french harmony is
seems to do an usually comes in horns stuck
A-B-A style of outlining you can playing
form with a chords. hear a eighth
different distinct notes when
melody on top difference. the melody
The is more
instrument expressive
s who are on those
on the longer
melody notes, it
blend gives the
together to piece more
create a meaning
warmer and
feeling. Its emotion
like a sweet
& salty type
of phrase,
the whole
piece tends

2
 to follow
this as well
melody “” “” “” Very “”
keeps the similar to
same parts the last
but also phrase, but
adds the also the
oboe into oboe is
the mix, it added onto
A-B is the
begins on the melody
pretty clear
dominant
form of this
and stays
phrase. It
there
begins with a
mostly with
certain melody
some
and harmony,
“grace”
then half way
9-16 “” notes a half
through the
step below
phrase it
which
changes to a
seems to
familiar
give the
melody and
piece a
harmony that
driving
keeps it
force
flowing
bringing it
back to the
original
melody that
goes on for
the rest of
the phrase
The melody is melody is The The overall the The same The melody
17-24 “”
pretty abstract in the harmonies woodwinds timbre of parts, again swells

3
in this phrase, trumpet are again continue this phrase minus the more on the
as well as the part, it mainly on with the is brighter previous long notes
rest of the begins 2 straight constant than the melody, are to create a
piece, so to measures eighth eighth last. The playing in more
find the form in after a notes, but notes while trumpet this phrase. emotional
we, again, need “release” there are the other has the It feels a bit experience
to look at the from the additional parts break melody brighter in the piece.
harmony. It parts who parts off. while the since the The eighth
seems that the had just playing Baritone same warm note
harmony has played the more has a woodwinds melody is harmony is
an A-A’-B form. melody melodic harmony have the gone there, but it
where B is before. It is lines. The that more harmony is more of a
twice as long a different melody so goes on the constant
as A tune than uses more with the eighth beat than
before , but syncopatio melody and notes. In an integral
keeps some n, same as helps the the part of the
of the before, to flow of the background expression.
stepwise create a piece. The , however, The
motion more 2nd the harmony in
which unique trumpet baritone is the
makes it feeling. also has a there to baritone
feel similar make it also uses
familiar. it motion warm. It the long
adds more seems like notes to
3rd jumps the emphasize
which baritone is feeling and
keeps it there to flow.
interesting create a
and pushes mattress
it forward for the rest
of the parts
to jump and
play on

4
 The melody This is the As a new Since almost When the
here stays first phrase melody nearly the every part whole band
in the where the comes into entire band plays is playing
clarinets eighth note play, the plays during this together,
and “drum” is woodwinds during this phrase. The the
woodwinds no longer are now phrase it only part dynamics
for the there. To mainly feels full. that doesn't are harder
most part, make up for playing that Not too play is the to control,
but the this the while the bright, but 1st but this
trumpets melody other parts it isn't trumpet. part isn't
There are 2
also have seems to be take over warm. All The piccolo meant to be
distinct parts
some parts more on on the of the parts has played with
of this phrase
of the beat while harmony. A work minimal a lot of
in both the
melody. It is the lot of the together to notes, but contrast.
25-32 “” melody and
a new tune harmony harmony create a full they still The
harmony. It
and uses takes over comes from sounding play. expression
seems that the
similar on the syncopatio phrase. is meant to
phrase is split
things from syncopatio n in the come from
into A-B
the last n. trombones how the
melodies and horns. articulation
together to But each s sound.
create part adds a The band
something little creates a
brand new “shimmer” feeling of
when they pride, or
have their accomplish
own unique ment in this
lick phrase.
This phrase Melody “” “” Every part As this
is very again is plays phrase is
33-40 “” “” similar to using the during this very similar
the last beat to phrase to the last, a
one, using keep the which gives lot of how it

5
 the same piece going it a very feels is the
melody but while the similar same. But
in the harmony is feeling wth the
brass, using additional
mainly low syncopatio trumpet 1
brass, it n to give it part, and
gives it a a more the slight
more dance like contrast in
powerful feeling arrangeme
feeling. At nt, I
the imagine
beginning that this
of the phrase is
phrase the how it feels
majority of to have a
parts have really good
the melody day. An
but then exciting,
they split eventful,
off into great day.
counter All of the
melodies parts
and express this
harmonies by bringing
and such. out their
runs and
important
articulation
s when they
have them
Same This phrase is In the The whole The Similarly to The entire The
41-49 tempo but a bit wacky beginning band has majority of before, the band is expression
changes when it comes of this the same the entire band playing of this

6
 meters to meter and phrase, rhythm for harmonizat is playing in during this phrase
multiple form, but i there is a a good ion here this section phrase, mainly
times believe that lot going on amount of comes from so it sounds until it gets comes from
using 4/4, the form is so it doesn't this phrase. added very full. to the the
⅝, ¾, 2/4, A-A’-B. It starts quite feel Some parts flourishes Unlike the fanfare, articulation
and 3/8 in a more like there is have extra during the last time then it is again.
going back abstract meter, a melody. 16th note eighth this just high When there
to 4/4 to but then it One could flourishes notes that happened brass and a are
“close” the repeats that argue that in there to most of the where I few accented
phrase off same sound in it is in the give it more band is described it woodwinds notes, they
a more trumpets to pizazz. In playing. as proud, and need to be
common begin but I the last bit Some 16th this section percussion played
meter. After believe that of this notes are uses the accented to
that it moves the piece as phrase the added in to power of a point
onto the a whole fanfare make it each where
fanfare. The A’ creates the takes over sound instrument anyone in
section seems melody with some dancier to create a the
to be extended here. It 16th note pompous audience
a little bit then goes triplets sound. can tell that
longer than through a while the When it they are
you may period rest of the gets to the accented. It
initially expect, where parts who fanfare it then gets
but it uses that every part are playing goes back softer until
extra time to is on their have mostly to sounding it hits the
build up into own but it eighth accomplish fanfare
the fanfare. creates a notes to ed through where it
feeling of keep the using high “explodes”
moving beat going brass and into a
forward woodwinds joyous
until it to sound sound
settles very bright
down and
the

7
 trumpets
have a
fanfare-like
melody at
the end of
the phrase
The There are To with the The The
trumpet eighth accompany trumpets beginning articulation
and oboe notes the on the of this in the
have the constantly trumpets melody as phrase beginning
same melody for passed on the well as the starts out of this
tempo at the around the melody fanfare in without phrase is
start of beginning band which here, there this phrase some low light and
phrase, Again, since of this keeps the are the overall brass and feels
but there the melody phrase, beat going, constant timbre is woodwinds welcoming,
is a and harmony bringing but the eighth pretty , but as it the overall
ritardando are never back melody notes bright. continues dynamic is
at the end exactly obvious something uses thrown Some of the everyone also softer
of the in form, I very similar syncopatio around the low brass gets added at the
50-60 phrase, cannot say for to what we n as well as band, as interacts in. By the beginning.
meter is certain what it heard in on the beat well as with the end of the As the
4/4 might be, but I measures moments to different melody phrase phrase
throughou believe that it 17-24 and keep the “melodic” making it a everyone is continues
t except is something then it sound phrases in little playing and more
for a along the lines brings back interesting other parts warmer, parts get
single 6/4 of A-B-A’-C the fanfare but in added and
bar in the that we general this it gets
middle of heard in phrase is heavier, yet
the phrase the bright more
previous pompous
phrase in and
the “huzzah!”
trumpets

8
 piccolo and
flute. It
then seems
to go back
to what was
at the
beginning
of the
phrase, but
mixed with
a lot of
other
sounds
mainly
coming
from low
brass
The melody Melody similarly to The first At first it is This phrase
in this stays on the the last half of this mostly the at first feels
phrase beat while phrase, phrase feels woodwinds like a merry
starts with the there are more light. playing, stroll
From here is
the upper harmony eighth The second with some through the
A-B. Melody
quarter woodwinds keeps the notes half feels lower brass woods as if
begins in one
note = and is the pulse going passed brighter, and I was a
part, but then a
120-132 same by playing a around the but keeps percussion gnome
61-68 second similar
bpm melody that lot of band which that light playing living there.
melody takes
meter is we heard at syncopatio gives it a feeling. syncopated Most likely
over in a
4/4 measure n. feeling of This is parts. But due to the
different part 4
25. It them driving probably then the staccato
bars later
seems to forward due to the trumpets eighth
break away trumpets come in notes in the
and let the taking over and play lower
trumpet for the high the melody woodwinds.

9
 take over woodwinds with the Those
with a very during the woodwinds eighth
similar second half notes make
melody of the it feel light
until the phrase and happy.
end of the Then when
phrase the trumpet
comes in
it's as if
your buddy
comes
along with
you and
you're both
merrily
hopping
along the
forest trail.
The
dynamics
are not too
loud, but
they are
fulfilling
which gives
it the
feeling I
was
mentioning.
Very similar to The “” The This whole Clarinet, This section
the last phrase, clarinets, harmony phrase feels bass is very
69-76 “”
it is A-B. This tenor sax, again very warm clarinet, smooth,
time the and passes due to the and relaxing,

10
 melody stays baritone around melody bassoon are and
in the same take over eighth being in the playing the delightful to
part for both with the notes baritone bouncy listen to.
halves of the same throughout and tenor part while The
phrase melody as the band. sax. They the baritone
the But in this use the baritone and tenor
beginning phrase natural and tenor sax use
of the last there is a tone of sax are on their
phrase. The lot more of those the melody. crescendos
clarinets a difference instrument Some other to rise
drop off the between s to soothe percussion through the
melody half parts of the the listener. parts are in long notes
way harmony. The there to into the rest
through the Each part is harmony is keep it of the
phrase unique used then going melody
while the to keep the
baritone bouncy
and tenor happy
sax feeling in
continue the
with it to background
the end of
the phrase.
the melody Some Same exact This phrase Clarinet the eighth
Form is again
in this syncopatio harmony as is very and notes stay
A-B. The
phrase is n is used by the warm and bassoon are pretty
melody states
nearly the the melody, beginning welcoming. playing the constant in
this very
same as but the of the piece, The melody constant their
77-84 “” clearly in this
measures majority of just this played by eighth expression,
phrase through
9-16, but this phrase time they alto sax, notes with but they are
2 different
the oboe is straight are tenor sax, the more
parts of the
does not rhythms. immediatel and horn baritone staccato,
melody split
Constant y creates a and and they

11
 join in on eighth accompanyi warm xylophone have a little
the action notes are ng a melody feeling while the but of
being of sorts while the alto and dynamic
played by woodwinds tenor sax, contrast
the play the plus the throughout
harmony eighth french horn the phrase.
notes are playing The melody
making it the melody uses the
seem more longer
welcoming notes to
and joyful. swell into
the rest of
the melody
The The A lot of the The initial The a lot of the
tempo is
trumpets beginning harmonizat timbre is beginning phrase is
the same
take over of the ion in this mostly of this smooth
at
similarly to phrase has phrase bright with phrase is with the
beginning,
measures the melody comes from a warmer with expression
but there
17-24, but and the eighth foundation. clarinets on and nothing
is a
This phrase is they cut the counter notes in the The the really sticks
ritardando
a little weird to melody off melody woodwinds trumpet is harmony out.
at the end
tell what the half way using a lot and on the and However
of the
form is, but it through to of additional melody but trumpet on when it
85-98 phrase.
moves around then play syncopatio parts. But the melody transitions
Meter
alot and their n while the the 2nd baritone is with between
starts in
sounds like it fanfare that harmony is trumpet playing a baritone sections of
4/4 for
is A-B-C-B’ has been playing has a more counter and the phrase
the first
heard those “direct” melody trumpet 2 it really
half, then
before. straight harmonizat which on shows that
changes
Only to eighth ion with the makes the countermel through the
between
then go notes, melody. overall odies. But use of
6/4, 4/4,
back to keeping the Since the timbre a bit as it accents,
and 2/4 in
exactly beat. As the composer warmer continues they are

12
the second where the phrase seems to than before. more and played full
half melody was continues extend this The fanfare more parts and they
cut off and and goes to phrase is bright, get added lead into
continue the fanfare, using past this is since until the the next
with it. the melodies, the high entire band part of the
After the majority of and woodwinds is playing at phrase.
melody is the band is expands and brass the end of
then playing on upon them, are playing the phrase
“finished” the beat the it. Towards
the fanfare with some harmony is the end it
takes over, sort of very similar seems to
but is eighth note to many get even
elongated, rhythm parts brighter
and the keeping it before. We with the
piccolo, constantly have the piccolo on
flute, going fanfare in the fanfare,
trumpet, the melody but then it
and clarinet again, and starts to
trade off the widen and
doing the harmony fill in the
fanfare. uses the “gaps” and
Then the same it becomes
band comes flourishes a lot more
together as in a full and
playing different warm
very similar phrase
parts and before.
slows down
before
beginning
the end
phrase

13
 This last Since there There is a The ending This whole The
phrase are a lot of lot going on of this piece phrase has expression
seems to be things in this last is the most the entire of this part
tempo
a kind of going on in phrase. powerful/ band comes from
stays the
“recap” of this phrase, There isnt fullest playing. the amount
same in
the there are a one way to moment in Since it is of stuff that
the
previous lot of tell what is the entire the end of is
beginning,
melodies different the melody piece. the piece happening.
but there
that we rhythms. and what is Before the this is There are
is a
have heard the melody the end it is meant to be so many
ritardando
Form of this in the piece. is playing harmony overall a the final melodies
towards
phrase is a bit Every on the beat because bright hurrah, or and
the end of
different than melody while some there is so phrase. the defining harmonies
the
before, as this except for parts have much going Everyone is moment of that
phrase/
section is more the syncopated on. One playing the piece. It somewhat
piece.
of a “recap” of beginning harmonies common their part wraps it all clash with
Meter
99-110 the whole melody and and factor joyfully and up by each other,
starts in
phrase it feels the fanfare entrances between the playing but that
4/4 for
like the form is are played on off the trumpets previous clashing
the first
A-B-C-D, D in their beats. At “harmonies come in melodies creates a
half, but
being the respective the end of ” however with an and hectic but
has a
ending, or the parts. the phrase is that they occasional harmonies beautiful
moment
last hurrah Clarinets, and the stick out. “lick” and so it uses experience
where it
flutes, and piece, the They tend keep it all of the that makes
changes to
trumpets whole band to use going and parts to do you feel
a single
start with a comes syncopatio keep it so proud of /
2/4 bar
familiar together n to create bright happy for
and a
melody, and and plays a new feel. the piece
single ¾
the low either Or they and the
bar back
brass have sixteenth have runs experience
into 4/4
a familiar notes or that they
melody as eighth bring out.
well. It then notes until

14
 all comes the end of
together in the piece
the end
with a
ritardando
and a
complete
feeling

Element Summaries:

Form
- the overall form of this piece differs from phrase to phrase. The most commonly
used form is A-B. but this only happens during 4 phrases in the piece. Percy
Grainger’s composition style is very unique and he never seems to keep a single
aspect of the piece the same the whole time. Since the form of the phrases is
constantly changing, it keeps the audience, as well as the performers, on their toes.
There are some points where a form comes back and you recognize the section, but
the majority of the piece keeps the audience interested through the constant
changing of the form. Even though the form is changing a lot, it doesn’t change so
much that it is hard to listen to, or stressful to experience. Percy Grainger keeps a
good balance of surprise and familiarity to make sure the piece still brings that
relaxation and happiness to the audience
Rhythm
- In general there are 2 separate types of “rhythm groups” in this piece. Either the
harmony is keeping straight eighth notes, and the melody is a bit syncopated. Or the

15
 melody is staying with the beat and the harmony is syncopated. This is very
common to see used in many different pieces, but the way Percy Grainger does it
adds a whole new feeling into the music. The feeling that it adds tends to be
“comfort” I would say. Even though this piece is, you could say, hectic, the familiarity
of the rhythms brings back that sense of comfort and joy.
Melody
- Throughout this chart there are a few returning melodies, but you cannot pinpoint
only one to call the melody of the piece. I would say that there are 2 main melodies
through the piece that are both in the piece more than once. The fact that there is
no one melody keeps the audience interested in the piece. There is only so much
you can do with a melody that at some point it can get boring. Percy Grainger uses
this uncertainty to his advantage. He keeps the melody changing with a few
“playbacks” to previous ones which can give the music a “new” and “fresh” taste. His
use of countermelodies is masterful as well. The way that the counter melodies
contour the melody gives the music a more “meaningful” sound, it's as if the melody
now means something that it didn’t before.
Harmony
- Similarly to the melody, there are 2 main harmony styles in this piece. Either the
harmony is keeping the beat with eighth notes outlining chords. Or the harmony is
playing syncopation while playing in key. Since the harmony is a lot more “static” in
the way that it is repeating familiar sounds throughout the piece, it draws your
attention. All of the other elements are constantly changing, but the familiarity of
the harmony draws you in. The whole piece isn’t always changing, some elements

16
 are, but the harmony seems to be the “backbone” of the piece, holding it all
together, hence why I believe it is the heart of the piece.
Timbre
- Overall the timbre is bright, welcoming, and “happy”. A lot of the time there is also
another voice that is sounding more warm and full. When the whole band is
together these two sounds come together to create a proud type of feeling. A lot of
the most noticeable parts in this piece are very bright, and usually you would
associate that with “happy”, which makes sense. But the background, not the
harmony usually, tends to be warmer sounds gives it a comforting feeling as well. In
combination with each other these sounds make you feel like you're very content
with life, and you’re living it to the fullest.
Texture
- generally the texture is woodwinds playing harmony on eighth notes while the
brass, and a few other woodwinds play the melody. This, of course, changes a little
bit, but in general that is what the instrumentation is. Although the
instrumentation stays pretty similar throughout the piece, there are some
moments that stick out. When a higher woodwind joins in on the soft/warm melody
it sparks some joy. When a warmer toned instrument has the melody for a while it
can make the music feel more relaxing. The changing of texture here and there to
what we might not expect conveys a comfortable tone, a tone in which the audience
can sit and enjoy the piece.
Expression
- This piece uses longer notes really well. They are never static and they are always
moving to the next note, or next phrase. In between phrases/sections articulations

17
 are used a lot as well to create a driving feeling towards the next part of the song.
Because the notes aren’t static, the music feels as if it is flowing, like the ocean. Even
though the general expression and feeling of this piece is happy, and joyful, the rise
and fall of the music really puts it in that “pocket”. This “pocket” is a place where
the audience can sit and enjoy it without worrying about anything else. It is where
they can imagine their best life, and then are inspired to go after it.
Text
- N/A

The Heart Statement

- The Heart of this piece is in the Harmony. The Harmony throughout this entire piece is the main “force” that keeps it
going. When the melody is playing something lyrical, the harmony is the driving beat that brings the music with. When
the Rhythm gets funky, there is always that harmony of eighth note phrases to push it forward. This entire piece, I feel,
revolves around how the harmony is working, and what the harmony is doing to continue the “train”. At some points in
this piece, it seems more mellow, or more scattered. The harmony is nearly always bouncy and “happy”. This recurring
feeling keeps the piece overall lighthearted and brings joy to the listener.
Music Selection

Why is this a quality piece?

In chapter 5 of shaping sound musicians it speaks about all of the aspects of a good musical selection. Handel in the strand doesn’t
fulfill every aspect, however I don’t believe that any piece is able to hit on everything, but it does have many great aspects. Some of
these aspects are: Uniqueness, Percy Grainger's pieces are very unique and very distinct, I believe that Percy used a lot more
classical influence with Handel in the strand than he did with many of his other pieces, which makes it a unique mix of percy’s style
and classical music. Form, this piece flows extremely well, and whenever it makes a change it does so gracefully. Throughout the
entire piece the main theme comes back multiple times to tie each part together. Unpredictability, in usual Percy Grainger fashion

18
this piece uses unpredictability to its advantage. Percy Grainger liked to use unique melodies and harmonies to create a new
“sound”. He also uses a lot of time signature changes that makes the listener really get into the music. There are many other aspects
that make it a good piece, and I believe that it would be enjoyable for my students to play and learn about.

What group would play it and what might their lives look like?

I believe that the group I would assign this to would most likely be upper-highschool. Even though the piece doesn’t sound too terribly
difficult, there is a lot of technique and delicacy that goes into creating the desired sound for the piece. An upper highschool band will
more likely than not have the maturity and experience to play the piece compared to what a younger ensemble may have. Outside of
band I would expect my students to have other commitments, such as homework from other classes, club responsibilities, family
responsibilities, which could be anything from taking out the trash, to needing to work 40 hours per week in order to help their family
live. Although for me band is a place to destress and to enjoy, that is not how everyone thinks of it. Some people take band just
because they need an elective, but they don’t enjoy it. Be that due to the relationships they have or haven’t formed in band, personal
or sectional skill level, or anything else, everyone has different opinions about music classes. My students will have other things they
enjoy more and care about more. One of them may love physics, and be in a physics club as well as mentoring other students who
may need help. Another might be in cheerleading and is in love with the sport and the performances that come along with it.
Everyone will have different interests that they are more invested in. It is then my job to help them enjoy band at whatever level they
can. I need to be able to create an environment that encourages friendship, community, and love.

How will the piece relate to the students?

In the program notes Percy Grainger says that the name was originally going to be “clog dance” but his friend, who the piece is
dedicated to, suggested “Handel in the strand” because it sounds like Handel is dancing down the Strand (a street in london, the
“home of london musical comedy”) enjoying music. Although the students may not be able to directly relate to being Handel, and
dancing down the strand specifically. They will be able to relate to the feeling of wanting to dance down a street, or dance in their
room when noone is watching. Sometimes human beings have this urge to move their bodies and start dancing or jumping around.
Many highschool students will easily have fun with this because, well, they are highschool students, and they are silly. Handel in the
Strand doesn’t have much in depth meaning, but it is a piece of music which I find fun. I want to be able to spread joy through the
music I teach, and help my students use the music they are playing to enjoy life a little bit more.

19
Introducing the Piece (strategies)

Affective Outcome:
1. Affective Outcomes
a. Students will formulate a story around what emotions this piece evokes from them
b. Students will deduce why the phrases are not equal, and why they are constantly changing

Strategies
Strategies:
● Auditory: As a class we will listen to some chorals with very obvious 8, or 4 or 2 bar phrases that continue throughout the
piece. Then they will discuss how the phrases were unique to each other, probably not much to discuss other than melody
and harmonization. Then as a class we will listen to Handel in the strand and discuss what length we think the phrases are.
The students will soon realize that the phrase length is constantly changing, with some 8 bar phrases scattered throughout.
The students will then talk with the people around them briefly as to how the different phrase lengths change how the piece
feels, and what it may add, or take away from the piece. We will then discuss why the composer may have written it this way
instead of doing constant length phrases.
● Visual: Everyone will be given a copy of the score and will have time to look through it and see what is happening in each
part throughout, and what the time signatures look like with every part in there. Then they will discuss with the people around
them why they think the phrases are laid out how they are. Are there any 8 bar phrases? Why do some phrases extend with a
fanfare? How do the changing time signatures affect the phrase length? Are there any repeated phrases? Then we will come
together as a class and discuss the same things. I will give them my analysis of the phrase lengths before they discuss, but
we will go over the phrase lengths once again as a class and see if they disagree on any of my markings

Assessment
Journal Assessment
The students will be handed an assessment with a question asking a very similar thing to the outcome. Something along the lines of
“In your own words, why did the composer choose to do 9 bar phrases instead of 8 bar phrases throughout the entire piece?”. Since

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this type of question does not have any one correct answer, they will be assessed on how they answer, and why they answered that
way. The grading scale will be from 1 to 5. 5 being highest, 1 being lowest.

5 4 3 2 1

Journal Student answered Student answered Student answered Student answered Student answered
Assessment the question with the question with the question with the question with the question with
clear reasoning. clear reasoning. somewhat clear unclear reasoning. no reasoning. The
The student There was decent reasoning. The “Why” was not question may have
explained the “why” explanation as to question was addressed in their been addressed,
behind their answer why they answered addressed, but answer, and the but it did not get
very well. it the way they did there was no “why” answer was not answered
stated in their detailed
answer

Skill Outcome:
1. Skill Outcomes
a. Students will accurately execute the time signature changes in the piece
b. Students will demonstrate the use of the correct articulations in their individual parts

Strategies
Strategies:
● Kinesthetic: The students will be up and out of their seats for this strategy. Like we did in class, they will clap with the beat,
and step to the beat as well. There will be a set pattern of time signatures to start, ¾→4/4→5/8→2/4→repeat, or something
like that. This will get them to think as a group and make sure they are all on beat. To start they will have an eighth note
subdivision running with the first beat accented, but then quickly get rid of that accent. When it seems like they are
comfortable They will then clap without the help of the metronome. When the class seems very in tune with each other, we
will then look at the piece, and start somewhere where there is time signature changes and clap starting from there, then they
will clap their own parts, and once it all seems to slot in together they will play it on their instruments.

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 ● Visual: I will be up in front of the band conducting the written time signatures, the students will be tapping the shoulder of the
person next to them with the beat (if any student does not want to be tapped or tap someone else, then they can tap on
themselves). The students will not be looking at their sheet music when doing this, they will need to follow only the conductor
up front for the time signatures. This will encourage the students to look up at the conductor more often and trust where they
are at.

Assessment
Performance Assessment:
Students will be given a piece to prepare for a solo performance. This selection will be full of time signature changes. These time
signature changes won't be just to trick them up, but it will flow naturally with the music. This piece will be very similar, maybe not the
exact same, to every other student who will be performing. This will not only make it easier to grade, to some degree, but it will also
let the students collaborate and help each other learn. Teamwork is a very important part of music making, even if you’re making the
music by yourself. The students will then come into the audition and perform the piece. They will then be handed another piece to
sight read, they will know there will be sightreading when they receive the piece to prepare. They will then be graded on a scale of
1-5, 5 being the highest and 1 being the lowest.

5 4 3 2 1

Prepared piece Student executed Student executed Student executed Student executed Student did not
time signature time signature the time signature the time signature execute the time
changes extremely changes well. a few changes with changes with signature changes
well. Minimal mistakes. through mistakes. The multiple mistakes. well. Majority of the
mistakes in the the changing piece was played in There were pauses measures had
changing meters. meters. Tempo had its entirety without throughout the mistakes in them.
Tempo did not rush minimal rushing or pausing. Tempo playing of the Tempo rushed
or drag through the dragging had some rushing piece. Tempo and/or dragged
changes or dragging rushed or dragged significantly

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Knowledge Outcome:
1. Knowledge Outcomes
a. Students will compare the subdivisions between different time signatures
b. Students will distinguish which part in the band has the melody during certain phrases of the piece

Strategies
Strategies:
● Auditory: There will be a metronome running on the speakers and there will be a time signature set with the correct accented
beats as well as subdivisions. The students will close their eyes and listen to the time signature that I pick without them
knowing. Then after an undecided amount of time the metronome will stop and they will discuss with the people around them
if needed and say what the time signature is. We can then do something of the opposite of this. There will be (eighth note)
subdivisions on the metronome, and the students will choose where to put the accents based on what time signature I tell
them I want to be playing. This way they can hear how it sounds when they put the accents in with the subdivisions and
decide if it makes sense for the time signature.
● Kinesthetic: The students will be standing up and stomping around the room to the beat. There will be a metronome playing
a variety of time signatures for them to follow, but to start it will be 4/4. Then the time signature will change to 12/8. On paper
these two time signatures look very different, but when stomping with the beat, the students will realize that the only main
difference is the subdivisions. In 4/4 there are mainly 2 subdivisions per beat, while in 12/8 there are mainly 3 subdivisions per
beat. The tempo of the beats stays the same, but the students will be clapping the different subdivisions as they stomp. They
will then try the same with many other time signatures, such as ¾ and 6/8. Or ¾ and 9/8. Eventually they will be doing this to
⅞ and ⅝. They will realize that one of the beats feels longer than the others, and they will discuss why that is, and how it’s
subdivided.

Assessment
Pencil-and-Paper Assessment:
The students will be given a sheet or two of paper that have different time signatures on them and area to write. They will then
proceed to write out the subdivision and what note gets the beat on each time signature. They will then have multiple examples of
pieces without time signatures and have to put in the time signature. Since many time signatures have similar beats, they will have to
pay attention to how the notes are subdivided to figure out which time signature it is.

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Grading scale:
15/15= perfect score, student was correct with every answer they gave on the assessment.
0/15= student was incorrect with every answer they gave on the assessment
1-14 fall anywhere in between

Recommended Recordings

References

Works for Winds

Glossary of Terms

Sang through, studied, and marked parts (check off as completed)

Piccolo Cornets/Trumpets 1st Violins

Flutes Horns 2nd Violins

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Oboes Trombones Violas
English Horn Euphoniums Celli
Bassoons Tubas String Bass
Eb Clarinet Harp
Clarinets Timpani
Alto Clarinets Snare Drum Sopranos
Bass Clarinets Mallet Percussion Altos
Contra Bass/Alto Clarinet Remaining Percussion Tenors
Saxophones Piano Basses

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