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The document provides the agenda for a 7th grade band rehearsal of the piece "Hymn for Band" by Hugh Stuart. It includes a warm up section and then breaks down rehearsing different sections of the piece, with goals of identifying the melody and balancing the melody with supporting lines. The director guides the students to focus on dynamics, bringing out certain passages, demonstrating key changes, and providing feedback on balance between parts.

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150 views2 pages

1 - 7th Grade

The document provides the agenda for a 7th grade band rehearsal of the piece "Hymn for Band" by Hugh Stuart. It includes a warm up section and then breaks down rehearsing different sections of the piece, with goals of identifying the melody and balancing the melody with supporting lines. The director guides the students to focus on dynamics, bringing out certain passages, demonstrating key changes, and providing feedback on balance between parts.

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api-453445899
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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MNMS 7th Grade Band

Hymn for Band - Hugh Stuart


March 18, 2019

Warm-Up
● Tuning! Ask for someone to take the pitch
● B-Flat Major Scale in half notes, repeat the top note

Hymn for Band


GOAL: ​SWBAT identify the melody and supporting lines
GOAL: ​SWBAT appropriately balance the melody and supporting lines
1. Play at beginning to D (m. 29)
2. Return to the beginning of the piece, “If you think you have the melody at the beginning,
play now”
○ Alto Saxophones and French Horns should play
3. At the beginning of the piece, “Play now if you ​don’t ​have the melody”
○ Everyone else
○ Bari, Bass Clarinet, Bassoon - bring out the chromatic passage in m. 3
4. Address dynamics - melody and supporting elements are marked mf
○ If students can’t hear the melody, they are too loud
○ Students with melody raise hands vs. students with supporting parts raise hands
5. The same thing happens at A, so let’s go back to the beginning and put everything
together to B
6. Stop at B
○ Provide feedback, how was the balance between parts?
7. At B, “If you think you have the melody, play now”
○ Flute, Clarinet 1, Oboe should play
○ Clarinets - firm corners pushed in towards the mouthpiece, think key, high tongue
8. At B, “Play now if you ​don’t h​ ave the melody”
○ Everyone else
○ If you have anything ​longer​ than a half note, bring it out
■ Alto Saxes, Horns, Clarinet 2
9. Are we in the same key at B?
○ No, even though the key signature didn't change, the key center did!
○ From Bb Major to F Major
○ Can hear it in the melody, M. 18 & 19, “ti” of the scale - bring it out to
demonstrate the change
10. Put back together, from B-D
○ Same deal, if you can’t hear the melody, you’re too loud
11. Stop at D
○ Provide feedback, balance, moving notes, “ti”
12. Letter C, raise your hand if you have the melody
○ Saxes and French Horns
13. To the Saxes and Horns, “Is this material you’ve already played? Where from?”
○ Yes, m. 3, m. 13
14. Flutes, Oboe and Clarinet have the same thing at m. 21
○ So anytime we hear the passage, try to make it sound like it did before
15. Reminders before we play again
○ Balance, hear the melody
○ Bring out chromaticism and moving notes in the supporting parts
16. Play from beginning to D
17. Thank the trumpets for their patience, we’ll either continue to let them play, or end there

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