Justin Phillips

Dr. Palmer

MUSE 375

28 February 2019

Curriculum Project

Overview (Russian Folk Fantasy):

For the Curriculum Project, I decided to choose the piece Russian Folk Fantasy, arranged

by Anne McGinty. I think that this piece would be very well suited for beginning and young

ensembles. Throughout the piece, the key signature remains the same in C minor. Students are

enabled to play with more flats while being able to rely on the tonal center of a familiar key. The

rhythms in this piece are also rather simple. However, there are a few more challenging rhythms

that the students are able to learn. For example, there are several rhythms with dotted eighth note

sixteenth rhythms. There are also a few bars that feature syncopation. Students are also given the

opportunity to learn the roadmap of music with several repeated sections. Because of this, I think

that this piece of music is very accessible and also a learning challenge for these younger groups.

I also think that students would really enjoy this piece of music. The final section, Kalinka,

repeats several times and continually gets faster and louder. I think that students will really enjoy

playing this piece of music. There is also a chance for comprehensive musicianship. Students are

able to learn three Russian folk songs, as well as characteristics of the music in Russian folk

dances. Because of the accessibility, fun, and access to comprehensive musicianship make this

piece a great choice to choose for a beginning or younger group.

Summary (Russian Folk Fantasy):

Russian Folk Fantasy is a piece arranged by Anne McGinty. This piece features three

different Russian folk songs arranged into one piece. These three songs in order are “Troika

Rushing”, “Down Along the Mother Volga”, and “Kalinka.” The first of these folk songs,

“Troika Rushing” is about a man riding in a Troika (a carriage drawn by three horses). The man

is on his way to see his love. The lyrics to this song are translated to, “Troika Rushing, troika

dashing, dust is rising from the ground. Little Bell is laughing, ringing, Troika tell me where

you’re bound, Oh! Riding, riding, riding fast, see my own true love at last.” This is a rather

happy and light section. The next section of the piece is, “Down Along the Mother Volga.” This

section of the piece takes a turn from the happy section before. This folk song depicts an

oncoming storm with nothing in view expect a small sailboat on the river. This begins with the

lyrics, “Down the Volga, Mother Volga, over the wide sheet of water,

there rises a thunderstorm, a huge thunderstorm. Nothing is to be seen in the Waves, there is only

a small black ship with glistening white sails.” This is a much more solemn and legato section of

the piece. The last section includes the Russian folk song and dance, “Kalinka.” This folk song is

about a little boy meeting his girlfriend in the garden. This is a much more upbeat and lively

section of the piece. Russian dances are often played very quickly and with light articulation.

This is a characteristic that students can learn and retain as they continue to play music from

different countries and time periods.

This was arranged by Anne McGinty. Anne McGinty was born in 1954. During her life,

she has become known as one of the most prolific female composers, writing more than 200

pieces for band. She went to school at Ohio State University studying from Donald McGinnis.
McGinty composed Russian Folk Fantasy in 2003. McGinty has had a successful career as a

flute performer at a professional level and as well as a composer for all ability levels.

https://www.jwpepper.com/Russian-Folk-Fantasy/2475152.item#/submit

https://www.barnhouse.com/composer/anne-mcginty/
Score Analysis (Russian Folk Fantasy):
Lesson Plan (Russian Folk Fantasy):

Russian Folk Fantasy Lesson Plan

Objectives:
 Students will be able to audiate and sing their parts from 48-63 with the correct pitches
and rhythms.
 Students will be able to play their parts from 48-63 with correct rhythms and pitches.
 Students will be able to know that Kalinka is a Russian Folk Dance, which should be
played fast and light.

Standards Addressed:
 (Cn.3.8.1):
Identify, describe, and perform the distinguishing characteristics of musical works from a
variety of genres, styles, historical periods, and cultures.
 (P.7.12.1):
Sing accurate pitches and rhythms, as modeled and/or visually notated, with appropriate
intonation, breath control, diction, and tone quality throughout one's singing range.
 (P.8.8.1):
Play accurate pitches and rhythms, as modeled and/or visually notated, in tune with a
steady beat, good tone quality, and appropriate technique throughout the known range of
the instrument(s).

Materials Needed:
 Developing Band Book No. 7- Russian Folk Fantasy
 Tuba for modeling
 Baton

Procedures:
1. The instructor will have the class begin by playing a concert Eb scale in quarter notes.
C-Eb, Bb-F, Eb-C, F-Bb
2. The instructor will then have the class play a concert C Minor scale in quarter notes.
C-C , Bb-D ,Eb-A , F-G
3. The instructor will then play the same scale but faster with a very light articulation.
4. The instructor will tell the class to keep a steady beat as they say the rhythm of the
melody in measures 48-63 on a neutral syllable.
5. The instructor will tell model and then ask the students to repeat.
6. The instructor will then ask what the takadimi would be for that rhythm. Then say it
together.
7. The instructor will then sing the melody using solfege.
8. The instructor will then model the section and have the students repeat.
9. The instructor and students will sing the section together.
10. The students will sing while they finger on their instruments.
11. The instructor will model the melody for them, playing with light articulation.
12. The students will play the melody on their instruments.
 13. The students will then open Russia Folk Fantasy at measure 48.
14. The teacher will ask students if they have ever heard of Kalinka. The teacher will then
explain that it is a Russian Folk dance, and that these should be played fast and light.
15. The students will play and rehearse as needed from measures 48-63.
16. Once this section is good, the class will rehearse the beginning of the piece.

Assessment:

Assessment will be informal and formative. I will assess the students through observing
them as they sing and play. I will be looking for correct rhythm, pitch, tone quality, and style.

Closure:

Students should be able to play the last section of Russian Folk Fantasy with correct
rhythms and notes. They should also understand that when playing folk dance music, they should
play with a light articulation. They should practice articulation when they go home.
Assessment (Russian Folk Fantasy):

 Formative Assessment

For this unit, I will use formative assessment every day. This will include during warm

ups, exercises, and while we rehearse the piece. I will be listening for note accuracy on

the C minor scale, as well as playing with the stylistic features of each of the Russian

Folk tunes. As I observe the class and students each day, I will edit my future lesson

plans to include extra work on sections or concepts.

 Summative Assessment

For this unit I will give two summative assessments. The first will be a written quiz over

the piece. This quiz will address what each of the three Russian folk songs are along with

what they are about. The quiz will also address the playing style when playing these

Russian folk songs and dances. I will also administer a playing test at the end of the unit.

This test will cover playing up and down the students concert C minor scale. Next, it will

include two melodies from Russian Folk Fantasy. One will be from the fast light section,

and the other will be from the slow legato section. I will be listening mainly for proper

style in each of these sections, along with all other aspects of playing such as tone,

intonation, accuracy, posture, etc.

 Name: __________________

Russian Folk Fantasy quiz

Multiple Choice (2 points each):

1. The first folk song of the piece is called?

a. Kalinka
b. Troika Rushing
c. Down Along the Mother Vulga
d. Korobushka

2. The second folk song of the piece is called?

a. Kalinka
b. Troika Rushing
c. Down Along the Mother Vulga
d. Korobushka

3. The third folk song of the piece is called?

a. Kalinka
b. Troika Rushing
c. Down Along the Mother Vulga
d. Korobushka

4. In a Kalinka, the style should be?

a. Fast and light
b. Fast and accented
c. Slow and heavy
d. Moderate and legato

5. What happens during the “Down the Along the Mother Vulga” section?
a. The music slows down and gets louder
b. The music speeds up and gets louder
c. The music slows down and gets quieter
d. The music stays the same as before

6. Who wrote Russian Folk Fantasy?

a. David Holsinger
b. Anne McGinty
c. Michael Sweeney
d. Julie Giroux
 Name: _________________

Playing Test

Playing (15 points total):

Down Along the Mother Vulga section.

Rhythmic accuracy: 1 2 3

Pitch accuracy: 1 2 3

Intonation: 1 2 3

Tone Quality: 1 2 3

Expressionism: 1 2 3

Comments:
Overview (Contre Qui, Rose):

For my second piece of the Curriculum project, I decided to choose Contre Qui, Rose,

written by Morten Lauridsen and transcribed by H. Robert Reynolds. This piece would be a

challenging yet tangible piece for many high school ensembles. Even though the rhythms of this

piece are incredibly simple, the extremely slow tempo and challenging key of Db major makes it

more complicated. The tempo of the piece is marked at eighth note equals 69. Because of this

slow tempo, students are able to focus on learning subdividing. This piece also contains a large

number of unresolved cadences and suspensions, allowing for students to learn about the theory

in this piece and what makes it emotional. This emotional lyricism will also provide the

opportunity for students to learn playing with a dark tone color, smooth slurs, and expressive

dynamics. Students will enjoy making this piece sound more emotional and beautiful each

rehearsal. There is also a great amount of CMP that can be taught through this piece. Lauridsen

was inspired to write this piece from a poem written by Rainer Maria Rilke. The piece was

originally written for choir in a choral cycle titled Les Chansons des Roses. Students will be able

to compare the text from the poem to the notes on the music and can make comparisons between

the two art forms. Even though this piece may be a challenge, it is accessible for most high

school bands. When performed well, this piece is breathtaking and will allow your students to

compare and contrast two similar art forms, work on playing at slow tempos, and to enjoy

playing lyrical pieces of music.

Summary (Contre Qui, Rose):

Contre Qui, Rose was written by Morten Lauridsen for choir. This was the second

movement in one of Lauridsen’s choral cycles titles, Les Chansons des Roses. In this choral

cycle, Lauridsen based all his music off of poetry. Later, H. Robert Reynolds transcribed it for

concert band. Lauridsen based his piece off of a poem written by Rainer Maria Rilke. In this

poem, it compares a woman to a rose. The man asks the rose a series of questions which is

displayed through the music by a series of unresolved cadences. The man asks the woman why

after all he has done for her, she still bears thorns towards him. The piece begins matching the

text of poem by stating a simple musical question. This reflects the text, “Against whom, rose,

have you assumed these thorns?” Each of these question marks end of unresolved cadences

leaving the listener and player longing for resolution. This emulates the emotion of the man

written by Rilke. The piece climaxes on the text, “On the contrary, from summer to autumn you

wound the affection that is given you.”

Morten Lauridsen was born in 1943. Throughout his life, Lauridsen has proved himself to

be an outstanding choral composer. In 2005, the National Endowment for the Arts named him an

“American Choral Master.” He studied composition at the University of Southern California.

Lauridsen began teaching at that same school in 1967 and has been faculty there ever since. He

has composed many well-known compositions including O Magnum Mysterium. He has also

recorded several albums that have received Grammy nominations. Lauridsen has proved himself

to be a distinguished American choral composer.

H. Robert Reynolds was born in 1934. He earned his degree from the University of

Michigan. Reynolds taught at several colleges before earning tenure back at the University of

Michigan. He taught there for 26 consecutive years. During this time, he was also the conductor
of the Detroit Chamber Winds and Strings. After this time, he began teaching at the University of

Southern California. He is still the principal conductor of their wind ensemble. Reynolds has

made major contributions towards wind literature transcribing and writing many pieces.

Reynolds is also a past president of the College Band Directors’ National Association.
Lesson Plans (Contre Qui, Rose):

Microteaching #2

Objectives:
 Students will be able to play their parts from the beginning to C.
 Students will be able to make connections between the poem and music of Contre Qui,
Rose.
 Students will gain knowledge of suspensions and unresolved cadences.

Standards Addressed:
 (P.8.12.4)
Maintain pitch and rhythm accuracy, tone quality, tonal center, a steady beat, exemplary
technique, and appropriate style while playing unpitched, melodic, and harmonic
instruments to both portray and challenge the composer's intent
 (Cn.2.12.2)
Recognize the characteristic elements of music and those of at least one other art form
and analyze how they were combined to create a unique work of art.
 (Cn.2.12.1)
Describe, explore, and critique how the principles of music relate to other disciplines.

Materials Needed:
 Choral worksheet
 Contre Qui, Rose
 Baton
 Tuba

Procedures:
1. Begin by having the class play a concert Db major scale in half notes.
2. Play through the chorale worksheet as written.
3. Have the class play through the same choral, but clarinets and horns don’t change last
notes.
4. Ask students how they feel when the chord is unresolved.
5. Say how it feels incomplete longing for it to be resolved.
6. Introduce the concept of suspensions and unresolved cadences.
7. Introduce Contre Qui, Rose and read the translation of the poem it is based on.
8. Discuss the poem.
9. Relate how Lauridsen uses suspensions and unresolved cadences in order to make this
feeling in the music.
10. Rehearse Contre Qui, Rose from the beginning to C.
a. Introduce conducting the eighth notes in 4/4
b. Work on playing smoothly and expressing the emotions from the poem.
Assessment:
Assessment will be informal and formative. I will assess the students through observing
them as they play. I will be looking for correct rhythm, pitch, tone quality, and style.
Closure:

Students should be able to play from the beginning to C of Contre Qui, Rose by

Lauridsen from the beginning to C. They should also understand the poem that inspires this

piece. Finally, they should have knowledge of suspensions, and unresolved cadences.
Secondary Lesson Plan (Contre Qui, Rose):

Contre Qui, Rose additional lesson plan

Objectives:
 Students will be able to play their parts from the beginning to C.
 Students will be able to make connections between the poem and music of Contre Qui,
Rose.
 Students will be able to compare the choral and band versions of Contre Qui, Rose.

Standards Addressed:
 (P.8.12.4)
Maintain pitch and rhythm accuracy, tone quality, tonal center, a steady beat, exemplary
technique, and appropriate style while playing unpitched, melodic, and harmonic
instruments to both portray and challenge the composer's intent
 (Cn.2.12.2)
Recognize the characteristic elements of music and those of at least one other art form
and analyze how they were combined to create a unique work of art.
 (Cn.2.12.1)
Describe, explore, and critique how the principles of music relate to other disciplines.

Materials Needed:
 Choral recording of Contre Qui, Rose
 Contre Qui, Rose score
 Baton
 Tuba
Procedures:
1. Students will begin by playing a concert Db major scale slowly in half notes.
2. Students will play the scale again but faster and in quarter notes.
3. Students will play a choral to work on playing with a good, pretty, dark tone color.
4. The instructor will play a recording of the choral version of Contre Qui, Rose.
5. The instructor and the students will discuss similarities between the band and choral
version.
6. The instructor will explain how we need to make our instruments sound as pretty and
smooth as the choral version.
7. The class will begin rehearsing at C.
a. Focus on not being too loud and staying within the volume of a chorus.
b. Focus on breathing and taking small breaks like the choral ensemble does.
c. Work on the molto rit. before and during C, making sure the ensemble in watching
the conductor.
8. Once the climax of the piece is being played correctly, the ensemble will continue to
work on the ending of the piece focusing on slowly dying away.
Assessment:
 Assessment will be informal and formative. I will assess the students through observing
them as they play. I will be looking for correct rhythm, pitch, tone quality, and style. I will also
assess them on their discussion between the choral and band version of the pieces.

Closure:

Students should be able to play from the beginning to C of Contre Qui, Rose by

Lauridsen from the beginning to C. They should also understand the poem that inspires this

piece. Finally, they should have knowledge of the choir version as well. Future lessons will focus

on getting tone color to match the emotions of the piece.

Assessment (Contre Qui, Rose):

 Formative Assessment

I will complete formative assessment every day while teaching this piece. I will do this

by listening to the band, sections and individuals to make sure they are playing accurate

notes and rhythms with proper tone quality and expression. I will also keep record of who

participates during conversations of the piece.

 Summative Assessment

I will complete summative assessment by having an exit quiz and playing test at the end

of the unit. The quiz will include questions about the poem and original choral piece. The

playing test will assess their pitch and rhythmic accuracy as well as expressive qualities

of the piece.
 Name: ___________

Contre Qui, Rose exit quiz

Multiple Choice (3 points each):

1. Who originally composed Contre Qui, Rose?

a. Morten Lauridsen
b. H. Robert Reynolds
c. John Philip Sousa
d. Gustav Holst

2. What inspired the original piece?

a. A painting
b. A poem
c. A day in the garden
d. An Orchestra piece

3. The concert band piece was transcribed from a _______?

a. Orchestra Piece
b. Jazz piece
c. A piano piece
d. A choral Piece
 Name: _____________

Playing Test

Playing (15 points total):

Pickups into C until D.

Rhythmic accuracy: 1 2 3

Pitch accuracy: 1 2 3

Intonation: 1 2 3

Tone Quality: 1 2 3

Expressionism: 1 2 3

Comments: