Ashley Evelhoch

4/23/14
MUS 321

Instructional Unit

*Historical Notes
At the beginning of the 20
th
century, music was characterized as late Romantic in style.
While composers were pushing the bounds of Post-Romantic Symphonic writing, the
impressionist movement was being developed in France at the same time. Many composers
reacted to these styles and went in very different directions. The most important moment
when defining the course of music throughout the century was the widespread break with
traditional tonality; effected in diverse ways by different composers in the first decade of the
century. From this sprang an unprecedented "linguistic plurality" of styles, techniques, and
expression. After the First World War, many composers started returning to the past for
inspiration and wrote works that drew elements (form, harmony, melody, structure) from it.
This type of music thus became labeled neoclassicism.
Compositions falling into this category are referred to as "neo classic." '"Air for Band" is
such a piece. The form (binary) was quite common in the baroque period and the melody and
harmonies were strongly influenced by the works of Bach.
Air for Band was written in 1956, early in Erickson's career then was revised later in
1966. He was very concerned with creating a piece that young students could be successful in
performing that also had an educational value. The desire to create pieces that were
melodically interesting and educational in nature was one of several composers in this era.
Erickson wanted to help young musicians grow so he favored simple and harmonically
uncomplicated ideas that were playable, interesting and that still have a musically worthwhile
idea. The term Air was adapted from the term Aria. It is used to describe a tuneful melody in a
vocal or instrumental line. Traditionally such a vocal line would be strophic, syllabic, and homo-
phonic. The French also had a more serious version of this term known as Air de cour, or court
air. This was a poem-like melody that had extensive phrasing. This piece stays true to its name
with its very tuneful melody carried primarily in the clarinets.


Frank William Erickson was an American composer, conductor, arranger, writer, and
trumpet player. Erickson grew up in Spokane, Washington. He began his instrumental career at
the age of eight, playing piano, and at age ten, playing trumpet. In high school, he wrote his first
composition for band, The Fall of Evening.
At age nineteen, World War II began. He then served with the United States Army Air
Forces from 1942 to 1946. He worked as a weather forecaster and also arranged music for
several army bands. After the war, Erickson worked as a jazz arranger, namely for Earle Spencer
and His Orchestra (1946); and he played trumpet. He also studied composition with Mario
Castelnuovo-Tedesco during this time period. As he wrote music and studied composition,
Frank Erickson developed an interest in getting a degree and eventually enrolled at University
of Southern California to further his studies in composition. While there, he began arranging
half-time shows for the USC marching band. By the time he graduated, he had many published
band compositions. His very first was called Little Suite for Band. He graduated from USC with a
Bachelor of Music degree in 1950. The next year he went back to USC, and graduated again
with a Master of Music degree in 1951. His master thesis was about his own music.
Erickson lectured at University of California, Los Angeles, in 1958. He then became a
professor of music at San Jose State University. The 1950s were prolific years for Erickson. His
publications of works such as Balladair, Air for Band, Fantasy for Band, and Toccata for Band
were quickly popular and led to wide notability in the concert band world. He is also widely
known for his book Arranging for the Concert Band, namely by college music majors.
For a number of years, Erickson worked in a publishing company, but years later he
became an entrepreneur. He began his own publishing business called Frank Erickson
Publications in 1995.
He was a longtime member of the National Band Association, was elected to the
Academy of Wind and Percussion Arts in 1986, was a member of American Society of
Composers, Authors and Publishers, was a member of the Phi Mu Alpha Sinfonia, the Pi Kappa
Lambda, the Phi Beta Mu, and the American Bandmasters Association.
In 2000, Erickson's widow, Mary Ann Smith, donated all of his compositions to Old Dominion
University, which included over 400 works, 200 of which are originals.



*Theoretical Analytical Notes Learning Objectives & Assessment (an analysis of, learning
objectives for and assessment techniques for each of the 5 elements of music)
-Melody
The melody in this piece is poem-like, with it being played mainly in the clarinet part, also in
flute part.
Objective: Students will identify the melody in the piece and who plays that melody, knowing
that if they do not play it, they need to support who does play it.
Assessment: First, ask students what the melody is, and then who plays it (clarinets). Then,
make sure the clarinets can play the melody with the best sound possible before adding in the
supporting voices, making sure they do not stick out anywhere (aka- Balance)
-Harmony
The harmony in this piece is warm and inviting. It starts out in C minor, eventually shifting to
major later on.
Objective: Students will be able to identify which chords need to be tuned differently, if the
third of the chord needs to be raised, and the fifth needs to be lowered for example, to create
the best possible sound needed for the relaxed feel of this piece.
Assessment: Have students play pillar: chords between A and B, to have them get it in their
head on where to land on a chord. This will help them tune the rest of the chords in
between, if they properly listen and tune to those pillars (C chords)
-Rhythm
Being that this work is for younger bands, the rhythm is on the simpler side. The most
complicated rhythm in the piece would be 4 eighth notes in a row that happen throughout the
piece.
Objective: Students understand that each note needs to be held out for its full value. For
example, a whole note going to a half note needs to be held out for the full value of four counts
before moving on to the two counts of the half note, to keep the fluidity of the piece intact.
Assessment: Since the longer notes happen more in the supporting voices, have them play a
section in the music, from the fourth bar of A, going to rehearsal letter C for example, making
sure they hold the note over the bar line and do not cut it short by taking a breath. Remind
them about staggered breathing, if needed.
-Form
The form of this piece is A, B, A1, Coda.
Objective: The students will identify the sections in the music that sound the same. This will
help them realize that when they learn one section, they may be able to apply the things they
just learned to a different section and they wont have to work hard to have the second sound
good if they already know and can play the first.
Assessment: Have students play the A section of the piece (mm.1-16) and then have them
identify where that material comes back into the music and have them play it there (mm. 28-
43) and make sure they understand that the second section has mostly, if not all, the same idea
that was going on in the beginning.
-Timbre/Texture/Orchestration
I believe for this piece to sound the way Erickson wanted, timbre is a very important element to
look at. If students to not have a warm, rich tone color and great tone quality as a group, the
piece will not be played up to its full potential. The texture of this piece is very dense, making it
important that all chords especially be in tune, to hold that effect.
Objective: Students will use their ears to listen to their personal intonation and also for the
intonation of the group, focusing on blend and balance.
Assessment: While having the students play through the piece, have them hold certain notes to
make sure they are listening and try to get the chord in tune.
*Flow Chart
-See attached flow chart-







*Bibliography
"20th-century Classical Music." Wikipedia. Wikimedia Foundation, 22 Apr. 2014. Web. 23 Apr.
2014.
"Air for Band (Erickson)." Wind Repertory Project. N.p., n.d. Web. 23 Apr. 2014.
"Air for Band." Air for Band. Literature for Small Bands, n.d. Web. 23 Apr. 2014.

*A Discography
Teaching Music Through Performance In Band. Vol. 1 Grade 2-3.
North Texas Wind Symphony. Eugene Corporon, Conductor.(UIL Reference CD #UB074).
Young Band Repertoire Project CD Vol. 1 (MCD2160).
Frank Erickson Band Classics Virginia Wind Symphony. Dennis J. Zeisler, Conductor. (UIL
Reference CD #UB031)