Comprehensive

Musicianship Unit
for teacher and student

Suite of Old American Dances

Robert Russell Bennett

Designed by Anneliese Feist
April 29, 2015

TEACHER GUIDE

Unit Contents

Learning Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Introduction & About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

About the Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Form & Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Instrumentation & Performance Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Student Assignments & Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Assessments & Rubrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Learning Goals

After completing this unit, the student will be able to:

1. Play his/her part to Suite of Old American Dances with no technical errors.

2. Play his/her part to Suite of Old American Dances with the appropriate style for each
movement.

3. Identify the melodic instruments in various sections of Suite of Old American Dances.

4. Describe the salient stylistic qualities of each movement of Suite of Old American
Dances.

5. Delineate scale degrees of and play a blues scale in C and B flat.

6. Compose a 12-measure blues melody and perform with a background track.

-2-

Introduction

It is the authors intent, through this Comprehensive Musicianship Unit, to provide a
practical academic guide to accompany the school concert bands study of Suite of Old
American Dances. Before teaching the unit, be sure to study score and read entirely through
both the teacher and student versions of this guide.

The materials in this unit cover the spectrum of possible study of this piece; select the
assignments that will best reach the needs of your ensemble. After choosing the
appropriate assignments, create a timeline of study, including due dates for assignments.
Spaces are provided in the Student Guide for the inclusion of due dates and other
expectations that may be unique to each individual ensemble.

To ensure maximum student success, provide work samples and a rubric for each
assignment as it is presented. Students must be made aware of the expectations for each
activity and the importance of creating a quality product as they progress through the unit.
Consider sharing student work in the classroom and at performances to increase student
accountability.

The practice assignments are designed with the intent of exposing students to a variety of
musical elements encountered in the Suite. The author suggests allowing the students to
perform these assignments in a multitude of settings, both as formative or summative
assessments, depending on the needs of your ensemble. Performance ideas include:
recording the assignments at home (to be turned in electronically), playing tests: in class or
as a pull out, individually or as a section, and student modeling in class for peer feedback.

About the Composer

Robert Russell Bennett was born in Kansas City, Missouri on June 15,
1894. His parents, being prominent musicians in the Kansas City area
introduced him to music at an early age.

In 1916, at the age of 22, Bennett moved to New York where he would
enjoy a brilliant career as an orchestrator of musicals. Bennett was
credited with orchestrating more than 200 Broadway shows. He
collaborated with such leading theater composers Irving Berlin and George Gershwin.

Bennett preferred to write tonal music in the post-war era, while contemporary composers
like Webern, Schoenberg, and even Copland were composing atonal and serial music. In
addition to the Suite of Old American Dances, his notable compositions include the opera
Maria Malibran and the Abraham Lincoln Symphony. He also wrote film, chamber, and
choral music.

-3-

About the Composition

FROM THE SCORE:

Bennett was inspired to score Suite after attending Dr. Edwin Goldmans 70th birthday
celebration concert, remarking, I suddenly thought of all the beautiful sounds the
American concert band could make that it hadnt yet made . . . my pen was practically
jumping out of my pocket begging me to give this great big instrument more music to play.

The Suite was shown to Dr. Goldman under the title Electric Park, which referred to an
amusement park in Kansas City that Bennett recalled from his childhood.

The five movements of the suite reflect popular dances of the day, hence the name the
publisher later supplied. (Bennetts original title Electric Park was never used.) The dances
Bennett chose to set to music were as follows:

Cakewalk
The cakewalk dance originated on Southern plantations, where slaves often imitated their
plantation owners. The dance or strut was danced to jig-like banjo/fiddle music, usually
done by couples who, with a backward sway, strutted in a medium high step or low kicking
fashion. Plantation owners would encourage their workers by presenting prizes for the
best couples. The prize was often a cake, usually shared with the other participants.

Schottische
Although the title of this dance suggests Scottish roots, the schottische is actually a German
variant of several Bohemian dances that later developed into the polka. The schottische
features quick shifts from foot to foot and a striking of the heel. The music for the early
schottische was usually written in 2/4 time, and many describe the dance as a slow polka.

Western One Step
The Western One Step included in the Suite of Old American Dances is a somewhat
misleading title. As Frederick Fennell points out, The composer informed me that this is
also a dance known as the Texas Tommy, an obviously bright-eyed tune with an equally
bright-eyed tempo. Little is known about the Texas Tommy, one of the obsolete forms of
the one-step, having originated in the early 20th century.

Wallflower Waltz
Although the beginning of the 20th century represented a new cultural era, replete with
new dance steps, the time-honored waltz still reigned as king of the ballroom dance scene.

Rag
Although there is no one specific dance that can be associated with the rag style, Bennetts
choice of music is representative of the era as a whole. The ragtime era coincided with the
beginning of the century, and with a new generation that was harshly criticized by its
elders for embracing novel ideas.

-4-

Form & Structure

Movement 1 Cake Walk

Introduction

Theme



Theme

Transition

Coda


Movement 2 Schottische

A

B

C

B (transition)

A


Movement 3 Western One Step

Introduction

A

B

C

D

E

B

Coda


Movement 4 Wallflower Waltz

Introduction

Waltz theme

Theme 2

Introduction


Movement 5 Rag

Introduction

A

B

C

A

D

A

C Blues
Beginning to 1
1 to 3; stated by cornets, trombones, &

euphoniums
3 to 7
7 to 9; tutti
9 to end closing; tutti

G Major
Beginning to 2; stated by clarinets & saxes
2 to 3; stated by clarinets
3 to 4; stated by woodwinds & low brass
4 to 5; stated by woodwinds & trumpets
5 to end; stated by clarinets & saxes

C Blues
Beginning to 1
1 to 2
2 to 3
3 to 4
4 to 6
6 to 9
9 to 10
10 to end

F Major
Beginning to 1; stated by flutes & E. horn
1 to 4; stated by clarinets
4 to 6; flutes & oboes, clarinet solo
6 to end; stated by flutes & E. horn w/ acc.

B flat Blues
Beginning to 1
1 to 2
2 to 3
3 to 6
6 to 7
7 to 11
11 to end

-5-

Instrumentation


Flute I & II


Piccolo



Oboe I & II


Bassoon I & II


Eb Clarinet


Solo BClarinet & BClarinet I
Bb Clarinet II & III

EAlto Clarinet


BBass Clarinet


Alto Saxophone I & II

Tenor Saxophone

Baritone Saxophone

Solo Cornet & Cornet I

Cornet II & III

Trumpet I & II

F Horn I & II

F Horn III & IV

Trombone I

Trombone II & III
Baritone B. C.

Baritone T. C.

Tuba
String Bass

Percussion I (Snare Drum,

Bass Drum, Sus. Cym)
Percussion II (Cr. Cym.,
Triangle, Sandpaper
Block, Sus. Cym.)
Mallet Percussion (Blocks,
Xylophone, Bells,
Vibraphone)
Timpani

Performance Considerations

Technical Considerations

Ranges and tempos are not too difficult. Instead, great effort must be spent to achieve a
uniformity of articulation and blend. Bennett uses simple rhythms in half, quarter, eighth,
and sixteenth notes. There are very few exposed sections, so ensemble blend is important.
There are no meter changes within movements, and execution of the given tempos is not
difficult.

Stylistic Considerations

Each movement has its own style (fast, slow, meditative, etc.) and requires its own style to
create the proper contrasts and recreate the proper dance style. The intensity and
movement of the music should be equal to the phrasing, articulation, rhythms, and
principles of the line. Dynamics in the piece range from ff to pp. Articulations are specified.

Musical Elements

It is important to execute the proper dance styles with crispness or length of rhythms as
well as energy. Syncopations abound. There are several jazz-style chords with sevenths and
ninths, but the harmony mostly is very tonal. Melodies are pronounced clearly and are
almost always given full statements by whatever instrument begins the melody.

-6-

Student Assignments
Listening & Identifying

Suite Melody Identification


Performing



Practice Assignment #1 (Style)




Practice Assignment #2 (Blues)

Analyzing

Articulation in Dance

Musical Term Scavenger Hunt

Creating

Compose a Blues Tune!

Resources

Articles, Books, & Presentations

Bennett, Robert Russell. The Broadway Sound: The Autobiography and Selected Essays of
Robert Russell Bennett. Ed. George Ferencz. New York: University of Rochester Press,
1999.

Bennett, Robert Russell. Suite of Old American Dances. Milwaukee, WI: Hal Leonard
Corporation, 1952.

Larson Dolan, Stacey. Rehearsing the Middle School Band. Cleveland Convention Center,
Cleveland, OH. 5 February 2015. Conference Presentation.

Miles, Richard, ed. Teaching Music through Performance in Band, Vol. 1 Chicago, IL: GIA
Publications, Inc., 1997.

Royston, Natalie. Practice: Teaching Students to Teach Themselves. Cleveland Convention
Center, Cleveland, OH. 6 February 2015. Conference Presentation.

Recordings

Bennett, Robert Russell. Suite of Old American Dances. Cincinnati Wind Symphony:
American Variations. Perf. Cincinnati Wind Symphony. Cond. Eugene Migliaro
Corporon. Klavier, 1995.

-7-

Assessments & Rubrics

Articulation in Dance Rubric (for each question)

Three adjectives are listed. (3)





Adjectives accurately describe the character of the dance. (3)

One articulation is circled. (1)





Articulation logically correlates with adjectives chosen. (1)

Justifications offer logical musical rationale for choices. (2)

________

________

________

________

________

TOTAL:

Examples of Logical Adjectives/Articulations

1. Cakewalk





bouncy


Articulation:
light
playful
(or similar)
2. Schottische
methodical

Articulation:
square
straight
(or similar)
3. Western One Step
energetic


Articulation:
fast
sharp
(or similar)
4. Wallflower Waltz
smooth


Articulation:
flowing
graceful
(or similar)
5. Rag
straight


Articulation:
bouncy
lively
(or similar)

-8-

________ / 50


Listening: Melody Identification Rubric

1. a ____ / ;

____ /

2. b ____ / ;

____ /

3. a ____ / ;

____ /

4. b ____ / ;

____ /

7. a ____ / ;

____ /

8. b ____ / ;

____ /

9. c ____ / ;

____ /

____ /

____ /

____ /

5. b ____ / 1
6. a ____ / 1

10. d ____ / 1
11. b ____ / ;
12. c ____ / 1
13. a ____ / ;
14. b ____ / 1
15. a ____ / ;

TOTAL POINTS: ______ / 15



Compose a Blues Tune! Rubric

Blues scale is chosen and written correctly. (2)




1 2 measure lick is chosen and written in the correct key. (2)


Entire melody is written using the chosen blues scale only. (12)


Composition utilizes <1 technique listed above. (4)




Melody contour follows a natural arch (low, high, low). (8)



Melody reaches one identifiable apex ~2/3 3/4 through tune. (4)

Handwriting is legible and neat. (2)






TOTAL POINTS:

-9-

________
________
________
________
________
________
________
________ / 30


Musical Terms Scavenger Hunt Rubric

Term
8va
a2

at the octave indicates that notes should be played an octave higher

than written
a due, or for two for two instruments. Also indicates 2 instruments
playing from same part are to play in unison after a divisi passage.

allegretto

a rather fast tempo marking between allegro and moderato

allegro ma non
troppo

fast, but not too fast

cantabile

singing in a melodious and graceful style, full of expression

cres.
dim.

abbreviation for crescendo smoothly increase the volume of a phrase

or passage
abbreviation for diminuendo smoothly decrease the volume of a phrase
or passage

dolce

sweetly; softly; with tender emotion

dolcissimo

sweeter, softer, and with more tender emotion than dolce

abbreviation for forte loudly

ff

abbreviation for fortissimo very loudly; louder than forte

fp
loco

Definition

abbreviation for fortepiano attack the written note at forte followed by

an immediate decrease in volume to piano
indicates that notes should be played in normal playing position,
typically cancelling any directive such as 8va

marc.

abbreviation for marcato marked, accented, emphatic, stressed

mf

abbreviation for mezzo forte moderately loudly; not as loud as forte

misterioso

in a mysterious manner; mysteriously

moderato

in a moderate tempo; moderately; restrained

mp

abbreviation for mezzo piano moderately softly; not as soft as piano

poco

little

-10-

poco a poco

little by little

abbreviation for piano softly

pp

abbreviation for pianissimo very softly; softer than piano

rall.

abbreviation for rallentando a gradual slowing of tempo

rit.


sempre

abbreviation for ritardando gradually delaying tempo

always

senza

without

sim.

abbreviation for simile similarly; in a similar manner as the previous

passage

soli

a passage that is to be performed with the entire section

solo

a passage that is to be performed by a single player

sonorous

imposingly deep and full; capable of producing a deep or ringing sound

stacc.

abbreviation for staccato detached, separated, distinct

subito

suddenly; at once; immediately

tempo

the speed of a composition

un

1 point per abbreviation (as necessary)

______ / 16

1 point per definition

______ / 34

______ / 5

5 points for overall neatness/legibility

-11-

TOTAL POINTS: _____ / 55


Performance Rubric

Superior

Excellent

Average

Fair

Poor

Performs rhythms with
100% accuracy and with
steady tempo

Performs rhythms with
90-98% accuracy and
with nearly steady
tempo.

Performs rhythms
between 80-89%
accuracy and with
wavering tempo.

Performs rhythms
between 70-79%
accuracy and with
wavering tempo.

Performs rhythms with
a 69% or less accuracy
and with tempo that
varied greatly.

Note Accuracy
/10

Performs notes with 99-
100% accuracy.

Performs notes
between 90-99% or
more accuracy.

Performs notes
between 80-89%
accuracy.

Performs notes
between 70-79%
accuracy.

Performs notes with a
69% or less accuracy.

Tone
/10

Has a characteristic tone for
instrument/ensemble for
grade level. Played with air
support. Mallets always
bounced off of bars.

Tone is mostly
characteristic for grade
level. Played with
nearly air support.
Mallets usually
bounced off of bars.

Tone is close to grade
level. Played with
somewhat air support.
Mallets sometimes
bounced off of bars.

Tone is below level.
Played with fair air
support. Mallets rarely
bounced off of bars.

Tone falls far below
grade level. Did not
play with any air
support. Mallets never
bounced off of bars.

Wind/Brass
Fundamentals
/10

Sat with perfect posture and
instrument carriage.

Sat with nearly perfect
posture and instrument
carriage. Was not
deficient in more than
one area.

Struggled to sit with
proper posture
instrument carriage.
Was deficient in two
areas.

Struggled to sit with
proper posture,
instrument carriage,
and/or embouchure
formation in all three
areas.

Failed to sit with
perfect posture,
instrument carriage,
and/or embouchure
formation. Deficiency
shown in all three
areas.

Percussion
Fundamentals
/10

Stood with perfect posture
and correct stick grip.
Sticking patterns were
correct. Played with correct
technique.

Stood with nearly
perfect posture and/or
had nearly correct stick
grip. Sticking patterns
were nearly correct.
Played with nearly
correct technique.

Stood with nearly
correct posture and
playing with correct
stick grip. Sticking
patterns had several
errors. Played with
some correct
technique.

Had trouble standing
with correct posture
and playing with
correct stick grip.
Sticking patterns had
many errors. Played
with very little correct
technique.

Failed to stand with
correct posture and
stick grip. Favored one
hand for the majority of
the exercise. Played
with incorrect
technique

Phrasing
/10

The performance as a whole
demonstrated proper
phrasing. Breaths are taken
in appropriate places.

The performance as a
whole demonstrated
nearly proper phrasing
with few additional
breaths in odd places.

The performance as a
whole demonstrated
some attention towards
phrasing; used several
additional breaths
inappropriate places.

The performance as a
whole demonstrated
little attention towards
phrasing; used several
additional breaths in
inappropriate places.

The performance as a
whole demonstrated no
attention towards
phrasing; used too
many erratic and odd
breaths.

Dynamics
/10

The performance as a whole
demonstrated 100% of all
written dynamics.

The performance as a
whole demonstrated
90-99% of all written
dynamics.

The performance as a
whole demonstrated
80-89% of all written
dynamics.

The performance as a
whole demonstrated
70-79% of all written
dynamics.

The performance as a
whole demonstrated
69% or less of all
written dynamics.

Articulations
/10

The performance as a whole
demonstrated all written
articulations.

The performance as a
whole demonstrated
90-99% or more of all
written articulations.

The performance as a
whole demonstrated
80-89% or more of all
written articulations.

The performance as a
whole demonstrated
70-79% or more of all
written articulations.

The performance as a
whole demonstrated
69% or less of all
written articulations.

Rhythmic
Accuracy
/10

-12-

STUDENT GUIDE

Unit Contents

Learning Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13


Assignment Checklist & About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


About the Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15


Form & Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16


Practice Guide . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17


Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18


Performance Rubric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Learning Goals

After completing this unit, you will be able to:

1. Play your part to Suite of Old American Dances with no technical errors.
2. Play your part to Suite of Old American Dances with the appropriate style for each
movement.
3. Identify the melodic instruments in various sections of Suite of Old American Dances.
4. Describe the salient stylistic qualities of each movement of Suite of Old American
Dances.
5. Delineate scale degrees of and play a blues scale in C and B flat.
6. Compose a 12-measure blues melody and perform with a background track.

-13-

Assignment Checklist

q Articulation in Dance

Due: _______________________

Due: _______________________

Due: _______________________

Due: _______________________

Due: _______________________

Due: _______________________

(Points possible: 50)

q Practice Assignment #1

q Listening: Melody Identification

(Points possible: 15)

q Practice Assignment #2

q Compose a Blues Tune!
(Points possible: 30)

q Musical Term Scavenger Hunt
(Points possible: 55)

About the Composer

Robert Russell Bennett was born in Kansas City, Missouri on June 15,
1894. His parents, being prominent musicians in the Kansas City area
introduced him to music at an early age.

In 1916, at the age of 22, Bennett moved to New York where he would
enjoy a brilliant career as an orchestrator of musicals. Bennett was
credited with orchestrating more than 200 Broadway shows. He
collaborated with such leading theater composers Irving Berlin and George Gershwin.

Bennett preferred to write tonal music in the post-war era, while contemporary composers
like Webern, Schoenberg, and even Copland were composing atonal and serial music. In
addition to the Suite of Old American Dances, his notable compositions include the opera
Maria Malibran and the Abraham Lincoln Symphony. He also wrote film, chamber, and
choral music.

-14-

About the Composition

FROM THE SCORE:

Bennett was inspired to score Suite after attending Dr. Edwin Goldmans 70th birthday
celebration concert, remarking, I suddenly thought of all the beautiful sounds the
American concert band could make that it hadnt yet made . . . my pen was practically
jumping out of my pocket begging me to give this great big instrument more music to play.

The Suite was shown to Dr. Goldman under the title Electric Park, which referred to an
amusement park in Kansas City that Bennett recalled from his childhood.

The five movements of the suite reflect popular dances of the day, hence the name the
publisher later supplied. (Bennetts original title Electric Park was never used.) The dances
Bennett chose to set to music were as follows:

Cakewalk
The cakewalk dance originated on Southern plantations, where slaves often imitated their
plantation owners. The dance or strut was danced to jig-like banjo/fiddle music, usually
done by couples who, with a backward sway, strutted in a medium high step or low kicking
fashion. Plantation owners would encourage their workers by presenting prizes for the
best couples. The prize was often a cake, usually shared with the other participants.

Schottische
Although the title of this dance suggests Scottish roots, the schottische is actually a German
variant of several Bohemian dances that later developed into the polka. The schottische
features quick shifts from foot to foot and a striking of the heel. The music for the early
schottische was usually written in 2/4 time, and many describe the dance as a slow polka.

Western One Step
The Western One Step included in the Suite of Old American Dances is a somewhat
misleading title. As Frederick Fennell points out, The composer informed me that this is
also a dance known as the Texas Tommy, an obviously bright-eyed tune with an equally
bright-eyed tempo. Little is known about the Texas Tommy, one of the obsolete forms of
the one-step, having originated in the early 20th century.

Wallflower Waltz
Although the beginning of the 20th century represented a new cultural era, replete with
new dance steps, the time-honored waltz still reigned as king of the ballroom dance scene.

Rag
Although there is no one specific dance that can be associated with the rag style, Bennetts
choice of music is representative of the era as a whole. The ragtime era coincided with the
beginning of the century, and with a new generation that was harshly criticized by its
elders for embracing novel ideas.

-15-

Form & Structure

Movement 1 Cake Walk

Introduction

Theme

Theme

Transition

Coda


Movement 2 Schottische

A

B

C

B (transition)

A


Movement 3 Western One Step

Introduction

A

B

C

D

E

B

Coda


Movement 4 Wallflower Waltz

Introduction

Waltz theme

Theme 2

Introduction


Movement 5 Rag

Introduction

A

B

C

A

D

A

C Blues
Beginning to 1
1 to 3
3 to 7
7 to 9
9 to end

G Major
Beginning to 2
2 to 3
3 to 4
4 to 5
5 to end

C Blues
Beginning to 1
1 to 2
2 to 3
3 to 4
4 to 6
6 to 9
9 to 10
10 to end

F Major
Beginning to 1
1 to 4
4 to 6
6 to end

B flat Blues
Beginning to 1
1 to 2
2 to 3
3 to 6
6 to 7
7 to 11
11 to end

-16-

Practice Guide

HOW TO PRACTICE

1. Choose 1 4 measures that need the most work.

2. Record yourself and listen to the recording. You will hear what went well and
what needs work.
3. Isolate ONE of the elements below, practice SLOWLY, and gradually speed up.

Rhythm

Articulations

Write in
rhythms

Look up
symbols

Clap &
count

Are you
tonguing
correctly?

Sizzle

Play on
one pitch

Does it
sound like it
should?

Phrasing

Notes
Dynamics
Look up
fingerings
s
Write in
note names

Check key
signature
Say note
names and
finger along

Look up
symbols

Over
exaggerate
dynamic
markings

Air play

PRACTICE SLOWLY 10 TIMES PERFECTLY!

-17-

Is it a 2, 4, or
8 measure
phrase?

Find breath
marks

Take in
BIG air

Play
phrases in
one breath

Articulation in Dance

Due: ________________

Watch the correlating video to the dance WITHOUT SOUND. This will allow you to focus
primarily on the movement of the dancers. Write three (3) adjectives that come to mind
and choose the most appropriate articulation for the style based on the dancers
movement.

Remember: WATCH EACH VIDEO WITHOUT SOUND!


1. Cakewalk

Video: https://www.youtube.com/watch?v=BkXQX1C9VWo

Adjectives:

Which articulation best fits the dance?

______________________________

(circle one)

______________________________
______________________________

Justification:
_________________________________________________________________________________________________
_________________________________________________________________________________________________
_________________________________________________________________________________________________

2. Schottische

Video: https://www.youtube.com/watch?v=BkXQX1C9VWo

Adjectives:

Which articulation best fits the dance?

______________________________

(circle one)

______________________________
______________________________

-18-


Justification:
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________


3. Western One Step

Video: https://www.youtube.com/watch?v=IJwRPE0Mfys

Adjectives:

Which articulation best fits the dance?

______________________________

(circle one)

______________________________
______________________________

Justification:
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________


4. Wallflower Waltz

Video: https://www.youtube.com/watch?v=TQC9I_j1ZSU

Adjectives:

Which articulation best fits the dance?

______________________________

(circle one)

______________________________
______________________________

-19-


Justification:
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________



5. Rag

Adjectives:

Which articulation best fits the dance?

______________________________

(circle one)

______________________________
______________________________

Justification:
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________
_________________________________________________________________________________________________________

Grading Checklist (per question)

Three adjectives are listed. (3)







Adjectives accurately describe the character of the dance. (3)


One articulation is circled. (1)







Articulation logically correlates with adjectives chosen. (1)



Justifications offer logical musical rationale for choices. (2)













TOTAL POINTS:

-20-

________
________
________
________
________
________ / 50

Practice Assignment #1

Due: ________________

Style in music is largely dictated by the articulations written. You have already identified
which articulations are most appropriate for each dance in the Suite now it is time to
implement those articulations!

On the scale patterns listed below (in concert pitch), practice each articulation (staccato,
tenuto, accent, and marcato). First, practice with the same articulation throughout the
pattern. After this is mastered, create and master AT LEAST 6 (SIX) patterns of
articulations. Extra points are available for more than 6 patterns mastered.

Examples:

staccato, accent

tenuto x 2, marcato x 2 tenuto, staccato, tenuto, accent

1. Concert G Major Scale

2. Concert G Major Scale, in thirds

3. Concert F Major Scale

4. Concert F Major Scale, in thirds

-21-

Listening: Melody Identification

Due: ________________

Suite of Old American Dances gives almost every section the opportunity to play the melody
throughout its five movements. As performers of this (and every) piece, it is important for
to recognize which section(s) have the melody in order to adjust the ensemble balance
accordingly.

Use the reference recording below to answer the multiple choice questions. Be sure to have
your music in front of you as you listen to keep track of where you are in the score. There
may be more than one answer for some questions. Circle all that apply.

Recording: https://www.youtube.com/watch?v=ritBkqX4HIw


I Cake Walk (0:00 4:00)


1. Which section/s has/have the melody in measures 22 38? (1)

a. trumpets

b. clarinets
c. trombones d. flutes

2. Measures 98 116? (1)

a. flutes


b. trombones
c. bassoons
d. saxophones

3. Measures 187 195? (1)

a. euphoniums

b. bassoons
c. saxophones d. trombones


II Schottische (4:05 7:00)


4. Which section/s has/have the melody in measures 3 23? (1)

a. horns


b. clarinets
c. saxophones d. flutes

5. Measures 39 43? (1)

a. trumpets

b. flutes

c. tubas
d. horns

6. Measures 53 61? (1)

a. clarinets

b. tubas

c. euphoniums d. oboes

-22-

III Western One Step (7:03 10:35)

7. Which section/s has/have the melody in measures 36 47? (1)

a. euphoniums

b. trombones
c. clarinets
d. flutes

8. Measures 68 84? (1)

a. tubas


b. euphoniums
c. saxophones d. clarinets

9. Measures 223 230? (1)

a. trumpets

b. clarinets
c. tubas
d. trombones


IV Wallflower Waltz (10:40 14:05)

10. Which section/s has/have the melody in measures 1 16? (1)

a. trumpets

b. horns

c. tubas
d. flutes

11. Measures 47 55? (1)

a. euphoniums

b. flutes

c. oboes
d. trombones

12. Measures 81 98? (1)

a. saxophones

b. clarinets
c. trumpets d. flutes


V Rag (14:10 18:02)

13. Which section/s has/have the melody in measures 17 23? (1)

a. clarinets

b. bassoons
c. saxophones d. flutes

14. Measures 113 127? (1)

a. trombones

b. trumpets
c. tubas
d. horns

15. Measures 129 143? (1)

a. oboes


b. clarinets
c. horns
d. flutes

TOTAL POINTS: ____ / 15

-23-

Practice Assignment #2

Due: ________________

As seen in Form & Structure (pg. 17), several of the movements of Suite of Old American
Dances are based on the blues scale. This is a foundational scale of jazz playing and is just as
essential as major and minor scales.

Below, label the scale degrees of each pitch in the space provided. Include alterations as
necessary ( or ). Then, construct the concert Bblues scale, following the same
pattern of scale degrees as you identified in the previous example.

Transposing instruments: re-write the scale for your instruments key on a separate
sheet of manuscript.

Once you have written both of these scales, practice playing them along with the
background track, listed below. Begin with basic quarter notes up and down the scale, and
then work with alternating intervals until you have gone all the way through the scale.

Alternating Interval Pattern:

1st note 2nd note. 1st note 3rd note. 1st note 4th note. etc.
2nd note 3rd note. 2nd note 4th note. 2nd note 5th note. etc.
(continue on in this way, beginning on each note of the scale)


Background Track:

Concert BBlues:
https://www.youtube.com/watch?v=xsrWVNJmLVY
Concert C Blues:
https://www.youtube.com/watch?v=pmwQ_WNTwXE

1 _____
_____

_____ _____

5
_____

_____ _____

1
_____ _____

_____ _____

_____

_____ _____

-24-

Compose a Blues Tune!

Due: ________________

Now that you have written and practiced your blues scale, you get the opportunity to
compose your own 12-bar blues tune! Choose either concert Bor concert C as your
home key for the tune. Write the pitches of this scale in the spaces below:


_________
_________
_________
_________
_________
_________
________


Play around with a variety of rhythms and intervals within this scale until you find a 1 or 2
measure lick or riff (jazz language for a melodic fragment) that you like. Write it down
in the space below:

This is the main lick upon which your tune is based. In order to fill the rest of the
measures of your tune, expand upon this lick using only the notes of the blues scale you
have chosen and written above. Here are some compositional techniques you may use:


Augmentation: notes are twice their original value




becomes

(eighth notes become quarter notes, etc.)



Diminution: notes are half their original value


(opposite of above example: quarter notes become eighth notes, etc.)

-25-


Transposition: all pitches are moved up or down by the same interval





becomes





(Transposed up approximately a minor third)

NOTE: For our purposes, we are only using the notes of the blues scale you have chosen.
This causes our transposition to remain in they key, rather than a literal transposition.

Notice that the third note has been transposed from an F up to a B. Though a minor third
above F is A, I used Bbecause it is the next closest note up from Ain the C blues
scale. If this occurs in your transposition, move up to the next closest note in your scale.

Repetition: melody is repeated (no more than twice in a row)

The above techniques are just some starting points to help your develop your melody.
Qualities of a good melody are listed in the rubric below. Allow your ear to guide you
throughout the compositional process frequently play through your melody and adjust.
Write your 12 measure blues tune on a separate piece of manuscript.


Blues scale is chosen and written correctly. (2)



________

1 2 measure lick is chosen and written in the correct key. (2)

________

Entire melody is written using the chosen blues scale only. (12)

________

Composition utilizes <1 technique listed above. (4)



________

Melody contour follows a natural arch (low, high, low). (8)


________

Melody reaches one identifiable apex ~2/3 3/4 through tune. (4)
________

Handwriting is legible and neat. (2)





________


TOTAL POINTS:
________ / 30

-26-


Example Blues Tune (earns full 30 points)

Chosen Scale: F Blues F A
B C C E F

(you all must use B or C I used F so that you cant steal my answers!)


Chosen Lick:



Tune:

Measures 1 2: main lick


Measures 3 4: repeated lick with variation
Measures 5 6: transposed, augmented,



and repeated lick

-27-

Measures 7 8 : building to apex

Measures 9 10: apex, transposed lick
Measures 11 12: fall from apex,

repeated fragment of lick

Musical Terms Scavenger Hunt

Due: ________________

In Suite of Old American Dances, Bennett writes a variety of musical terms into the score.
These terms help the performers to understand extra information about the music that is
not able to expressed via musical notation of pitch and rhythm.

Fill in the blanks with the definition of each musical term. Definitions may be found at the
website listed below. If the term is abbreviated, please include the full word and the
definition of the word in the definition column.

Website: http://dictionary.onmusic.org/

Term

Definition

8va

a2

allegretto

allegro ma non
troppo

(hint: look under ma)

cantabile

cres.

dim.

dolce

dolcissimo

ff

fp

loco

marc.

-28-

mf

misterioso

moderato

mp

poco

poco a poco

(hint: look under poco)

pp

rall.

rit.


sempre

senza

sim.

soli

solo

sonorous

(hint: use a regular dictionary!)

stacc.

subito

tempo

un

1 point per abbreviation (as necessary)
1 point per definition


5 points for overall neatness/legibility

______ / 16
______ / 34
______ / 5
-29-

TOTAL POINTS: _____ / 55

Performance Rubric

Superior

Excellent

Average

Fair

Poor

Performs rhythms with
100% accuracy and with
steady tempo

Performs rhythms with
90-98% accuracy and
with nearly steady
tempo.

Performs rhythms
between 80-89%
accuracy and with
wavering tempo.

Performs rhythms
between 70-79%
accuracy and with
wavering tempo.

Performs rhythms with
a 69% or less accuracy
and with tempo that
varied greatly.

Note Accuracy
/10

Performs notes with 99-
100% accuracy.

Performs notes
between 90-99% or
more accuracy.

Performs notes
between 80-89%
accuracy.

Performs notes
between 70-79%
accuracy.

Performs notes with a
69% or less accuracy.

Tone
/10

Has a characteristic tone for
instrument/ensemble for
grade level. Played with air
support. Mallets always
bounced off of bars.

Tone is mostly
characteristic for grade
level. Played with
nearly air support.
Mallets usually
bounced off of bars.

Tone is close to grade
level. Played with
somewhat air support.
Mallets sometimes
bounced off of bars.

Tone is below level.
Played with fair air
support. Mallets rarely
bounced off of bars.

Tone falls far below
grade level. Did not
play with any air
support. Mallets never
bounced off of bars.

Sat with perfect posture and
instrument carriage.

Sat with nearly perfect
posture and instrument
carriage. Was not
deficient in more than
one area.

Struggled to sit with
proper posture
instrument carriage.
Was deficient in two
areas.

Struggled to sit with
proper posture,
instrument carriage,
and/or embouchure
formation in all three
areas.

Failed to sit with
perfect posture,
instrument carriage,
and/or embouchure
formation. Deficiency
shown in all three
areas.

Percussion
Fundamentals
/10

Stood with perfect posture
and correct stick grip.
Sticking patterns were
correct. Played with correct
technique.

Stood with nearly
perfect posture and/or
had nearly correct stick
grip. Sticking patterns
were nearly correct.
Played with nearly
correct technique.

Stood with nearly
correct posture and
playing with correct
stick grip. Sticking
patterns had several
errors. Played with
some correct
technique.

Had trouble standing
with correct posture
and playing with
correct stick grip.
Sticking patterns had
many errors. Played
with very little correct
technique.

Failed to stand with
correct posture and
stick grip. Favored one
hand for the majority of
the exercise. Played
with incorrect
technique

Phrasing
/10

The performance as a whole
demonstrated proper
phrasing. Breaths are taken
in appropriate places.

The performance as a
whole demonstrated
nearly proper phrasing
with few additional
breaths in odd places.

The performance as a
whole demonstrated
some attention towards
phrasing; used several
additional breaths
inappropriate places.

The performance as a
whole demonstrated
little attention towards
phrasing; used several
additional breaths in
inappropriate places.

The performance as a
whole demonstrated no
attention towards
phrasing; used too
many erratic and odd
breaths.

Dynamics
/10

The performance as a whole
demonstrated 100% of all
written dynamics.

The performance as a
whole demonstrated
90-99% of all written
dynamics.

The performance as a
whole demonstrated
80-89% of all written
dynamics.

The performance as a
whole demonstrated
70-79% of all written
dynamics.

The performance as a
whole demonstrated
69% or less of all
written dynamics.

Articulations
/10

The performance as a whole
demonstrated all written
articulations.

The performance as a
whole demonstrated
90-99% or more of all
written articulations.

The performance as a
whole demonstrated
80-89% or more of all
written articulations.

The performance as a
whole demonstrated
70-79% or more of all
written articulations.

The performance as a
whole demonstrated
69% or less of all
written articulations.

Rhythmic
Accuracy
/10

Wind/Brass
Fundamentals
/10

-30-