And Hold in Memory

By Dr. Johnnie Vinson

Grade: 3

Created by Hannah Michele Nunnenkamp

Kansas State University Dr. Frederick Burrack

Teacher's Guide

Goals and Objectives/National Standards 1. To the student, a basic background about Dr. Johnnie Vinson, and Wesley Dunchof.

Standard 9 2. Should be able to listen then evaluate music and how it influences or inspire them while listening.

Standard 6 3. To give the student a firm understanding of the different rhythmic elements used in this piece and how those rhythms are associated with the melodic and harmonic structure.

Standard 5 and 6 4. The student should be able to recognize where the melody is located in the piece and what part is being heard

Standard 6 5. The student should be able to represent the melodic shape by listening to the melody and harmony.

Standard 5, 6, and 7 6. The student is expected to know the terms found within the music and understand the application in the music.

Standard 6 7. The student should notate the form given to them in their music.

Standard 7 8. The student is expected to prepare the material in the “Practice Guide” section, and be able to successfully complete a playing test.

Standard 2 and 5 9. Student should be able to understand how to compose a simple melody in the style of this piece.

Standard 4 and 5 10. Student should understand and apply basic scales to help improvise a simple melody.

Standard 3

M E N C National Standards

1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

Unit 1: The Composer Johnnie Vinson is the Director of Band and Professor of Music at Auburn University. He received a Bachelor of Science and master of Education degrees in Music Education from Auburn, and a Doctor of Arts degree in Music Theory from the University of Mississippi. Before the nearly 400 published works, and 36 years career at Auburn he was a Graduate Assistant at the University of Texas and University of Mississippi. Dr. Vinson started as the Assistant director of the Band and then the Marching band before he became the Director of Bands in 1991. While at Auburn, he conducted the Symphonic Band, oversaw the entire band program, and instructed conducting and band arranging classes. He was also the faculty sponsor of the Theta Lambda chapter of Tau Beta Sigma. Outside of the University he has worked with the Hal Leonard Corporation who publishes all of his music. Along with composing for Hal Leonard he worked as an adjudicator and clinician throughout the US. Dr. Vinson is a member of many professional organizations, they include serving as the National Vice President for Professional Relation for Tau Beta Sigma, Past President of the Alabama Music Educator Association, former member of the board of Directors of the national Band Association, Past President of Rho Chapter of Phi Beta Mu International Bandmasters Fraternity, MENC, Phi Mu Alpha Sinfonia, Kappa Kappa Psi, and ASCAP. One of the most prestigious awards that Dr. Vinson has been given was being elected to membership into American Bandmasters Association in 1994. Johnnie Vinson Slideshow: C:\Users\Hannah Michele\Johnnie_Vinson_Bio.pdf ==================================================================

Unit 2: Composition Wesley Dunchof was a normal 18 year old Senior at Dothan High School, he was active in the Marching Band and Concert Band where is played trumpet. That same year Wesley

was diagnosed with Leukemia on October 1st 2004. Wesley’s spirit did not weaken when he was diagnosed he kept going to school when he felt strong enough to and began advocating for all cancer

patients. During this time he shared his faith through a “mustard seed ministry”, helped obtain internet service for every room in the Ronald McDonald house near the M.D. Anderson Cancer research Center in

Texas, and helped to bring much-needed medical equipment to his home town of Dothan. During his life Wesley had always shown a passion for Auburn university and often wore a baseball cap with Auburn’s logo on it. Sadly on August 28, 2005 almost a year after he was diagnosed Wesley passed away. In the fall of 2005 shortly after Wesley passed away Marcie Ciecierski, assistant band director at

Dothan High School called Dr. Vinson and asked if he would consider wiring a piece in memory of Wesley. At first he decline because of the already extremely busy load of commissioned works. As the months passed Dr. Vinson had this reoccurring melody that kept playing in his head, this melody became the main theme of what is now called “And Hold in Memory“. There are a lot of beautiful passages in this

piece that really make them meaning of this song special. Passages from the Auburn Alma Mater are in the middle of the piece and the words in the second verse of the Alma

mater actually have become the title of this piece. Starting in measure 38 there is a trumpet duet that is very important because it is the main

melodic passage at that point in the piece, also because Wesley played trumpet.

Warning: If the students so choose they may use the information from

their Student Guide to work on their Web-quest

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Unit 3: H istorical Perspectives

Even though this piece is fairly new the message and story behind it is extremely important. Everyday there are around 245,225 people in the united states who are living with Leukemia, and the messages that people like Wesley are spearing can be shared everyday and with everyone. Music is the best way to spread the word when it comes to a message that needs to be shared. Dr. Vinson and Marcie Ciecierski were able to take a heartbreaking situation, and use it uplift and celebrate the spirit and ideals that Wesley shared with them every day. Each day we as musicians and performers have to interpret and understand different musical styles to really play the music help our audiences understand what the music we play is about. Our duty as teachers is to prepare each of our students by teaching how to interpret styles, and know the ways to understand the music that we play during year school year. Below is an example of a lesson plan that teaches interpretation.

T eaching Strategy: Style interpretation Instructional Goal of the Strategy: Students are expected to use discriptive words to express what they feel as we as how the music moves from beginning to end 

Standards Addressed in Strategy: Standards 7, 8, 9. Detailed procedures of Instructional Strategy and Assessment for successful achievement of goal:

1. Play three different styles of music (all that pertain to your piece) YouTube Links:

a. Jazz Music: http://www.youtube.com/watch?v=bZTRmnCKLOw b. Lyrical: http://www.youtube.com/watch?v=Uf2P_5ECBek c. Classical Symphony: http://www.youtube.com/watch?v=l45DAuXYSIs&feature=related

2. Have them fill out the style intereperation work sheet below.

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T echnical Considerations This piece begins in Ab Major and there are a lot of moving lines and interval jumps in this piece, that will need to be smooth and connected. With the Quarter note equaling 72 this piece will have a few challenges. Intonation will be something that we will have to worry about because some of the instrument such as the clarinets, trumpets, horns, and baritones are sometimes in the upper end of their range. There are only a couple of other musical elements that will make this piece difficult to pull off these are key change, meter changes, and changes in phrasing and dynamics. Throughout the piece there are areas that some instruments may have trouble with the are as follows:

        Measure 15: This passage will be the hardest for the clarinet because they have to use alternate side‐key fingerings because of the quickly moving eight notes found starting in 

measure 15.  Measure 16: The Vibraphone is extremely important to this section, before this point it has not 

be seen or heard in this piece and suddenly you have the main melody in this vibes. 

Measure 29‐35:          This is the climax of the piece and here you as the instructor not only run into 

numerous meter changes.  This are moves from 4/4, to 2/4, back to 4/4, to 5/4 and finally this transition ends in 4/4 once again.  These changes might be difficult for the student to grasp all these Meter changes so to help them have a day where they sign and clap and 

sing these five meter changes   

1‐2‐3‐4/ 1‐2/ 1‐2‐3‐4/ 1‐2‐3‐4‐5/ 1‐2‐3‐4 

Measure 38:  

       In this passage there is a trumpet duet that is very important because it is the main melodic passage at that point in the piece; also because Wesley primary instrument was trumpet the significance of the trumpet duet is very important.

Below are some warm-up exercises that will not only address these situations, but will also help fix potential problems that might comes up when working on this piece.

Warm-Up Exercises:

1. It is important to have control over the dynamics of this piece so practicing long tones and

learning how to properly

2. Below is a second warm-up that I would use for the whole band this will target the problems with

fingerings that the Clarinet and some flutes will have.

Form and Structure:

Into M.14 Upper woodwinds with trombone bass sound. Tension is being built with rhythmic movement and downward interval jumps.

Section A Measures

5-13 This section is where the main melody is introduced. The melody is very rich, full and

alive with a dark deep sound. This darker rich sound is achieved through the use of the middle voice instrument and no percussion. It is important that they melody is

boldly state so Dr. Vinson puts the main melodic theme in all the clarinets, saxophones, and Horns this is very helpful because the high voices will carry while,

the horn sound can be projected outwards Section

B: Measure

13-21 As I listened to this piece along with reading more into the story of Wesley I began hearing and finding new passages of this piece more moving and meaningful. The moving eighth notes and absence of a true bass sound makes this area in the piece

uneasy which makes me wonder if Dr. Vinson was trying to convey the emotions of Wesley and his family through out his leukemia battle. Wesley was a very spiritual

young man who wanted to share his faith and story with anyone who would listen and the re-occurrence of the main melody that follows this uneasy B section to me feel like

Wesley, in the music, is saying everything is going to be okay. Section

A : Measure

21-29 Here we hear the restatement of the main melody with the full band minus the

percussion, this melodic area is extremely important because we have been building up to it the entire song. This section need to be much more full and bright then the other sections and with the addition of the Piccolo and Flute section this is easily achieved.

Section

C : Measure

29-38 This Section is where the spirit of Wesley is really fused into the music. Wesley’s love for the Auburn school is presented with little melodic parts of the Auburn Alma Mater

which can be heard in this section. This section is dynamically the most significant section it ranges from p to ff and the entire band grows together and moves to one very passionate Fermata. This also is where the entire band plays together for the first time

in the piece. Section

A : Measure

38-46 In this section the restatement of the melody and the main theme is very important to

me knowing that Wesley’s primary instrument is Trumpet. The texture of the piece is a trumpet Solo/Duet with very light low brass sound.

Section

B: Measure

46-54 Dr. Vinson has a lot of reoccurring themes in this piece but I find it interesting how he uses the most unlikely duets to reinvent them and make the sound completely new for

the listener. For example here in this reoccurring B section the reinvented melodic lines are found in the Vibraphone and upper woodwinds.

Section A with a closing

Cadential extension:

Measure 54-69

Here we have the full band sound which was built up from the section A starting in M. 38. If we were to looking a diagram of shapes that were determined by what

instruments were playing and how many were playing at that time you would be able to see a diamond on it’s side, and this section would be the back half of the diamond. Each instrument is slowly fading out from the fuller ensemble sound until they upper woodwind fade away and the low brass finish the song at a rich yet piano dynamic. I would like to think that this slow decay in sound and instrumentation is symbolic of

Wesley finally being at peace and rest.

Rhythm: 1. This piece rhythmically may not appear challenging but if you follow this link you will find that

there are many rhythms that are very important to phrase, dynamics, and melody.

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Explanation of Activities and the Answer Key to the Student Guide Composer’s Information:

In this section I would like for you to read the information found about the composer in the slide show

about Dr. Johnnie Vinson. During the slide show you will be asked to fill in the blanks for each question.

1. During the beginning years of Dr. Vinson education he finished his undergrad work at Auburn 2. Hal-Leonard is Dr. Vinson's primary publisher they are responsible for publishing around 400 pieces of

his music.

3. During his time at Auburn Dr. Vinson began as Assistant director of band and Theory instructor.

4. While at Auburn Dr. Vinson was the faculty adviser of the Theta Lambda Chapter of Tau Beta Sigma

5. Dr. Vinson has served music in many ways during his time at he served the band in two main band fraternities Phi Mu Alpha and Kappa Kappa Psi.

Form Exercise

In this exercise the student is supposed to focus on the musical form Rondo. Rondo form has a recurring theme alternating with different (usually contrasting) sections called episodes. It may be asymmetrical (ABACADAEA) or symmetrical (ABACABA). A recurring section, especially the main theme, is sometimes more thoroughly varied, or else one episode may be a development of it. A similar arrangement is the ritornello form of the baroque concerto grosso. Arch form (ABCBA) resembles a symmetrical rondo without intermediate repetitions of the main theme. From this definition I would like you to write a poem in Rondo form because this is "And Hold in Memory" is symmetrical I would like you to make your poem in Symmetrical Rondo form as well. Below is an example of a Poem in Rondo Form by Paul Laurence Dunbar.

WE wear the mask that grins and lies, (A) It hides our cheeks and shades our eyes,— (A) This debt we pay to human guile; (B) With torn and bleeding hearts we smile, (B) And mouth with myriad subtleties. (A) Why should the world be over-wise, (A) In counting all our tears and sighs? (A) Nay, let them only see us, while (B) We wear the mask. (C) We smile, but, O great Christ, our cries (A) To thee from tortured souls arise. (A) We sing, but oh the clay is vile (B) Beneath our feet, and long the mile; (B) But let the world dream otherwise, (A) We wear the mask! (C).

John Phillipe Rameau: Minuet http://www.youtube.com/watch?v=GSxEzcXTWDs&feature=related Poem Rubric: Incomplete-3 F ine-5 Superior-7 Idea Idea is 

unclear or unfocused  May include random ideas.

Focuses on a single idea.  Idea may be understandable, but still fuzzy

Presents a fresh, original idea  Focuses on an idea, feeling, or experience  Uses specific, concrete images

O rganization Sequencing is illogical, or not evident. 

Sequencing is logical  The poetry form has been followed with few or no errors.

Uses a logical, effective organizational strategy.  Poem uses form to interpret idea creatively and effectively

Word Choice

General or ordinary words  Attempts new words with limited success  may include inappropriate words or limited use of vocabulary

Attempts to use descriptive words to create images  Tries to use words for specificity  Experiments with new and different words with some success

Precise, original, fresh words  Creates vivid images 

========================================================================= Music Performance Assessment: The Following rhythms will be covered in class and will be your responsibility to learn individually. Each rhythms is important to the entire piece, and is also important to how you as the student performs the music in class and in on the Concert. The passage that these examples come from are below, each Monday we will have a playing quiz over one of the selected rhythmic passages.

Number 1: Measure 16 and 17 in your music Number 2: Measure 1-3 in your music Number 3: Measure 4-13 in your music EXTRA CREDIT ALERT: On the playing test if you would like to you may re-arrange the notes in the passage to make a new Melody but you have to use the same rhythms. To make it successful I would print off sheet music at http://people.virginia.edu/~pdr4h/musicpaper/

Letter G rade with Points

A B C D R-Retake

Rhythm/Meter/Tempo No Mistakes Perfectly consistent pulse with only 1 or 2 missed rhythms and/ or scales slightly under tempo.

Tempo was correct, but missed a few rhythms.

Tempo was unstead and only half of the rhythms were correct

Unsteady rhythms, all rhythms were incorrect

A rticulation No Mistakes Almost all of the articulations are correct. Missed articulations are minimal

Several articulations are incorrect and/or several tongue/finger alignment problems.

Many articulations are incorrect and/or severe tongue/ finger alignment problems.

Almost all articulations are incorrect.

Musicianship/Tone Quality

Plays with phrasing, good tone quality, and is in tune

Very musical, however there are some slight problems with tone quality and/ or there are occasional mistakes in phrasing, dynamics, other musical markings.

Tone quality needs improvement and/or several mistakes in phrasing, dynamics, or other musical markings.

Poor tone quality and/or very little attention paid to phrasing, dynamics, or other musical markings.

Very poor tone quality and/or no attention paid to phrasing, dynamics, or other musical markings.

Terminology Review Crescendo-A gradual increase, in volume or intensity in the sound of a musical passage Decrescendo-Gradually diminishing force or loudness Mezzo Piano- Dynamics normally refers to the volume of a sound or note Piano- In dynamics is to play soft or quite with little intensity Forte- In dynamic is to play strongly with focused intensity Solo- Where one plays alone Tenuto-A tempo mark directing that a note or passage is to be held for the full time A Tempo-To return back to the original tempo

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Web‐Quest:  http://sites.google.com/site/andholdinmemory/