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AMERICAN RIVERSONGS
Pierre LaPlante
Byron Coulter MUS 3470 – Instrumental Methods II
Spring 2014
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Table of Contents Basic Information 3 Program Note s 4 Historical Information 5 The Work 5 The Composer 5 Related History 6 Analysis 7-‐9 Errata 9 Performance Notes 10 Glossary of Terms 10 Performance Concepts & Skills 11 Student Objectives 12 Strategies & Activities 12 Student Assignments 13-‐17 Practice Guide 18-‐20 Evaluation of Students 21 Rehearsal Schedule 22-‐23 Resources 24 Related Items 24
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Basic Information Title American Riversongs
Composer Pierre LaPlante (b. 1943)
Arranger/Transcriber/Editor None
Publisher Daehn Publications
Grade Grade 3
Style Traditional, Folk Songs
Keys B-‐flat Major, E-‐flat Major, F Major
Meters 6/8 (mm. 1-‐71) 3/4, 4/4, & 2/4 Interplay (mm. 72-‐107) 2/4 (mm. 108-‐end)
Tempo Indications Bright and spirited (mm. 1-‐71) Molto Moderato (mm. 72-‐75) Moderato (mm. 76-‐107) Fast, rhythmic (mm. 108-‐end)
Performance Time Approximately 6 Minutes
Instrumentation Flute 1 and Piccolo Flute 2 Oboe E-‐flat
Clarinet B-‐flat
Clarinets 1,2, & 3
E-‐flat Alto Clarinet
B-‐flat Bass Clarinet Bassoon
E-‐flat Alto saxophones
1 & 2
B-‐flat Tenor
Saxophone
E-‐flat Baritone Saxophone
B-‐flat Trumpets 1,2, & 3
F Horns 1 & 2
Trombones 1, 2, & 3
Baritone TC
Baritone BC
Bass Timpani Percussion 1
Percussion 2
Score Information This is a full score in written, transposed pitch. Range should not be a big concern, although the trumpets do get a bit high in certain sections. The alto saxophone 1 part in mm. 219-‐223 is labeled as an optional alto saxophone solo. From measures 12-‐20, the E-‐flat clarinets, 3rd B-‐flat clarinets, alto clarinets, tenor saxophones, baritones, and bells play only on the second time after the repeat.
Summary This piece can be a moderate challenge for intermediate high school bands. Light articulation in the two fast sections is a must. This piece should be selected for students who can quickly change and interpret the styles at various points in the music.
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Program Notes Pierre LaPlante is a lifelong student and teacher of music. An accomplished
composer, LaPlante's catalog of musical works has been performed by high school bands in
Australia, Europe, Japan, Saudi Arabia, and the United States. American Riversongs is a
setting of folk songs reminiscent of a developing American nation where waterways were
central to commerce and expansion of cities. The piece is in ternary form, beginning with a
bright, spirited version of “Down the River.” The middle section is a lyrical, andante setting
of “Shenandoah.” The tempo brightens as section three juxtaposes “The Glendy Burk”
against a theme based on a Creole bamboula tune. A syncopated ragtime rhythm draws the
piece to a fiery conclusion. American Riversongs was commissioned by and dedicated to the
1988-‐89 Oberlin High School Band in Oberlin, Ohio.1
1 Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, and Richard
Miles. Teaching Music through Performance in Band. Vol. 3. Chicago: GIA Publications, INC, 2000. 198-‐201. 9
vols. Print.
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Historical Information
The Work
American Riversongs is based on traditional and composed music of an earlier time,
when the rivers and waterways were the lifelines of a growing nation. The piece begins
with a rousing setting of “Down the River,” followed by an expansive and dramatic
treatment of “Shenandoah,” or sometimes called “Across the Wide Missouri.” The brass is
featured heavily in Stephen Foster’s “The Glendy Burk”. As “The Glendy Burk” progresses, a
second theme is introduced in the piccolo, flutes, and tambourine. This theme is based on a
Creole bamboula tune that probably originated in the Louisiana delta region.
Pierre LaPlante
Pierre LaPlante is composer of French-‐Canadian descent. He was born on
September 25, 1943 in West Allis, Wisconsin and grew up in Sturgeon Bay, Wisconsin. He
was active in his high school band, choir, and theater. His many years of working with
beginning band students have proven very helpful when writing music that is accessible to
young players. He completed both his bachelor’s and master’s degrees in music from the
University of Wisconsin at Madison. LaPlante began his teaching career in the
Blanchardville, Wisconsin public school system (now Pecatonica Area Schools), where he
directed the high school band and chorus. Having also taught high school marching band,
concert band, and chorus in Prescott, Wisconsin and general/elementary music and
beginning band at Pecatonica Elementary School, he retired in 2001. Since his retirement,
he has been a bassoonist with the Beloit-‐Janesville Symphony Orchestra.
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Related History
Events During the 19th Century
American Riversongs personifies events in the United States during the 1800’s. In
addition to the expansion of waterways and canals, many other events occurred. The
Industrial Revolution was booming, the Underground Railroad was established, the state of
Texas won independence from Mexico during the Mexican-‐American War, the Gold Rush
struck the state of California, our country was torn apart during the Civil War, and
President Lincoln was assassinated. In terms of world history, the saxophone was patented
by Adolphe Sax, The Great Exhibition in London was the first international World’s Fair,
and the Crimean War broke out between France, the U.K., the Ottoman Empire, and Russia.
Events During the 1990’s
American Riversongs was written in 1991. During the 1990’s in American History,
the Cold War had just ended, Saddam Hussein invaded Kuwait, the Gulf War broke out,
Princess Diana died in a car crash in England, President Bill Clinton had an affair with a
woman other than his own wife, and the Columbine High School Massacre occurred. This
decade was really an electronic age. The World Wide Web was born in 1992, resulting in
communication changes (e-‐mail, online gambling, etc.) The fashion in the 1990’s was filled
with Grunge (i.e. boy’s jeans grew bigger and tattoos and body piercings became more
popular). Around the world, Germany reunified on October 3, 1990 as a result of the fall of
the Berlin Wall, the European Union formed in 1992 under the Maastricht Treaty, and the
former countries of the Warsaw Pact moved from single party socialist states to multi-‐
party states with private sector economies.
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Formal Analysis
Measures Key Scoring 1-‐11 B-‐flat Major Introduction: 6/8, bright and spirited in the full ensemble 12-‐20 Theme A: “Down the River” melody in upper W. W.’s/accompaniment in low brass 21-‐28 Melody in trumpets/8th note accompaniment in upper W.W.’s 29-‐35 Melody in trumpets & upper W.W.’s/ countermelody in saxes and baritones 36-‐39 Brief transition in full ensemble 40-‐47 Antiphonal section (melody in upper W.W.’s and trumpets echoed by low brass & low reeds) 48-‐55 Upper W.W. melody with alto sax countermelody 56-‐63 Bridge: Melody in trumpets with full band accompaniment 64-‐71 Consequent phrase from Theme A restated with full ensemble instrumentation
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72-‐75 E-‐flat Major Introduction of “Shenandoah” in flutes and oboes 76-‐88 First statement of melody in solo trumpet with moving lines in low brass & low reeds 89-‐99 Second statement of melody in trombones with countermelody in upper W.W.’s 100-‐107 Transition in full ensemble 108-‐119 F Major Introduction of “The Glendy Burk” in upper W.W.’s & alto saxes 120-‐128 “Brass Band” section with antecedent phrase in trumpets/accompaniment in horns & low brass 129-‐137 W.W.’s join in with the consequent phrase, creating full band instrumentation 138-‐153 Melody in flutes, oboes, & 1st clarinets/moving lines in 2nd and 3rd clarinets & tenor saxes/accompaniment in low brass & low reeds 154-‐164 Antiphonal transition in full ensemble 165-‐172 Bamboula tune melody in flutes
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173-‐180 Bamboula melody continues with flute and oboe against a brief tuba solo 181-‐195 Bamboula melody continues in the upper W.W.’s with “The Glendy Burk” theme occurring simultaneously in the trumpets 196-‐214 Bridge: Full ensemble tutti 215-‐223 Thinly scored with the first phrase of the bamboula theme in the flutes and the second in the alto saxes 224-‐231 Canonic section with “The Glendy Burk” melody in flutes echoed by the clarinets and bassoons 232-‐249 Coda: “Layered” effect with melody in every instrument group at different points
Overall, American Riversongs is in ABA ternary form. The first A section is “Down the River”, the middle B section is “Shenandoah”, and the final A section is “The Glendy Burk.”
Errata
• At measure 108, it says “Fast, rythmic.” It should be spelled “Fast, rhythmic.” There are no published errata.
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Performance Notes
• Light staccato playing is important as it’s used over a wide dynamic spectrum and thickly and thinly scored areas.
• The first section calls for a variety of note lifts simultaneously – a lifted style in the melody will serve to provide clarity.
• In the slow middle section, contrapuntal writing becomes intricate – expose students to the importance of maintaining balance and precision. Additionally, rich and sonorous timbres are necessary for all instruments.
• Students must be careful with pacing in the middle section and resist the urge to get too loud too soon on crescendos.
• Rhythmic precision and accuracy is essential in the final fast section since it contains a lot of challenging syncopated rhythms.
• There are rapid shifts in dynamic levels and orchestration in the final fast section, so paying particular attention to the clarity and balance will enhance the “layered” effect at the end of the work.
Glossary of Terms
Bright and spirited To perform in a lively, spirited manner Soli To be performed by or with soloists
Crescendo To get louder Molto moderato To play at a very moderate tempo
Poco rit. To gradually slow down Moderato To play at a moderate tempo Espressivo To be performed in an expressive manner
Crescendo poco a poco To gradually get louder Diminuendo To get softer
Poco piu mosso To get a little quicker Tutti To play all or together
Marcato To play heavy and accented A tempo To return to the original tempo
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Performance Concepts & Skills
Articulation • Identifying the difference between staccato and marcato • Identifying the difference between an accent on the downbeat vs. an accent
on the upbeat and clearly making the differences obvious Rhythmic Accuracy & Clarity
• Making clear use of the dotted eighth-‐sixteenth rhythm and understanding the difference between that rhythm vs. a quarter note-‐eighth note triplet rhythm
• Making clear use of upbeat eighth notes and making sure that they don’t rush Tone and Intonation
• Understanding the concept of tuning within sections and the entire ensemble (especially in the slow middle section)
• Understanding the importance of rich, dark tone in the slow middle section Balance and Blend
• Recognizing the concept of the “pyramid of sound”, emphasizing that the low voices should be brought out
• Recognizing the fact that moving lines should be brought out in lyrical sections to keep the tempo moving forward, not dragging
Dynamics
• Creating gradual crescendos and decrescendos (not getting too loud or soft too soon)
• Making use of good sounds at loud dynamics and not overplaying
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Student Objectives
• Students will develop an awareness of ensemble intonation, balance, and blend. o This will be accomplished by rehearsing the slow middle section. The
concept of “listening to other people’s parts” will be emphasized. Scales in groups of four will be done as a warm-‐up exercise on the scales that are in the keys of American Riversongs.
• Students will improve their rhythm reading abilities and develop a sense of rhythmic independence.
o This will be accomplished by sight-‐reading and rehearsing the syncopated rhythms in the final fast section. The bamboula theme rhythm will be used on the appropriate scales to focus on rhythmic precision and stability.
• Students will identify important musical and related concepts in regards to American Riversongs.
o This will be accomplished through completing a listening activity through two different recordings of American Riversongs and completing a quiz/worksheet for evaluation of the piece.
Strategies & Activities
• Students will play the following rhythm on concert B-‐flat, E-‐flat, and F major scales as an ensemble for a warm-‐up exercise in order to gain a sense of syncopated rhythmic precision.
Bamboula Theme Rhythm
• Students will play concert B-‐flat, E-‐flat, and F major scales as an ensemble tongued
in eighth notes with different articulation markings (staccato, legato, and marcato) in order to develop a sense of different styles.
• Students will play concert B-‐flat, E-‐flat, and F major scales in groups of four in whole notes. This purpose is to build chords and emphasize the concept of listening for intonation, balance, and blend.
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Student Assignments
• Students will perform a playing exam. It will consist of two items. 1) They will play multiple excerpts of American Riversongs on their own, in front of
the class. The excerpts will contain lyrical and rhythmic passages. o Flutes: mm. 89-‐100 and mm. 173-‐180 o Oboes: mm. 72-‐75 and mm. 180-‐189 o Clarinets: mm. 89-‐100 and mm. 129-‐137 o Bass clarinets: mm. 89-‐100 and mm. 196-‐203 o Bassoons: mm. 89-‐100 and mm. 146-‐153 o Alto saxophones: mm. 95-‐101and mm. 196-‐203 o Tenor saxophones: mm. 76-‐84 and mm. 188-‐195 o Baritone saxophones: mm. 89-‐100 and mm. 196-‐203 o Trumpets: mm. 92-‐99 and mm. 120-‐128 o French horns: mm. 76-‐84 and mm. 204-‐213 o Trombones: mm. 89-‐97 and mm. 196-‐203 o Baritones: mm. 95-‐101 and mm. 196-‐203 o Tubas: mm. 89-‐100 and mm. 173-‐180
2) Students will play concert E-‐flat major and concert F major scales. They should
be prepared to tongue AND slur -‐ the director will choose which one will be tongued and which one will be slurred during the playing exam.
• Students will complete a listening activity using two different online recordings of American Riversongs and will compare/contrast musical qualities of each.
• Students will complete a worksheet/quiz for evaluation on American Riversongs.
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Assignment No. 1 – Playing Exam
Playing Exam Part 1 Play the following assigned excerpts from American Riversongs. Part 2 Play a concert E-‐flat major scale and a concert F major scale using the following rhythm pattern. Be prepared to tongue one scale and slur the other.
E-‐flat Major Sample
F Major Sample
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Assignment No. 2 – Listening Activity
Listen to the following links on YouTube and answer the corresponding questions.
a) https://www.youtube.com/watch?v=BTgXGf6jthQ
b) https://www.youtube.com/watch?v=bJCqzTsWU38
1. Describe what you noticed about the tone in the 1st example and the tone in the 2nd example. How were they different?
2. Which ensemble do you think had better clarity and balance? Explain.
3. If you had to help the band with the weaker tone and balance, what would you say to help them improve? Provide examples and concepts discussed in class.
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Assignment No. 3 – Worksheet/Quiz
1. Where was Pierre LaPlante born?
a. Minneapolis, Minnesota b. West Allis, Wisconsin c. Sturgeon Bay, Wisconsin d. Springfield, Illinois
2. American Riversongs depicts the expansion of waterways and canals in the 19th
century. Additionally, many other important events took place in America during that time. Name three of those events.
3. Using the staves below, write out B-‐flat, E-‐flat, and F major scales in quarter notes. Do NOT write in a key signature. Instead, write the accidentals in front of the notes. Repeat the first note at the top. WATCH THE CLEFS!
B-‐flat Major
E-‐flat Major
F Major
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4. Match the name of the melody to the appropriate excerpt. Draw arrows to connect.
Bamboula Theme
The Glendy Burk
5. What is the musical form of American Riversongs?
a. Binary form b. Strophic form c. Ternary form d. Through-‐composed form
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Practice Guide
Sample Exercises – Alto Saxophone
Exercise 1: C Major Scale Using Bamboula Theme
Exercise 2: D Major Scale Using Bamboula Theme
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Ensemble Goals Week 1
• Sight-‐read all pieces for festival (take the pieces slightly under tempo). • Have all notes and rhythms woodshedded by the end of the week.
Week 2
• Do more macro-‐rehearsal segments. • Increase tempos a little bit. • Have all notes and rhythms learned under tempo by the end of the week.
Week 3
• Dig into the micro sections of the music. • Isolate tone and intonation. • Have all notes and rhythms learned up to full speed.
Week 4
• Continue to dig into the micro sections of the music. • Isolate articulation markings and style. • Work on transitions/rhythmic stability in the music. • Maintain full tempo and be ready to isolate inconsistent tempos in the transitions.
Week 5
• Finish digging into the micro sections of the music and isolate common problems heard on the playing tests.
• Stress dynamics. • Continue to work on transitions/rhythmic stability in the music.
Week 6
• Fix anything that needs to be fixed at this point and return to macro-‐rehearsal segments.
• Stress musicality. • Have a dress rehearsal in the auditorium during class time the day before and the
day of the concert.
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Individual Practice Guide for Scales and Assigned Parts Scales Students should practice the concert B-‐flat, concert E-‐flat, and concert F major scales at home regularly. When practicing the scales, make it a goal to have the tongue and finger coordination completely fluid and smooth. You should start slow during week one (q=92 is a good starting tempo). Below is a weekly scale practice guide (with the tempo increasing each week).
• Week 1: All scales at q=92 • Week 2: All scales at q=96 • Week 3: All scales at q=100 • Week 4: All scales at q=108 • Week 5: All scales at q=112 • Week 6: All scales at q=120
Assigned Parts for Playing Test When practicing for the playing tests at home, focus on one musical concept at a time. NOTES AND RHYTHMS are the first priority! Once you can play the notes and rhythms correctly and fluid, then focus on other elements in this order: 1) Tone 2) Intonation 3) Articulations 4) Dynamics 5) Musical Phrasing *As for the tempo, start at a comfortable pace, and then work the segments up to the indicated tempo markings. However, DO NOT speed up the tempo until you are comfortable playing all of the notes and rhythms fluidly without having to think very hard!
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Evaluation (Alto Saxophone Example)
Playing Exam
1) Play the concert F major scale (D major scale for alto saxophones) tongued and the concert E-‐flat major scale (C major scale for alto saxophones) slurred.
2) Play your assigned excerpts: mm. 95-‐101 and mm. 196-‐203.
Rubric
Highest Lowest
Tone 5 4 3 2 1 Pitch 5 4 3 2 1 Rhythmic Accuracy 5 4 3 2 1 Articulation/Style 5 4 3 2 1 Dynamics 5 4 3 2 1 Score: /25 Comments:
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Rehearsal Schedule
*This schedule is subject to change due to specific needs of the ensemble and/or unexpected circumstances.
January 2015
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY
5 LaPlante (sight-‐read) Van der Roost (sight-‐read) Seitz (sight-‐read)
6 Van der Roost (whole piece) Seitz (whole piece) LaPlante (whole piece)
7 Warm-‐Up: B-‐flat/F major scales in whole notes (10 min.) LaPlante (mm. 72-‐108) Seitz (Trio section)
8 Seitz (beginning to trio section) Van der Roost LaPlante (mm. 1-‐72)
9 Van der Roost (20 minutes) LaPlante (mm. 1-‐108)
12 Seitz (run-‐through) Van der Roost (30 minutes)
13 Warm-‐Up: B-‐flat/E-‐flat major scales using Bamboula theme (10 minutes) LaPlante (mm. 108-‐end) Seitz (Trio section)
14 Van der Roost LaPlante (mm. 72-‐end)
15 Warm-‐Up: Chorales (10 minutes) Van der Roost Seitz (beginning to trio section)
16 Listen to a recording of American Riversongs LaPlante (mm. 1-‐108) Seitz (run-‐through)
19 Warm-‐Up: Two chorales Listen to a recording of Canterbury Chorale Van der Roost (rehearse certain spots, then full run-‐through)
20 Warm-‐Up: F major scale tongued – staccato, then legato LaPlante (mm. 108-‐end) Seitz (trio section)
21 Van der Roost Seitz (beginning to trio section)
22 Seitz (beginning to trio section) LaPlante (mm. 72-‐end) Van der Roost
23 Van der Roost LaPlante (beginning to mm. 108) Seitz (run-‐through)
26 Warm-‐Up: E-‐flat and F major scales using Bamboula theme LaPlante (mm. 108-‐end) Van der Roost
27 Van der Roost Seitz (trio section) LaPlante (mm. 72-‐108)
28 Seitz (beginning to trio section) LaPlante (mm. 72-‐end) Van der Roost
29 LaPlante (run-‐through) Seitz (spot check, then run-‐through) Van der Roost
30 Warm-‐Up: Two chorales (10 minutes) Van der Roost Seitz (beginning to trio section) LaPlante (mm. 72-‐108)
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February 2015
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 2
LaPlante (mm. 1-‐108) Van der Roost Seitz (run-‐through)
3 LaPlante (mm. 108-‐end) Seitz (trio section) Van der Roost (run-‐through)
3 LaPlante (mm. 108-‐end) Van der Roost *Practice sight-‐reading for festival
5 Seitz (beginning to trio section) Van der Roost *Practice sight-‐reading for festival
6 Record concert program (run-‐through all pieces in order), then listen for evaluation
9 Listen to Friday’s recording and discuss notes for improvement LaPlante (mm. 1-‐108) *Practice sight-‐reading for festival
10 Seitz (run-‐through) Van der Roost *Practice sight-‐reading for festival
11 LaPlante (run-‐through) Van der Roost (spot check, then run-‐through) *Practice sight-‐reading for festival
12 Spot check pieces in concert order, then run-‐through: Seitz Van der Roost LaPlante
13 Full concert dress rehearsal in auditorium (spot check, then run-‐through program) Seitz Van der Roost LaPlante
Plan for 50 minutes of rehearsal time daily. Program Selections
• March Grandioso, Roland F. Seitz/Arr. Andrew Glover • Canterbury Chorale, Jan Van der Roost • American Riversongs, Pierre LaPlante
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Resources Audio Recordings
• Stanton’s Sheet Music Reference: http://www.stantons.com/ll-‐title/american-‐riversongs/107473/?s=1
Video
• “Shenandoah” – Tom Roush: http://www.youtube.com/watch?v=Y3lBKLbiLH0
• Stephen Foster’s “The Glendy Burk” – Tom Roush: http://www.youtube.com/watch?v=GC5QEa6d5a4
• Iowa State University Campus Band – “American Riversongs” (February 2013): http://www.youtube.com/watch?v=MdRDq1_Yvtw
Bibliography
Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, and Richard Miles. Teaching Music Through Performance in Band. Vol. 3 Chicago: GIA Publications, INC 2000. 198-‐201. 9 vols. Print.
Related Items
Other Works by Pierre LaPlante
• Prospect, Hymn for Band (Grade 2, easier) • The Red River Valley (Grade 2, easier) • Prairie Songs (Grade 3, same) • In the Forest of the King (Grade 3, same)
Similar Works by Different Composers
• Kentucky 1800 -‐ Clare Grundman (Grade 2, easier) • Down a Country Lane – Aaron Copland (Grade 2, easier) • English Folk Song Suite – Ralph Vaughan Williams (Grade 4, more advanced) • Variations on “America” – Charles Ives (Grade 5, more advanced)
