Music Selection

I selected Elegy for Albinoni by Shelley Hanson for high school band. This piece can

connect to a student life by allowing them to express their feelings. The sad yet romantic tone

which encompasses one of Albinonis violin sonatas, allows the students to express feelings such

a sadness, longing, and desperation. These feelings could come from experiences such as losing a

family member, friend, or pet. Yet, they could come from common experiences such as being sad

after getting a bad grade, or after losing a sports game. This piece is unique because the ending is

quiet and introspective after having such an expressive and lovely melody one would not expect

such an ending. The form is good because the melody taken from one of Albinonis violin

sonatas is passed throughout the band and just heard enough to get the melody in ones ears

before it is modified and transformed. The piece has a good design because the high point makes

sense and the musical events are well connected even though there are also surprises. The piece

is unpredictable because the orchestration of the pieces tests the bounds of blend. A flute duet is

paired with a bassoon counter melody with tuba (or string bass) accompaniment. The piece is

consistent, yet challenges us with depth. Hanson uses Albinonis melody along with Bach

influences, and her own style to create a work that challenges the listener, while still pleasing the

ears.

Teacher Plan Analysis

Genre/Type Label

Baroque

Piece for wind ensemble

Memorial piece
 Background Information

Shelly Hanson
US born and raised composer
Compositions are known worldwide
Known for conducting, record producing, and as a clarinetist
Memorial piece in honor of Baroque-era composer Tomaso Albinoni (1671-1751)
Opening theme sets ultra-romantic tone
Second theme is based on one of Albinonis violin sonatas
Two themes are used in alternation, fragments, or simultaneously
Originally commissioned for string orchestra in 2009 by Breck School in Minnesota in

honor of Claudette Laureano

A full orchestra version was commissioned in 2009 by the Minnesota Youth Symphonies

by Claudette and Manny Laureano

The version for winds was commissioned in 2010 by Adam Sroka and the St. Michael-

Albertville High School Wind Ensemble in Minnesota.

Solos in flute, oboe, alto sax, and bassoon
Cross cues and optional cuts help for the piece to be performed in ensembles with limited

instrumentation
Elements of Music
Form
Uses two themes, an ultra-romantic opening theme and a second theme based on one of

Albinonis violin sonatas. The two themes are used in alternation, fragments, or

simultaneously throughout the piece. It uses passacaglia form, because of its serious

character and its basis of a bass-ostinato, and because it is written in a triple meter.
Melody
Primary Theme

Ten measures long

Ends on the tonic

Secondary Theme
 Fifteen measures long

Ends on the dominant

Harmony

Key of a minor

Pedal on subdominant

Rhythmic and just dotted half

Texture

Presence of two themes that are used contrastingly. Countermelodies in different voices

to add color. Bass-ostinato on the subdominant. The texture is quite dense, but at a

quiet dynamic. In the solo section, the texture thins out allowing the soloists to shine

through to show the agony and pain.

Timbre

Created by changing the orchestration and theme, while emphasizing the form.

Dynamics

Extremes used on both ends (piano to forte). There are not many dynamics marked,

which allows the director to make decisions about the color and balance.

Possible Musical Heart

Hanson, Elegy for Albinoni

The heart of the piece is the sadness and longing created by this piece to remind us all of

a rarely performed Baroque-era composer, Tomaso Albinoni.

Explanation for Heart

The explanation for the heart is that this piece was composed in memory of Tomaso Albinoni.

The second theme is based on one of his violin sonatas. The use of a minor key provokes a

feeling of sadness. In combination with the romantic primary theme, the piece provokes a

longing for more of Albinonis music. The expressive solo section from measures 51-58 are

heartfelt. This provokes an even stronger feeling of longing and desire to hear more of his music.

Outcomes

Skill Outcomes

Students will create a legato line.

Students will balance in a solo section.

Knowledge Outcomes

Students will understand how dynamics vary in context.

Students will understand how to follow the contour of a line.

Affective Outcomes

Students will channel sadness in order to express the longing for Albinonis music.

Students will gain appreciation for slow and sad music, which will help them to grow as

musicians.

Teaching Plan Strategies

Skill Outcomes

Students will balance in a solo section.

-Make and explain graph Soloist (Line B) should be heard above the

accompaniment (Line A), while the accompaniment is still supporting the soloist.
 -Director/student will play the solo at different dynamic levels, and the ensemble

will balance without any help.

Knowledge Outcomes

Students will learn how to follow the contour of a musical line.

-Analyze the lines, and see where notes ascend and descend. Have them draw up

arrow where notes ascend, and down arrows where it ascends to show the

phrasing. ()

-Listen to different ways the musical line is being played, then discuss them.

Affective Outcomes

Students will channel sadness in order to express the longing for Albinonis music.

-Listen to two different recordings, and discuss which one has more emotion

(sounds sadder), and discuss why (dynamics, vibrato, phrasing, tempo, etc.).

-Play the piece once through, then watch sad videos (ex. Sarah McLachlan

Animal Cruelty Video), and then play again (with exaggerated conducting

gestures to help get point across).

 Teaching Plan Assessments

Students will channel sadness in order to express the longing for Albinonis music.

How does this recording convey sadness? Discuss in terms of musical elements such as

timbre, phrasing, tempo changes, vibrato, dynamics, etc.

The students will be sent home with a journal assignment to listen to the recording and

answer the prompt.

The data gathered will reflect how the students are able to apply their knowledge of

musical terminology in order to critically answer and respond to an interpretive question,

which requires higher level thinking.

Students will balance in a solo section.

This will be an observational assessment.

There will be three different recordings of the solo section in the piece, each with the

accompaniment playing at different dynamic levels.

The students will have to place them in order from worst to best balance, and they will

have to defend their choices by explaining the order they put them in.
The data gathered from this will show how much students have learned about balance,

and if it needs to be discussed again in a different way or with different examples.

0 1 2 3 4 5
All three Two are Two are All three All three All three

are placed incorrectly incorrectly are ordered are ordered are ordered

out of order. ordered, but ordered, but correctly, correctly, correctly

a vague and a clear and but the but the with clear

or unclear detailed reasoning reasoning is and detailed

explanation explanation doesnt vague and responses.

 is provided. is provided. always or unclear.

follow the

order.

Students will learn how to follow the contour of a musical line.

This will be the test.

Student will be given lines to analyze. The students will have to find where the notes

(generally) ascend and descend. Then they will draw arrows that correspond to the

phrasing. ()

The data would show if they students are able to apply their knowledge of phrasing that

they were taught before the exam.