SNAKES!

BY THOMAS DUFFY
PUBLISHED BY PLANKTON PRESS

SECONDARY UNIT
BY ASHTON BETHEL
 Table of Contents
Introduction............................................................................................................................ ..........3

Warm-ups.............................................................................................................. ...........................4

Score Analysis............................................................................................................................ .....10

Score Analysis Chart.......................................................................................................................13

Pre-sight reading Activity...............................................................................................................20

Middle Eastern Music Activity.......................................................................................................24

Persian Warm-up Activity..............................................................................................................27

Visual Story Board Activity.............................................................................................................29

Chromatic/Aleatoric Sketch
Activity.................................................................................................................. ..........................35

Student Practice Guide..................................................................................................................38

Glossary............................................................................................................................ ..............42

Citations..........................................................................................................................................44
Introduction
Title: Snakes!

Composer: Thomas C. Duffy

Grade 3

Grade level: 9-12

Publisher: Plankton Press (1989)

Unit Goals

Discovering the relationship between culture and music (middle eastern culture compare and
contrast between American culture)
Developing musical skills (intonation, balance, rhythm, phrasing, pitch, interpreting)
Being able to make effective musical decisions in their individual and ensemble playing via
personal reflection
Making the connection between music and visual art forms
Aurally recognizing and synthesizing the Persian scale
Conceptualizing the use of the given compositional techniques in the piece (chromatic/aleatoric)
Discovering the importance of using our voices in an instrumental setting
Students will manage and construct an individual portfolio (full 4 year program portfolio)

Unit Objectives

Students will be able to perform the selected excerpt with the correct rhythm and pitches with
fewer than 2 mistakes
Students will be able to assess reflect their playing excerpts
Students will be able to appropriately perform aleatoric concepts within their own part
Students will be able to prepare and perform full range chromatic scale
Students will be able to analyze and identify the melodic motives within the piece.
Students will be able to develop an understanding in regards to balance and apply it within their
parts and warm-ups
Students will be able to perform and identify the Persian Scale within their part.
Student will be able to describe the historical and cultural significance of the Persian scale.

Warm-ups
1. The first warm-up for Snakes! is the Remington warm-up. In this piece it is crucial for musicians to
develop proper air flow and be able to sustain pitches, particularly in the low brass and
woodwinds. The two rhythm parts in this warm-up reflect the rhythms that students will see in
their own part, such as the sixteenth note tradeoff between percussion one and two.
2. The second warm-up incorporates a variety of consistent rhythms that each member of the
ensemble will see in their own parts. This warm-up will first start with clapping or stomping the
rhythms with a backtrack as an ensemble, and then splitting the lines between the ensemble and
having them pick a way to show the rhythms, (snapping, singing, etc). Creativity is encouraged!
After this, we will play the rhythms on our instruments on a note such as C or Bb.
3. The third warm-up will incorporate one of the main melodic ideas, the Persian scale. This warm-
up will draw attention to the scale and how its woven throughout everyones part in some sort
of way. The first half is in C major, while the later half is in the Persian Scale. This is a clear visual
representation of the different notes that are becoming flat/sharp. Student will be asked to
compare and contrast between the two scales. This warm-up also reflects common articulations
and rhythms students will see within their parts.
4. The goal of this warm-up is to have students be able to balance dissonant harmonies, these
harmonies are much like that ones that occur in the piece. In the first section of Snakes! each
instrument contributes to the cluster chords from measures 1-21. With that being said, this
warm-up is to teach balance of dissonant harmonies and intonation as well.
5. The final warm-up is to develop chromatic technique for the ensemble, (with the exception of the
low brass and un-pitched percussion). Much of the harmonic and melodic material is centered
around chromaticism. In addition to developing better fundamental technique, the brass parts
include lip slurs and the woodwind parts include arpeggios to add for further development of
technique.
Score Analysis
Composer

Thomas Duffy was born June 7th, 1955 and quickly became interested in music. In 1982, he eventually
became an adjunct professor of music at the prestigious Yale University where he directs bands and
composes. For tens years, he also held the position of dean of music at Yale University. While at Yale, he
began a lecture and performance series that primarily focuses on the effect of music on the brain where
he collaborated with Yales School of Nursing program. A portion of the series had emphasis on him
assisting nurses on how to listen to sounds of the body more in depth and how these sounds can help
their patients. Additionally, the series also focused on the concept of a conductors brain and what exactly
the brain has to do when conducting and ensemble. Outside of his collegiate instruction and research,
he's involved and with countless committees, organizations and associations, most notably the American
Band Masters Association.

Composition

Snakes!, was written for Adams Middle School in Guilford, Connecticut. The piece was premiered by the
Yale University Concert Band in December 1989 and first performed by a young ensemble a year later by
Nassau Junior High band.

Though, the intent of this piece is to provide aleatoric musical experiences for younger ensembles, this
piece is a viable and still effective in a high school band setting because students usually don't have
experience with aleatorism even at an older age. This piece ties in Duffys interest in science and music. It
explores different sounds and names of snakes as well as different sounds that's instruments can make.
Duffy also uses different instruments to represent different snakes. For example, the comedic timpani
and low brass parts represents the infamous Boa Constrictor. The incorporation of the Persian scale
motives represent the Cobra snake charmer traditions.

Historical Perspective

This piece was written during the same time period where Duffy wrote Crystals. Crystals was specifically
written to introduce aleatoric concepts to bands so that they're well equipped for when they pursue
music in college. This was the main concept Duffy also used when writing Snakes!. However, he wanted
to introduce aleatoricism for a younger audience, that being middle School musicians. This piece uses
contemporary techniques, asymmetrical meters and phrase lengths as well as incorporating spoken
words within the parts. Additionally, there aren't any clear fundamental scales shed within this piece, only
the use of the same four note motive (C-#C-E-F).

These contemporary techniques the Duffy used can potentially be traced back to the music Duffy
performed himself throughout his education. Duffy is an active Saxophonist with a heavy interest in jazz.
Saxophone music, and even Jazz music for that matter, are notorious for not following a consistent
structure or process. Specifically this kind of music doesn't usually follow symmetrical meters, phrasing
and form. That being said, Duffys great interest in Jazz has likely been an influence upon writing this
composition.

Cross-curricular Connection:

Not only did Duffy incorporate scientific, (specifically Biology), concepts in this piece, there are clear
historical concepts that can be weaved into the unit. Due to overall theme of the piece being built off of
different types of snakes, the melodic and rhythmic foundation uses middle eastern scales and rhythms,
specifically the Persian scale. Since this piece relies on the Persian scale to add style and the middle
eastern flair, student will be given the opportunity to write their own warm up using the Persian scale,
(while also incorporating a the tri-tone). In addition, students will also also make these cultural
connections through visual arts by creating a story board the will go along with the piece and will be
played during their final performance.

Technical Considerations

The opening section, (section 1), uses the notes G-flat and D-sharp, which are the enharmonics of the
more familiar notes F-Sharp and E-flat. Although students should know this information already, this
provides the opportunity for them to read the enharmonic within a musical context.

After the first section, the first melody is introduced, also known as the boa constrictor melody. This
melody features a tri-tone leap on C to F-sharp within the tuba and other low instruments later on in the
piece. It is important to remind low brass players what a round accented note should sound like, it is likely
for them to play unbalanced.

Following the first melody, section 2 and melody 2 is introduced. This is where the four note melodic
motive is first presented, we will label this the Persian Scale motive. This melodic idea represents the
Cobra and the snake charmer concept. Later on in the second melody, Duffy adds G and A-flat in addition
to the previous four notes, (C-C-sharp-E-F). Section 2, melody 3 is a descending chromatic scale going
from G to E-flat. The fourth melody contains the structure of a C natural minor scale, however it's missing
the sixth Scale degree.
Rhythm

In the first section, Duffy highlights the bongos through numerous ways. In section one, the bongos have
sixteenth note triplets followed by and eighth note, which usually occurs on 1 and 3. Additionally, the
bongos provide a hemiola affect from measures 44-52 (section 2). This affect is a rather unique addition
to the piece and may be difficult for student to internalize the triplet against the duple.

Overall, this piece consists of two essential rhythmic motives that remain consistent throughout the
piece. The first figure below is what the low brass and low woodwinds with the exception of the eighth
note cluster chords that the entire ensemble has. Above the low wind and brass, upper winds and brass
have the Persian scale weaved throughout their part. See the figures below for a visual context.

Figure 1. Tuba part m.29-33

Figure 2. Flute m.37

Melody

Form
Section Measure Event

Section 1 1-26 Phrase 1a-2c

Phrase 1a 1-3 Motive A + B

-Bongos 16th note triplet with 8th note

Phrase 1b 4-6 Motive A + B

-Bongos 16th note triplet with 8th note

Phrase 1c 7 Motive A, merged into phrase 2

Phrase 2a 8-12 Motive C

-Brass bell tones

-Cluster chords built from the bottom instruments and up

Phrase 2b 13-17 Motive C

-Woodwind bell tones

-All percussion parts split and become nearly completely independent from each other
through 8th notes patterns

Phrase 2-c 18-21 Motive D

22-26 -Timbral exchanges through cluster chords and instrument combinations

-Cadence extension

-Switch to 2/4 (m.18-22)

-Transition to Section (m.22-26)

Section 2 27-54 Introduction

Phrase 1, 2, and 3

Introduction 26-28 Percussion ostinato in Maracas and Snare (brushes)

-Flexitone begins m.27 on beat 2

Phrase 1 29-36 Melody 1

-Bass clarinet, baritone saxophone, and Tuba melody indtroduced

-Timpani added when melodies are repeated

Phrase 2 37-43 Melody 1 (Persian scale) + Melody 2 (Oboe, Tenor saxophone and Trumpet 1-2)
37-44
-Voice Cadence
45-46
-Piccolo added to repetition

-Voice Cadence

-Percussion ostinato (part 2)

Phrase 3 47-54 Melodies 1 and 2 + melody 3 in flute 1-2, alto clarinet, clarinet 1-2, alto saxophone 1-2

Melody 4 in horn, trombone and euphonium

Voice cadence (added to repetition and merges into Section 3)

Section 3 56-65 Motive E, F, G, H, and I

Motive E 56-59 Brass half valved murmurs

Motive F 57-59 Trombone glissandi

Motive G 58-59 Melody 2

-Flute 1, Oboe 1, Clarinet 1, and Bassoon 1 slurred quarter note Persian scale

Motive H 59 Shake coins/keys

60 Percussion ostinato (four times)

Motive I 61-62 Snakes spoken over percussion ostinato

63-64 Snakes spoken (again) over percussion ostinato

65 Final cadence: Snakes spoken alone

Aleatoricism and Timbre

This piece sets itself apart from most novelty pieces because of the incorporation of aleatoric concepts
for younger ensembles. While it doesn't occur throughout the entire piece, it does occur heavily near the
closing sections of the piece. Below is a list of the aleatoric concepts that happen for the different
instruments.

Temporal notation used from m.56-60, aleatoric events are ,ensured through seconds and cues
rather than defined metric beats
Half valve murmurs occur in the brass m.56-59. This is played by slowly moving the valves up
and down, but only half way. This doesn't produce a defined pitch or sound, but rather
murmuring and slithering sound
M.57-59 Trombone glissandi
Descending glissandos within piccolo, bassoon, oboe and first clarinet m.59
Shaking coins or keys with hands m.59-60
Whispering and speaking the word snakes, and sustaining the s sound until students run out of
breath m.65 (last measure)

Suggested Listening

Additional References and Resources

https://www.youtube.com/watch?v=43xwHKG1kk0
https://www.youtube.com/watch?v=41JaFnzacAo
http://www.classicfm.com/composers/berlioz/guides/story-hector-berliozs-symphonie-
fantastique/
http://csosoundsandstories.org/bts-berlioz/
http://www.jawaahir.org/AboutTheDance,AboutTheMusic.htm

Student Guide Resources

https://www.youtube.com/watch?v=2iVXPqnoC_A
https://archive.org/details/discoveringthemusicofthemiddleeast
http://www.jawaahir.org/AboutTheDance,AboutTheMusic.htm
https://en.wikipedia.org/wiki/Aleatoric_music
Score Analysis Table

Analysis Part 1
This programmatic piece was created with the intention of connecting music to
science Curriculum. This piece caught my attention not only for the reasoning that
Broad Description students will enjoy this, but for the fact that they can contribute something unique
to the ensemble. This piece can be used to introduce aleatoric techniques and the
chromatic scale.

Specific Label Novelty

Style Period Modern/contemporary

Additional Areas of Introducing aleatoric techniques, and having students become more familiar with
Concern strange harmonic an rhythmic structure.

Analysis Part 2

Section 1 (1-26)

Phrase 1-a (motive A & B)

Phrase 1-b (motive A & B)
Phrase 1-c (motive A)
Phrase 2-a (motive C)
Phrase 2-b (motive C)
Phrase 3-c (motive D)

Section 2 (27-54)
Form
Intro
Phrase 1
Phrase 2
Phrase 3

Section 3 (56-65)

Motive E
Motive F
Motive G
Motive H
 Motive I

Hemiola within the bongos-

3+3+2 (while the entire ensemble is duple) m.44-52

Eighth rest with two eights note pattern m.13-17

Main rhythms within the piece:

The rhythm above it nearly consistent for the low brass and low woodwind,
they provide the foundation in this piece

Rhythm
Nearly every instrument has this rhythm in their part at some point
I for see students have a difficult time trying to play the tie the correct
length

This is the primary rhythm for woodwinds in the second section.

Rhythmic challenges: vertical alignment

Additionally, this piece is in 2/4, and 4/4

All of the melody content is within Section 2, (everything else is usually a

Melody
motive).
 The three basic melodies/motives

Harmony: much of the harmony is based off of this group of note, (not a scale parsee
(C-Db-E-F-G-Ab-B)

This piece focuses on the use of different timbres through a variety of ways to
mimics the sounds of different snakes:

Woodwinds use their keys or shake coins

Brass uses half valves and
Timbre
Glissando within timpani and brass
Snare drum uses brushes
Voices shout different types of snakes (noted in their part), and hiss on the
final note of the piece

The most common use of texture is how he composed with a tower effect. Typically
Saxophones or low low woodwinds provide much of the melodic foundation,
following clarinets on the third beat and upper woodwinds on one in the next
measure. This provides a very layering effect, and this is consistent throughout.

Density: Section 1- full, heavy full ensemble

Section 2: VERY sparse and use uncommon instrument voicing

(tenor sax, bassoon, oboe, piccolo m.37)
Texture
Section 3: the climax of the piece where every fragment of the
melody is being played at the same time in addition to chromatic
falls in the winds.

Primarily homophonic with the exception of the transitional section s, intros

and the ending which is monophonic
 Articulations and dynamics within first melody presented (m.29 w/ low
brass)
Balance within the cluster chords from m.7-16
Balance between snare and maraca switch off, because it can quickly
become muddy if not balanced
Dynamic contrast and flexibility with all forms of the melody (due to the
amount of time every voice switches from one melody to another)
Expression
Phrasing and shaping with the snake charmer melody
Balance in m.37 with the unique voicing of the snake charmer melody
(tenor and trumpet over powering the upper winds)
Matching articulations throughout sections 1 and 3 so the eighth notes line
up

Additional Thomas Duffy had an impact on this piece in terms of him being a
considerations saxophonist, (I.e. His use of chromaticism and using saxophone voices in
(Text common ways)
Historical/Cultural Historical and cultural concepts are used (Persian scale, tri-tone and middle
Context) eastern style)

Why this music? Why is it unique? Why is it educationally viable?

Provides beginning students the opportunity to use aleatoric/unique

techniques as well as their voices
Use of their voices can be used learning the piece (in addition to what they
The Heart have in their parts)
Provides phrasing and shaping opportunities while maintaining a forward
moving pace.
Teaches different use of rhythms without actually using complicated
rhythms

Outcomes
Persian scale (middle eastern music)
Aleatoricism
Selected Teachable Chromaticism
Concepts Cluster chord harmony
Persian scale
Hemiolas
Pre-sight reading Activity
Objective: By the end of the lesson, students will:

Perform the exercises with 85% accuracy

Analyze and identify the melodic and rhythmic motives that occur within their own parts

Activity

Perform the provided exercises accurately and focus on the different melodies and rhythms that occur
while learning the exercises. After playing the exercises go to your own part in Snakes! and identify if you
have any of the melodies or rhythms that you played or heard in the exercises. Mark the motives in your
part with a star when they occur.

Procedure:

1. Instruct students to take out their students guide for Pre-sight reading Activity and their
exercises for Snakes!
2. Instruct students to mentally take notes of the melodies and rhythms that themselves or their
peers are playing
3. Sight read and refine the first exercise (Refine through shaping, phrasing, articulation, dynamics,
etc).
4. Sight read the second exercise
5. T informs students about the hemiola part in percussion
6. T instructs Ss to clap triplets while T claps eigth notes, then switches
7. T has half the class clap triplets, half on eighth notes
8. Refine the second exercise
9. Instruct students to take out their own parts to Snakes!
10. T: Raise your hand if you have the *T sings the low countermelody in exercise one
11. Raise your hand if you dont
12. T: Mark it in your part using a star every time you have this countermelody
13. T: Raise your hand if you have the *T sings the upper ww (Persian) melody in exercise two
14. Raise your hand if you dont
15. T: Mark it in your part using a star every time you have this (Persian) melody
16. Repeat with vocal parts
Assessment:

Yes No Did not try

Exercise 1 performed with 85% accuracy

Exercise 2 performed with 85% accuracy

Student attempted to identify if they have a melodic

motive
 (Student) Pre-sight reading Activity
Instructions

Perform the Snakes! exercises 1 and 2 with the correct notes, fingerings and rhythms. Once you
can play the correct notes and rhythms, then apply articulations and dynamics. Every time we
play through these exercises, you should improve in some sort of way!
Look at your exercises and your part in Snakes! and mark the similar melodies that occur. Mark it
with a star.
Ms. Bethel will then ask who has what melody, be ready to raise your hand!

Tips for Success

Always put your best effort while playing

When sight reading follow these steps:

Start broad by looking at the big picture!

o Time signature: What time signature are you in? Does the quarter note get the beat?
o Key signature: What key are you in? Are the flats or sharps? How many flats or sharps are
there? What notes are flat/sharp?
o Accidentals: Are there any notes that dont belong in the key signature? Which are notes
are accidentals? MARK/CIRCLE IT!
o Rhythm: Are there any rhythms repeated? Are there any rhythms that stick out? Which
rhythms look more difficult?
o Melody: Do you think that you have a melody in the part?
o Articulations: Are there any consistent articulations that happen throughout the piece?
Are the any that are different?

Focus on the hard stuff!

o Finger through any difficult passages, SLOWLY

Think about why the passage is hard. Is it the rhythm, fingerings, articulations
that make it difficult?
Look over the entire piece again, then try playing it!
Middle Eastern Music Activity
By the end of the lesson, students will:

Explore and analyze deeper meaning of Traditional Middle Eastern music

Experience and discover a new perspective of Middle Eastern Culture and history
Notate similarities and differences in Music Notebook
Verbally answer and discuss guided Socratic questions

Activity: Watch the video below and notate what youve observed to be different or similar to our
American music culture.

https://www.youtube.com/watch?v=2iVXPqnoC_A
https://archive.org/details/discoveringthemusicofthemiddleeast
(2:42-6:48)

Questions:

What did you find to be the most eye opening when watching these videos?
What are some things that both American and Middle Eastern Music have in common?
What are the differences?
What are some concepts do you see within our piece?

Procedure:
1. Instruct students to pull out their student guide to Middle Eastern Music Activity
2. Explain to student that we will be discussing concepts on the page and will be completing a
Socratic Circle, (then briefly explain a Socratic Circle for those who are unfamiliar)
3. Ask students what they know about this culture and explain to students the cultural
background/context of the Middle East.
o As many of you might be aware, the middle east has had a rich history going back almost
to 5,000 years. Throughout all of this, many historic empires and regions have had
conflicts for a multitude of reasons such as religion, politics, land, and even nationalism.
Im going to show you two videos, the first will be an illustration of just how many
empires and regions have been involved within this area of the world. Please respect this
culture and these videos from a musician perspective and a overall human perspective.
4. Instruct students to quietly watch the video and consider and notate the following:
o Similarities and differences between American and Middle Eastern History,
Culture or Music
o Key points of what you gathered from the videos
o Eye opening concepts and ideas about the music
 o Three biggest points of what you find to be the most important about Middle
Eastern music and culture
5. Play the first video
6. Play the second video starting on 2:42
7. Walk around the classroom observing the level of student engagement
8. Stop video at 6:42
9. Ask the first question and let students openly respond, and continue this until all questions are
completed.
10. Instruct student to complete the Exit-ticket prompt:
What are some of the musical concepts you noticed within our piece (and in your own part),
that are present in Middle Eastern music? How can you improve your own playing now that
youre aware of this?

Assessment: Numeric Rating Scale

Discussion 0 1 2 3 4
Participation

Video Notes 0 1 2 3 4

Exit Ticket 0 1 2 3 4

Effort 0 4

Additional Comments (if needed):

Resources and artifacts

https://www.youtube.com/watch?v=2iVXPqnoC_A
https://archive.org/details/discoveringthemusicofthemiddleeast
http://www.jawaahir.org/AboutTheDance,AboutTheMusic.htm
 (Student) Middle Eastern Music Guide
In your Music Notebook, answer the following questions while watching the videos .

1. What did you find to be the most eye opening when watching these videos?
2. What are some things that both American and Middle Eastern Music have in common?
3. What are the differences?
4. What are some concepts do you see within our piece?

Be ready to share your ideas in our Socratic circle!

Exit-Ticket Prompt
What are some of the musical concepts you noticed within our piece (and in your own part), that
are present in Middle Eastern music?
How can you improve your own playing now that youre aware of this?
Persian Scale Warm-up Activity
By the end of the lesson, students will:

Perform the Persian scale and Persian scale warm-up (created by the teacher), with 85% accuracy
Demonstrate their understanding by creating their own warm-up using the Persian scale

Activity: Compose an 8-bar warm-up using the Persian Scale as listed below:

Procedure:

1. Ask students to pull out their Persian Warm-up out of their folders
2. Play through the warm-up
3. Instructor asks students what differences they noticed between a C major scale and a C Persian
scale
4. Instructor asks students where they see these note in their own parts
5. Instructor passes out hand-out for Warm-up assignment then, explains instructions
6. Instructor provides tip and ideas to consider when composing a warm-up
o Rhythm: Are there any reoccurring rhythms in Snakes! That you could incorporate in your
warm-up? You will need to create a part for Snare drum, it is recommended using only
16th, 8th and quarter notes.
o Make sure the rhythms are something you and your classmates can perform!
o Persian-Scale: Use the notes within the scale listed above to create the overall
composition. You must incorporate the entire ensemble, (bass and treble instruments)!
7. The warm-ups will be the following week. The top five warm-ups will be performed in class.

Assessment: Checklist

Criteria Yes No

Persian Scale

8 or more measures

Tempo and or Articulation markings

Completed on time

Performable
 (Student) Persian Warm-up composition
Instructions

Compose and 8-bar warm-up using the Persian scale listed below.

Guidelines

Only use the notes listed above

There must be at least 8 measures
An indicated tempo and articulation(s)
Must be playable for our ensemble
DUE NEXT FRIDAY!

Ideas and tips for success!

You can also create a Snare drum part to accompany the warm-up, (you can create something
using different rhythms or using the same rhythms as the wind parts, see Persian Warm-up we
played in class as an example)
Use the warm-up we used in class as an example
BE CREATIVE!! You can use clapping, voices, ANYTHING, as long as each instrument has a chance
to warm-up
Questions? Ask me during seminar or before/after class!

The top 5 warm-ups will be performed in class!

Visual Storyboard Activity
Objective: By the end of the lesson , students will:

Listen, analyze and interpret the piece of music, Snakes!

Create a visual storyboard that reflects their musical interpretations

Activity:
Upon playing the piece numerous times, students are to create a visual story board that will illustrate
their interpretations of the piece. Students can use whatever software they would like, such as power
point. The story board must incorporate art and a clear story being told through the pictures. The visuals
and story that each of the students create must go along with the music being played in real time. The
class will vote on the best storyboard and will be projected as we play the piece at the Spring concert.

Procedure:
1. Instruct students to take out their student guide to the Visual Storyboard activity
2. Instruct students to follow along with me as a provide instructions to the activity
3. Begin lecture about the importance of other art forms in music, specifically visual arts
a. Use Debussy and Impressionism as an example
4. Begin the other half of the lecture explaining the concept of musical telling a story
a. Use Symphonie Fantastique by Berlioz as an example of showing how music explains a story
to the audience
5. Record ourselves performing the piece, (or provide a record if it isnt ready just yet)!
6. Distribute the recording via class facebook/groupme
7. Distribute rubric to class and explain what you look for in the visual storyboard
Assessment:

0 points 5 points 10 points 15 points

Musical Student did not Student exhibited Student exhibited 3 Student exhibited
Considerations exhibit any musical only 1-2 musical musical consideration. more than 3 musical
considerations. considerations. considerations in
their visual
storyboard, (Melody,
rhythm,
Instrumentation, etc.

Visuals Student did not any Student used less Student used 7-9 Student used ten (or
visuals within their than 7 visuals visuals within their greater) visuals
visual storyboard within their visual visual storyboard within their
storyboard storyboard

Story Student did not create Student created a Student created a story Student created a
a story for their visual story, but did not that connected to story that connects
storyboard. connect it to the either the music or to both the music
music or visuals. visuals. and visuals.

Audience Student did not Student considered

interpretation consider the audience the audience
interpretation. interpretation.

Creativity Student did not Student incorporated

incorporate original or their own original
unique ideas in any ideas within their
aspect of their visual visual storyboard
storyboard

TOTAL:__________
 (Student) Visual Storyboard Activity

Instructions
Listen and come up with your own unique story with what you think the piece is explaining to
the audience, then create a visual story board through a computer software (such as
powerpoint). The music and visuals you select should reflect and enhance your story in a way for
the audience to understand. The best one will be projected at our Spring concert while we
perform the piece!

Tips for success

Write out your story in your music notebook to have a clear idea of what youre trying to
portray and so that Ms.Bethel has an idea of what you plan to do
Complete the outline worksheet, (then put it into your music folder)
Use a variety of visuals (at least 10 pictures)
Think about how different instruments, melodies, timbres and textures symbolize
different characters, plots or parts of the story, (ex. Flutes represent a bird, Tubas
represent an elephant, etc)
Come into seminar to work on it for more guidance from myself or your classmates
If have any questions, ask Ms.Bethel before/after the class or school day
*Draw/write your final visual on the back of this page
Chromatic/Aleatroic Sketch Activity
Objective: By the end of the lesson, students will be able to:
Consider the use of aleotaric concepts and their appropriateness within a music setting
Perform chromatic and aleatoric concepts on their own given instrument
Consider the use of aleatoricism for Timbre
Compose their own aleatoric/chromatic sounds to portray different aspects of a story

Activity
Your group will create a short sketch or story while incorporating music while the sketch/story is being
read or performed. The music that is incorporated within the sketches/stories must include:
2 or more instruments playing with the story
Must incorporate 4 or more musical lines or sounds within your story
Use of both chromatic and aleatoric lines or sounds
BONUS: use of the Persian scale or Tri-tone

Sketch/story must include:

A written out script of the sketch or story (with music cues included)
One narrator or person acting out the sketch
EVERYONE must participate in either playing for the sketch or acting/narrating the sketch

Procedure

1. Begin defining aleatorism to class

Latin: alea translates to dice
Chance music which means that its up to the performer and will vary from each time its
performed
First given a name in the 1950s in Europe
2. Show excerpts of the video End of the World by Michael Schelle
(https://www.youtube.com/watch?v=43xwHKG1kk0)
Explain to students that aleatoric sounds can help tell stories or get different Timbres
portrayed.
Aleatoric sounds does NOT mean to play whatever you want, it must remain musical
3. Instruct students to pull out their Chromatic/Aleatoric Activity guide
4. Tell students to follow along in the guide while I read the instructions
5. Provide a short example sketch to the class (and play the musical lines/sounds)
6. Answer questions
Assessment: Student Reflection and Rubric

Music Journal Reflection:

What was your favorite part of this activity?

What was your least favorite?

What did you do in the group activity? (Play, read, write the story, write the script, etc).

If you could change one part of this activity, what would it be?

Grading Rubric

Criteria 0 Points 10 Points 20 Points

Chromatic use Students did not Students used Students used

incorporate any use of chromaticism, but did chromaticism and
chromatism in their not connect it to the connected it to their
story/sketch story/sketch. story/sketch.

Aleatoric use Students did not Students attempted to Students used

incorporate any use of use Aleatoric ideas, but appropriate Aleatoric
Aleatoric ideas in their did not connect it to ideas and connected it
story/sketch the story appropriately. to their story/sketch.

Completed script Students did not Students completed Students completed

worksheet complete the script the script worksheet, the script worksheet
worksheet but is incomplete? using

Time of story/sketch Sketch/story was less Sketch/story was

than 2 minutes between 2-5 minutes

Participation Two or more group One group member All group members
members didnt didnt participate in the contributed to the
participate in the activity sketch/story by either
activity reading/acting or
playing

TOTAL: ____________
 Student Guide for Chromatic/Aleatoric Sketch Activity
Activity
Your group will create a 2-5 minute sketch or story while incorporating music while the sketch/story is
being read or performed. The music that is incorporated within the sketches/stories must include:
2 or more instruments playing with the story
Must incorporate 4 or more musical lines, sounds or Timbres within your story
Use of BOTH chromatic and aleatoric lines, sounds and timbres
BONUS: use of the Persian scale or Tri-tone

Sketch/story must include:

A completed script worksheet of the sketch or story (with music cues included)
Must be 2-5 minutes long
One narrator or person acting out the sketch
EVERYONE must participate in either playing for the sketch or acting/narrating the sketch

Questions? Ask in seminar or before/after class!

 Script Worksheet

Complete this worksheet to help your group organize the layout your story/sketch. On the left under
Story, write the sentence or part of the story. On the right underneath Music write a C for chromatic
or an A for aleatoric that corresponds the sentence or part of the story. You must write out each part of
your story on the left, however not every part of your story will have a musical sound or line. If there isnt
a musical sounds at a part keep it blank.

Reminder: You must use at least four musical sounds or lines and your story/sketch must be 2-5 minutes
long!

Story Music

Ex. It was a stormy evening when suddenly I heard *musical cue* A

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

______________________________________________________ ______

Out of space? Continue on the back of this paper

 Student Practice Guide

Below are helpful tips and concepts that you should follow when practicing Snakes! and our
other pieces! If you follow the steps below, you will make greater improvements within the
piece and your overall playing.

1. Breathing
High quality playing begins with what kind of air youre using. If you are using shallow
air, your sound will be thin and a wont resonant as well as it should. You produce a
resonant sound, you must breathe deeply and use all of your air effectively. The
exercises below will help you complete this.
o In for 4,8,12,16 and 20 at 80 beats per minute
o In for 4,8,12,,16 and 20 at 90 beats per minute
o Complete the videos starting at 1:44 (Breathing Gym exercises)
https://www.youtube.com/watch?v=ty5fbD0bvtQ

2. Long-tones
Tone is one of the most important aspects when playing an instrument or singing.
To develop a beautiful tone, you must practice using Long-tones everyday in order
to grow in your tone production. Long-tones engage your mouth muscles, fingers,
breathing, listening and overall concentration. To begin with, apply the breathing
exercises above to your long-tones. Play notes such as C, Bb, or F whole notes and
focus on a long, beautiful and open sound. After this, then apply the same principals
on a Bb and C scale.

3. Articulation
Snakes uses primarily staccato and accent markings through almost every part. It is
important to apply the previous principals such as breathing and tone to your
articulations in order for the musical line to more effective.
o Staccato
When playing a staccato, many musicians have been taught that it means to
play it short, however this is actually incorrect! Staccato means to play
separated or detached, not short. When playing staccatos in Snakes, make sure
your air is still free flowing and without tension. It should sound light and
separated. Think use the syllable ti rather than tu which would be an
normal note without any articulation.
o Accents
Accents are very common through nearly every single piece we play. When
playing an accent, keep considering your air flow and tone. And accents does
not mean to simply play louder on the note, but to play it with more stress or
emphasis. Consider the example, say your full name in your head. Where are
 the stressed parts of your name? For Ms.Bethel, the stress is on Be- rather
than -ethel. This is similar in music. When playing an accent, remember that
is still must be beautiful and in tone with good air flow. It should not be pinched,
nasally or explosive!
4. Brass Lip-slurs
The harmonic series is the core fundamentals of brass playing. To become more
fluent and acquainted with the harmonic series brass players must practice lip-slurs,
EVERYDAY! Practice lips slurs as a warm-up before practicing everyday using good
air flow and tone throughout the range of the instrument. Once you can maintain
quality air and tone, apply articulations such as staccatos and accents.

5. Woodwind Scales
Woodwind instruments are known for having to play with a lot of technique. To
improve technique, practice C major, the Persian Scale, and Chromatic scale
SLOWLY to help navigate where your fingers have to go. Once you can complete
many repetitions of these scale slowly, add articulation to the slower tempo. Once
you can complete this, repeat these steps as you increase the tempo by about 5
metronome clicks. Practicing technique something isnt very fun, so if you feel that
the metronome is too boring, use rhythmic tracks through free apps on tablets and
phones!

6. Metronome
Use a metronome EVERY TIME you practice! No musician has perfect time or
rhythm, but you can come close to it if you use a metronome everyday in your
practice. This will improve your note length, rhythmic accuracy, internalization of
the pulse, and much more! Use it. You will improve immensely.

7. Recording/Reflection
You will be expected to record one playing test using your own recording device or
the class ipad. While this is the only playing test you will have, you should ALWAYS
record yourself because you will learn more about your own playing whether is
mistakes or things youre doing stellar at that you werent aware of. Recordings
dont lie and theyre a great tool to use when developing into a mature musician.
Nearly every impressive musician records themselves and reflect on the recordings,
now its your turn!
o What to look for in reflecting on your recording
Posture-Was your posture correct? Feet flat on the floor,
standing from the waste up? Was it relaxed?
Breathing- Were you playing with flowing or tense air? Was it
open?
 Technique-Were there technique errors? Where your fingers
going to the correct spots? Are you using the correct
fingerings?
Tone-Is tone natural, open, warm or dark?
Articulation-How do your staccatos and accents sound? Do the
sound explosive? Are staccatos separated or short? Are accents
played with emphasis or are just loud?
Rhythm-Are your rhythms accurate? Did you slow down or
speed up? Did you internalize the pulse? Were the rhythms
consistent?
Personal reflection- What did you think you did well at? What
are areas you could improve on and what can you do to make
these improvements?
Glossary of Terms
Accent: An emphasis, stress and or stronger attack on a note

Aleatoric: A compositional or musical technique where it is up to the interpretation of the performer. This
includes unique music notation and use of instrument sounds that are seen as unusual.

Articulation: The way a note is played either at the beginning, middle or end. (i.e. legato, staccato)

Cluster chord: A chord consisting of at least three notes that are chromatic from each other (i.e. C,C#,D)

Chromaticism: Translates to color. Uses all of the colors or notes of diatonic pitches. (i.e. C,C#,D,D#,E,
etc).

Counter-melody: A group of notes that supports the main melody, and is played underneath the main
melody.

Hemiola:Two groups of three beats that are replaced by three groups of two. (i.e. Triplets against eighths)

Harmony: The combination of sounds being played at the same time, thus creating intervals and chords

Melody: The leading role in music that consists of single notes being played in a sequence or pattern

Staccato: The articulation of a note that is separated and detached, NOT short

Persian Scale: A common scale found in Middle Eastern music and in Snakes! (C,Db,E,F,Gb,Ab,B,C)

Warm-up: An activity or exercise that gently prepares for a performance

Citations
"Beyond the Score: Berliozs Symphonie fantastique - CSO Sounds & Stories." CSO. N.p., 12 May 2014.
Web. 02 Apr. 2017.

Hopkin, Owen. "The Story Of Hector Berlioz's Symphonie Fantastique." Classic FM. N.p., 28 Aug. 2012.
Web. 02 Apr. 2017.

Ulysse2121. Impressionism, Music by Debussy.YouTube. YouTube, 01 Dec. 2007. Web. 02 Apr. 2017.

Michael Schelle - THE END OF THE WORLD - USF Symphonic Band, April 2014. Cond. Brian Braue. Florida,
Tampa. 2 Apr. 2017. Performance.

Internet Archive.Discovering the Music of the Middle East. N.p., 1968. Web. 02 Apr. 2017.

Paulson, Lisa. "About the Music." Middle Eastern Music Information. N.p., n.d. Web. 02 Apr. 2017.

"Aleatoric music." Wikipedia. Wikimedia Foundation, 29 Mar. 2017. Web. 02 Apr. 2017.