UNIT PLAN
Mysterious Village Michael Colgrass
Alexander L. Armstead
MUS 3470 - Instrumental Methods II Fall 2011
Table of Contents
Title Page ...... 1 Table of Contents...... 2 Basic Information...... 3 Program Notes ...... 4 Historical Information THE COMPOSER...... 4 THE WORK ...... 6 RELATED HISTORY ...... 6 The Work FORMAL ANALYSIS ...... 7 ERRATA...... 7 PERFORMANCE NOTES...... 8 GLOSSARY OF TERMS...... 9 MAJOR CONCEPTS AND SKILLS...... 10 Preparation for Performance OBJECTIVES FOR STUDENTS...... 11 Strategies ...... 11 ASSIGNMENTS FOR STUDENTS Practice Excerpts for Students...... 12 Scales...... 13 Listening Assignment #1...... 13 Listening Assignment #2...... 14 Create Your Own Melody!...... 15 Writing Assignment……………………………………………………………………………………..15
PRACTICE GUIDE Remington – Dissonance Exercise...... 16 Dynamic/Lyrical Warm-Up...... 17 EVALUATION OF STUDENTS ...... 18 CALENDAR & INTRODUCTION OF STRATEGIES TIMELINE January...... 19 February...... 20 Resources OTHER WORKS BY COMPOSER...... 21 SIMILAR WORKS...... 21 RECORDINGS...... 22 BIBLIOGRAPHY...... 22
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! 2 Mysterious Village Michael Colgrass Publisher: Carl Fischer
Grade Instrumentation Carl Fischer – Grade 4 1st Flute Teaching Music Through 2nd Flute Performance – Grade 3 Oboe (optional) 1st Bb Clarinet Style 2nd Bb Clarinet Modern/Aleatoric 3rd Bb Clarinet Bb Bass Clarinet Keys Bassoon (optional) Atonal Some focus around F minor Eb Alto Saxophone Bb Tenor Saxophone Meters Eb Baritone Saxophone (optional) Unmeasured, ¾ 1st Bb Trumpet Tempo Indications 2nd Bb Trumpet Quarter = 96, 120, 126, 108 bpm. 1st F Horn 2nd F Horn Total Duration ca. 6 minutes 1st Trombone 2nd Trombone Score Bb Baritone (T.C.) Transposed Baritone (B.C.) French Style – only instruments Tuba that are playing on page. Percussion (7 players*) Range Concerns Piano Trumpet 1 – High A * Seven percussion players are needed, Special Considerations including two with wire brushes and Performer Independence two playing a “Superball,” a rubber Free meter beginning and end ball that is rubbed on the timpani Melodic Independence head.
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Program Notes Michael Colgrass (b. 1932) is a native of Chicago, IL. He began his musical career as a classical and jazz percussionist. He attended the University of Illinois-Urbana, studying percussion with Paul Price and composition with Eugene Wiegel, a student of Paul Hindemith. Throughout his career, Colgrass has been awarded numerous merit awards including two Guggenheims Fellowships, and the Rockefeller, Ford and Fomm. In 1978, Colgrass won a Pulitzer Prize for his composition for percussion quartet and orchestra, entitled Déjá vu, and an Emmy in 1982 for a PBS documentary entitled: “Soundings: the Music of Michael Colgrass.” His compositions cover all idioms from solo works, to pieces for orchestra, chamber ensembles, wind ensemble, young band, and musical theater. Mysterious Village was commissioned in 2007 by the Colorado Wind Ensemble Commissioning Project Consortium. The piece evokes imagery of an ancient abandoned village whose only inhabitants are the ghosts of the past. The atonal work introduces young players to the world of contemporary composition through modern devices such as free meter, tone clusters and extended techniques. Colgrass’ Mysterious Village evokes a mystical, ethereal quality that paints vivid imagery of its ghostly citizens and the stories they have to tell.
Biography Michael Colgrass is a native of Chicago, IL. Born on April 22, 1932, Colgrass began his fascination with music and percussion through listening to jazz, and was specifically inspired by jazz percussionist, Ray Bauduc. It was at age twelve that he bought a drum set with money that he saved through caddying at a local golf course and began instructing himself on how to play. By age twelve, Colgrass had already performed numerous times as a soloist in local talent shows, even forming a jazz band with which he performed. It was not until after he graduated from Riverside-Brookfield High School in 1950 that he began his first formal training as a musician at the University of Illinois in Urbana under percussionist Paul Price. At this time he also studied composition with Eugene Wiegel, a student of Paul Hindemith. He furthered his compositional studies during the summer of 1953 with Darius Milhaud and with Lukas Foss at the Berkshire Music Center at Tanglewood, Massachusetts. Throughout his career, Colgrass has been awarded numerous fellowships and grants such as two Guggenheims Fellowships and Rockefeller, Ford and Fomm grants, allowing him to increase his musical vocabulary in inspirations from these studies abroad. It was the lack of percussion repertoire in the early 1950s that inspired Colgrass to write his first composition. These first pieces were chamber works that highlighted percussion and were written and performed during his time at the University of Illinois. His first piece was Three Brother (1950-51), a piece for nine percussion that was soon followed by other pieces leading to his 1954 composition Chamber Music for four drums and string quartet. His compositions were virtuosic in nature with complex rhythmic and metrical structures.
! 4 Between 1954 and 1956, Colgrass served in the U.S. Army, performing in he Seventh Army Symphony Orchestra in Germany. After his time in the service, he returned to the University of Illinois, earning his bachelor of music degree in 1956. In the following decade, Colgrass performed as a free-lance percussionist in New York, playing for opera orchestras, dance groups, pit orchestras, film recordings, and in ensembles specializing in new music. During this time he continued to study composition privately with Wallingford Riegger and Ben Weber between 1958-62. It was under their mentorship that Colgrass began to write compositions in the twelve-tone idiom. This changed by the mid-60s after a life-changing experience on his way home from a performance. With this event, Colgrass realized he was pushing himself too hard and needed to lessen his performance demands and set a slower pace for his life. He turned to composition as a focus for his life, returning to his tonal roots, similar to the history of twelve-tone composer Arnold Schoenberg. This music was better suited for larger audiences, rather than the elite few that were for the intellectual, avant-garde audience. Colgrass’ first major composition for orchestra was As Quiet As (1966), a piece that took seven answers posed by fourth graders to the phrase, “let’s be as quiet as…” The composition began in the style of a Beethoven sonata and took the audience through numerous adaptations in style going through baroque, classical, romantic, and jazz styling. The utilization of numerous compositional styles within a piece became a standard trait of literature by Colgrass. In 1968, Colgrass married his wife, Ulla Damgaard Rasmussen, and studied in Europe on a Rockefeller grant. While there he studied numerous genres and activities such as theatre arts, gymnastics, mime, ballet, yoga and commedia dell’arte. It is experience like these, as well as his history as a free-lance percussionist in New York that has attributed to Colgrass’ theatrical style of composition, often employing extended techniques and unique interactions between performers, including vocals. In 1978, Colgrass won a Pulitzer Prize for his composition for percussion quartet and orchestra, entitled Déjá vu, and an Emmy in 1982 for a PBS documentary entitled: “Soundings: the Music of Michael Colgrass.” His compositions cover all idioms from solo works, to pieces for orchestra, chamber ensembles, wind ensemble, young band, and musical theater. His other pieces for young band include, Apache Lullaby, Bali, The Beethoven Machine, Gotta Make Noise, and Old Churches. Colgrass continues to live in Toronto with his wife and author of For the Love of Music, Ulla.
! 5 The Work Mysterious Village was commissioned in 2007 by the Colorado Wind Ensemble Commissioning Project Consortium. The consortium consisted of seven middle/high school programs as well as the Colorado Bandmasters Association. The consortium also commissioned Hold this Boy and Listen by Carter Pann. The piece was written for young band with the intention of challenging young musicians that was suitable for a large audience of all ages. The “mysterious village” that the piece is composed around is completely conceptual and does not exist in the world. Colgrass suggests that perhaps the village is deserted and is only inhabited by ghosts. The utilization of tone clusters and modern compositional techniques creates a mystical, ethereal quality that paints vivid imagery of these ghost citizens. The sounds that Colgrass uses are suggestive of ancient cultures while he hopes to conjure emotions that are still pertinent to us today. People of today and of the past share common emotions that are only separated by time and context. Instilled is a curiosity for the ancient cultures alluded to by the composition, tying the audience to the past not through intellect, but through a shared universal experience of emotion. -adapted from Program Notes by Michael Colgrass. The piece begins with an ominous introduction of the ghostly inhabitants and the ominous environment of the village. As more spirits emerge, the piece thickens in texture and gains momentum. The ¾ feel of the piece creates the imagery of an ethereal waltz as ancient inhabitants celebrate an era long past. Just as the piece reaches its climax, the dance quickly draws to a close and the ghostly inhabitants return to their eternal slumber, leaving but their memories and the ominous framework of the mysterious village.
Related History In his program notes, Colgrass emphasizes his desire to make connections of the people of the present to the ancient cultures of the past. At the time of the composition of this piece, there were many global issues that were the headline of international news. These included: The report of Iran having a nuclear weapons program, North Korea making concessions on their nuclear program, Sudan resisting UN efforts for peace, and the never ending political turmoil of Pakistan between the Muslim and Hindu people. It was an important year for the United States as candidates began their campaign for the office of the President. In a world that is ever quickly changing, Colgrass set the piece to create connections to the past so that we do not alienate ourselves in the present and future. All things in life fall into a natural cycle, and as such, we should look to the past for answers to today’s problems and hints towards our actions of the future. Though modern in its compositional approach, the piece possesses a universal element that manages to transcend generations, gaining wide audience appeal.
! 6 THE WORK
Formal Analysis
Section Measure Event/Scoring A 1-27 Introduction of free woodwind lines, timpani glissandos, establishment of piano line, small choir texture.
B 27-67 Independent moving lines; tempo increases; Texture thickens.
C 67-99 Full, lush scoring; peak volume and tempo.
B 99-125 Tempo gradually slows; texture thins.
A 125-141 Piano line returns; timpani glissandos; and Superball effects in percussion.
As illustrated above, Mysterious Village is in arch form. The piece begins thin and quiet in texture, slowly increasing texture and tempo until C. From there the piece moves back down in terms of tempo, texture, and dynamics to a soft and quiet ending. In this way, the form of the piece is symmetrical in nature.
Errata None Found
! 7 Performance Notes: Doublings. Colgrass was very selective about doublings to create the continually contrasting instrumental texture that is so important to the piece. As such, he requests that directors do not freely add doublings. He could not be sure if schools would have oboes, bassoons, bass clarinets and baritone saxophones, so he orchestrated the other instruments of the ensemble first and added these four instruments for doublings and extra support only. These instruments should only be added additionally upon shortage of players in the other sections of the band. Measure 1 and 2. The first two measures are aleatoric in nature, intended to establish atmosphere. These measures should be played somewhat freely without meter. The conductor should simply cue each player’s entrance. Colgrass comments specifically that these entrances should be cued as though they were the four beats of a 4/4 measure at the tempo of about 50 beats per minute. Trilling flute players may breathe as needed. Measures 35-39 and 135-138 ask for three timpanists to play simultaneously on one drum. The timpanists play a roll on the drumhead while moving the pedal up and down slowly. The second player rolls intermittently on the drum head with brushes, and the third player rubs a “superball” near the head of the drum head. Players will need to stand in a triangle formation around each kettledrum to facilitate this effect. Superball is a children’s rubber ball that can be purchased at any large shopping center. The ideal size is that of a ping-pong ball with a surface of which is slightly rough to create friction when rubbed on a surface. Make the ball into a kind of drumstick by piercing it with a metal nail file so that it may be used as a handle. They player should rub the ball on the timpani head in a figure-eight motion. The sound created sounds like that of a groaning animal. Ad lib. Measures. Mm. 135-138 are notated, but these may be extended, with players improvising freely to make a mysterious closing effect. As they improvise, players should overlap entrances so that the energy is ever-changing, creating a unpredictable collage of sound on each drum. The conductor cues the chimes, but need not conduct the last two measures. The suggested tempo for these cues is quarter note equals 80 bpm. Added Effect. If a grand piano is available, the conductor may add to the effect of mm. 135-138 by having a player stroke the inside of the piano with a baseball cap. The player should gently caress the middle strings of the piano with the brim of the heat in an unbroken figure-eight design along the length of the strings while the pianist holds down the sustaining pedal, allowing the strings to resonate. The sound produced is eerie, and ethereal in nature. Adapted from Score.
! 8 Glossary of Terms
In order of appearance
Simili
[It.] An instruction to continue in the same manner of execution as has just been indicated explicity. Ad libitum
[Lat., abbr. ad. lib.] At the pleasure of the performer. The phrase may indicate that the performer is to improvicse either ornaments or altogether new material such as a cadenza; or the at the tempo may be varied. Glissando
[It., abbr. gliss] A continuous or sliding movement from one pitch to another. Sordino
[It.] Mute Accelerando
[It., abbr. accel] Becoming faster; faser. Divisi
[It., abbr. div.] Divided; hence, an indication in ensemble music that a group of players normally playing the same part are to be divided so as to play different parts, sometimes notated on the same staff. Ritardando
[It.] Slowing down gradually; also indicated by rallentando.
! 9 Concepts/Skills
. Free Meter Opening/Closing Independent Lines . Extended Techniques “Superball” technique Brushes on timpani Timpani glissando Ball cap on piano
. Player Independence Many lines notated “1 player only” Flute, clarinets, and trumpets are divided into up to 6 individual lines . Musical Lines Expressive Crescendo/Decrescendo Legato . Texture Range of texture Aleatoric Full ensemble/triadic . Articulation Legato Tongue Slurs
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Preparation Guide Objectives for Students & Strategies for Achieving Objectives
Students will play in a lyrical, expressive style Listening assignments will demonstrate proper stylistic choices. Legato/slur exercises Dynamic contrast Movement within individual lines Students will demonstrate ability to play lines independently Outline clear practice expectations for each instrument section Enter at the same dynamic intensity as the lines being performed Playing test on excerpts from the piece In sectionals and in full band rehearsals, have each instrument play the lines individually, then combine lines until all parts are represented. Students will play with textural balance. Have students identify who comes in next. Ask students what is happening in that musical moment. Listen actively as a director to create even balance. Students will create a distinctive setting of music, illustrating the context of the music. Provide listening examples representative of the style. Teach and encourage students to learn vocabulary that accurately describes the setting. Ask students what they are thinking about as they begin/progress through the piece.
! 11 Practice Guide for Students
Flute mm. 1-6 (independent entrances) mm. 53-112 (independent entrances/full melody) Clarinet mm. 3-8 (opening theme) mm. 32-41 (divisi entrances) mm. 66-124 (divisi entrances/theme) Bass Clarinet mm. 66-72 Bassoon mm. 66-72 Alto Sax mm. 9-27 (presentation of first melody) mm. 67-73 Tenor Sax mm. 67-73 Bari Sax mm. 66-72 Horns All (legato/intonation/pitch) Trumpets mm. 41-52 (muted section) mm. 67-77 Trombone mm. 46-52 (muted section) mm. 67-95 (pitch) Baritone mm. 66-81 Tuba mm. 47-53 mm. 74-92 Percussion mm. 7-14 (timpani glissando) mm. 36-39 (superball technique) mm. 113-125 (chimes) Piano Both entrances
! 12 Scales Students will be responsible for the following scales: F minor, A Major, D# Chromatic Eighth notes to the 8th scale degree, repeat 8th scale degree before descending
= 120 Scales will be tested on the semester exam.
Listening Assignment 1
Go to http://www.halleonard.com/product/viewproduct.do?itemid=4002008
Musical Example: Old Churches by Michael Colgrass
Answer the following questions:
1. What similarities are there between the beginning of “Old Churches” and
“Mysterious Village”?
2. The main theme, a Gregorian chant, is presented by the piccolo at 0:39.
True or False? Explain
3. At 2:10, the flutes are the primary melody. In what other song have you heard this short
melody?
4. Provide three words that describe how the music makes you feel
______, ______, ______
5. What percussion instrument is present in “Old Churches” that you may have in
your own home? Hint: When the wind blows, it makes pretty sounds.
Answers:
1. Thin texture, aleatoric in nature, ominous, eerie, etc. 2. False. The theme is presented by the low brass/low winds 3. Mysterious Village by Michael Colgrass 4. All appropriate descriptors will be accepted. 5. Wind Chimes.
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Listening Assignment 2 Go to http://www.youtube.com/watch?v=Klf35J91Yzo&feature=related Musical Example: Conversation and Farewell – Winds of Nagual by Michael Colgrass Answer the following questions: 1. Provide three words that describe the tone of the music. ______, ______, ______2. What instrument is featured beginning at 0:42? 3. How does the musical texture change beginning at 2:56? 4. Does “Conversation and Farewell” end in a similar fashion as “Mysterious Village”? Explain. 5. What was your favorite part of this listening example? Answers: 1. All appropriate descriptors will be accepted 2. Flute 3. Full band lyrical texture to atonal arpeggios with large hits in percussion. (All appropriate ideas will be accepted.) 4. Yes. Thin, aleatoric texture. Eerie. 5. All appropriate ideas will be accepted.
Create Your Own Melody! Using the given notes, create your own “eerie” melody. Feel free to use creative license with rhythm and note combinations.
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Writing Assignment Students are to write a creative story that illustrates their personal interpretation of the piece, “Mysterious Villiage” by Michael Colgrass. The composition is to be no less than 250 words. Creativity is highly encouraged! Pieces will be graded on the following criteria:
Exemplary Accomplished Developing Beginning 4 3 2 1 Organization Good flow of Main idea and Some order of Ideas not ideas from topic details sequential main ideas and ordered sentence. Details as appropriate details in in sequence. sequence. Sentences No sentence Complete Complete Mostly complete errors. Variety in sentences, no sentences. Few sentences. Some length and type. run-ons or run-on sentences. fragments or run- fragments. Some on sentences. variety in length and type Vocabulary Uses new Uses new Attempts to use Related words or key/related key/related new key words in ideas mentioned. words/ideas. words and ideas. descriptions. Limited basic Colorful, Correctly varies Some beyond vocabulary. interesting as language. basic vocabulary. suitable for topic and audience. Grammar No errors in Very few errors Some errors in Many errors in agreement, in agreement, agreement, agreement, number, tense. numbers, tense number, tense. number, tense. Punctuation/Case Correct Minor errors in Few punctuation Several punctuation and punctuation and and case errors punctuation and case throughout. case. Variety case errors Variety used. used. Spelling No spelling Few spelling Some spelling Many spelling errors errors errors. errors.
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Remington - Tune the Dissonance (shown in concert Bb Major)
Treble Clef: Flute, Oboe, Bb Clarinet, A. Sax, T. Sax, Horn, Trumpet, Trombone, Bells Bass Clef: Bassoon, B. Sax, Euphonium, Tuba, Timpani
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Dynamic/Lyrical Warm-Up (shown in concert F minor)
Winds
Chimes
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Evaluation of Students Students will play the following excerpts individually in front of the director. They will be evaluated on the following criteria:
Pitch Accuracy ______Rhythm ______Articulation ______Dynamics ______Phrasing/Musicality ______Overall Grade ______A BA B CB C DC D E
Flutes Horn mm. 1-6 mm. 74-87 mm. 51-70
Oboe Trumpet mm.74-90 mm. 41-52 mm.67-77 Bb Clarinet mm. 101-end Trombone mm. 46-52 Bass Clarinet mm. 67-85 m. 66-72 Baritone Bassoon mm. 66-81 mm. 66-72 Tuba Alto Sax mm. 47-53 mm. 21-27 mm. 74-92 mm. 67-73 Percussion* Tenor Sax Timpani mm. 7-14 mm. 67-73 Chimes mm. 113-135 Demonstrate “Superball” Technique Baritone Sax mm. 53-56 Piano mm. 66-72 mm. 15-27 mm. 125-134 *all percussionists will be expected to learn this excerpt
! 18 January 2011
M T W T F S
1/3
1/10
Colgrass Colgrass – Full Sight-Read Piece 2 Piece 3 P2 – First Half 1/16 Run Colgrass *Sight Read* *Sight Read* P3 – First Half P2 – Full Run mm. 1-62
P2 Colgrass – mm. P2 Colgrass – mm. Solo Ensemble 1/23 Colgrass – mm. 63-94 P3 1-41 Preparation 95-end P3 – Second Half Sight-Read
Week 1 – Full Run-Through and Large Selections Week 2 – Rhythms and Pitches Week 3 – Continued Work on Rhythm and Pitch Address Intonation and Tone
! 19 February 2011
S M T W T F S
Colgrass – 39-52 P2 Colgrass m. 1-14 P2 1/30 (Tpt. Mute) Colgrass – P2 - Ending P3 P3 mm. 52-76 Sight-Read
P2 Colgrass – Colgrass – Full Colgrass – 100- P2 Colgrass mm. 67-91 2/6 Run 124 P3 P3 Contrast in Style P2 – Full run (WW entrances) Sight-Read
P2 – Full Run Colgrass – mm. P3 – Full Run Colgrass – FH Solo Ensemble 2/13 Playing Test 1-14 Colgrass – (Growth & Preparation P3 mm. 15-52 Direction) Sight Read
Colgrass - SH Full Concert Colgrass – Pre-Festival Piece 3 2/20 (Decay) Run-Through mm. 63-92 Concert Sight-Read P2 & P3 (Auditorium) P2 Run
P2 Piece 2 Full Concert Festival 2/27 Colgrass Colgrass Piece 3 Run-Through Performance
Week 4 - Articulation Week 5 – Phrasing, Expression, Dynamic Contrast, Stylistic Contrast Week 6 – Full Picture, Balance and Blend
! 20 Related Items
Other works for winds by Colgrass Arctic Dreams (1991) Déjà vu (1977) Dream Dancer (2001) Raag Mala (2005) Urban Requiem (1995) Winds of Nagual: a Musical Fable on the Writings of Carlos Castaneda (1985) Apache Lullaby (2003) – Grade 2 Bali (2005) – Grade 4 The Beethoven Machine (2003) – Grade 3 Gotta Make Noise (2003) Old Churches (2000) – Grade 2
Similar Works Old Churches – Colgrass Winds of Nagual – Colgrass Apache Lullaby – Colgrass
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Resources
Recordings “Mysterious Village.” Teaching Music Through Performance in Band: Volume 8, Grade 2-3. [Recorded 2010.] MusicEducator’s DR. compact disc. "Mysterious Village." Web, http://www.carlfischer.com/fischer/bandbook/mp3/disc_a/15 Mysterious Village - Michael Colg.mp3.
Bibliography Anderson, E. Ruth, ed. Contemporary American Composers. Boston: G.K. Hall & Company, 1982. s.v. "Colgrass, Michael." Colgrass, Michael. Michael Colgrass: Adventures of an American Composer. Galesville: Meredith Music Publications, 2010. Ewen, David, ed. American Composers: A Biographical Dictionary. New York: G.P. Putnam's Sons, 1982. s.v. "Colgrass, Michael." Gausline, Gregg. Teaching Music Through Performance in Band. 8, Chicago: GIA Publications, 2010. Greene, David, ed. Greene's Biographical Encyclopedia of Composers. Garden City: Doubleday & Company, 1985. s.v. "Colgrass, Michael." Randel, Don, ed. Harvard Dictionary of Music. Cambridge: Belknap Press of Harvard University Press, 2003.
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