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Student Guide: Appalachian Morning, Robert Sheldon

This student guide provides information about the piece "Appalachian Morning" by Robert Sheldon. The document outlines the unit goals of gaining ensemble balance and listening skills, introduces the composer and historical context of the piece, and discusses technical considerations and musical elements for students. It also includes an analysis grid breaking down the form and structure of the piece.

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282 views

Student Guide: Appalachian Morning, Robert Sheldon

This student guide provides information about the piece "Appalachian Morning" by Robert Sheldon. The document outlines the unit goals of gaining ensemble balance and listening skills, introduces the composer and historical context of the piece, and discusses technical considerations and musical elements for students. It also includes an analysis grid breaking down the form and structure of the piece.

Uploaded by

api-437977073
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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STUDENT GUIDE

Appalachian Morning, Robert Sheldon


MUSIC 670 – Fall 2018
Jacob Wrobel

*Appalachian Morning by Susan Jenkins

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TABLE OF CONTENTS

Unit Goals/Score Analysis ============================ 3 – 8

Analysis Grid ---------------------------------------------------------------- 5

Warm-up Strategies =================================== 9

Assessment ======================================== 10

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UNIT GOALS
 Gain a greater understanding on ensemble balance
 Learn about the significance of the Cumberland Gap and the Scottish and Irish settlers.
 Advance individual and ensemble listening skills to a higher level
 Perform Appalachian Morning in a pubic setting with good tone quality and ensemble
balance
 Advance their personal sound and tone quality
 Learn terminology like a “warm” sound or a “bright” tone and be able to differentiate
them in their playing
 Build error-detections skills while listening and performing to give feedback on what to
practice and improve upon

COMPOSER

Born in 1954, Robert Sheldon has been awarded the Volkwein Award for composition
and the Stanbury Award for teaching by the American School Band Directors Association, and
the International Assembly of Phi Beta Mu honored him with the International Outstanding
Bandmaster Award. He taught in the Florida and Illinois public schools and has served as faculty
at Florida State University, teaching conducting and instrumental music education classes. Now
as a concert band editor for Alfred Music Publishing, he continues his career as a composer and
conductor, and still regularly accepts commissions for new works.

HISTORICAL PERSPECTIVE

Appalachian Morning was commissioned by the Psi Chapter of Phi Beta Mu for the
Kentucky Music Educators Association in 2008. This piece provides several solo opportunities
for students in all sections and paints a beautiful picture of early settlers watching the sunrise as
they are traveling through the Cumberland Mountains. Through dynamic shifts, this piece allows
students to fully explore the dynamic range of their instruments with passages ranging from
pianissimo to fortissimo.

Influenced by the settlers from Scotland and Ireland in Kentucky, Appalachian Morning
portrays a musical walk through the woods and mountains of the Cumberland Gap. Located in
the Cumberland Mountains ranging through Kentucky, Tennessee, and Virginia, the
“Cumberland Gap” is a narrow pass near the borders of all three states. It was used by the Native
Americans until settlers discovered it in 1750 and used it to journey to the western frontier led by
Daniel Boone, who was known as one of the first American folk heroes for his exploration.

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TECHNICAL CONSIDERATIONS

Throughout the piece clarinets, flutes, alto saxophones, horns, and trumpets will come
across grace notes or 32nd notes in the melodic lines, which add to the line stylistically but can be
technically hard for beginning players. Along with that, some players may experience issues with
the range of their part, with both trumpet parts needing to play a high F and the trumpet I part
going to a high G. Similar issues are in the low brass along with the need for flutes to play high
notes in lower dynamics. An issue with the percussion could be the entrances they have with the
wind players, as the bell player needs to come in precisely in time with the flutes. These can
normally be fixed with proper preparatory breathes and blowing the correct amount of air
through the instrument.

MUSICAL ELEMENTS

This piece contains so many dynamic shifts that players will need to understand their
place in the ensemble and focus on balancing with the instruments around them. Only taking
nine measures to bring the ensemble from piano to forte, and getting to fortissimo by measure
19, the ensemble will need to express what dynamic they are wanting to play to sell the
emotional impact. Along with the dynamics are the melodic lines being passed around from
instrument to instrument, where the transitions are an important part of maintaining the shape
and feel of the line. This requires a level of listening through the ensemble so they can blend
with the people around them.

FORM AND STRUCTURE

Appalachian Morning has a rounded binary form, with sections normally ending with
large dynamic shifts, and the recapitulation of the A section after a key change at measure 35.
The A and A’ sections are easily identified with several solo melodic lines that move around
between instruments, where the B section has more ensemble playing and contains the climax of
the piece at the forte-piano in measure 33.

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ANALYSIS GRID

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PRACTICE GUIDE
*All exercises are in concert pitch

Chord Progression chart to emphasize melody and harmony.

Scales that focus on dynamics, range, and harmony. Octaves can change with the abilities of
individual instruments, but this outline can be modified for many different warm-up ideas.

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ASSESSMENTS
Practice Charts:
DATE WHAT YOU PRACTICED TIME

- 10 -

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