Month Long Rehearsal Plan - Final

Month-Long
Rehearsal Plan
Concert Objective
The objective of this concert is to share a combination of new and old concert band repertoire with our
audience. We aim to share enjoyable and emotional music that audience members will be able to easily
connect with and remember.
Concert Curricular Goals
As a result of this concert repertoire, students will gain experience in the following curriculum outcomes:
MM3 The learner develops competencies for using elements of music in a variety of contexts.
MC3 The learner develops understandings about the roles, purposes, and meanings of music.
MC2 The learner develops understandings about the influence and impact of music.
MR1 The learner generates initial reactions to music experiences.
MR2 The learner critically listens to, observes, and describes music experiences.
Piece: Appalachian Overture James Barnes (712)
Justification: This is a well-known and respected piece of concert band literature that serves as a great
concert opener. It is in ABA form and while it is all original music, the middle B section is reminiscent of
the folk-type melodies present in the American southwest, where the Appalachian Mountains are located.
This piece gives students the opportunity to work on their sense of overall ensemble tone, as there is
quite a bit of tutti playing throughout the work. Learners are using musical skills in two different contexts
of music in this piece light and detached in a fast tempo, and slow, lyrical playing in the middle slower
tempo.
Piece: Windjammer Robert Buckley (544)
Justification: Windjammer depicts the grandeur of a voyage aboard one of these very tall ships! This
piece reflects the majesty and feeling of excitement that one would feel upon a voyage of the
windjammer. The piece was inspired by the composers journey through the forested islands on the West
Coast of Canada on a ship called the Nova Spirit. The opening of the piece depicts the echoes of nature
in three solo trumpet lines. Having such specific imagery available to the audience will help them to
connect with and create an internal mental image throughout the performance. Students are given the
opportunity to develop ideas around how they can use their musical skills (dynamics, articulations,
balance and phrasing) to influence the listeners experience of listening to this piece of music.
Piece: Just a Closer Walk With Thee Arr. Fred J. Allen (415)
Justification: Just a Closer Walk with Thee is an arrangement of the famous Jazz Funeral Hymn. The Jazz
harmonies, solo saxophone and flowing lyrical quality make for a good contrast to the remainder of the
program. Taken a slightly faster tempo than indicted gives more forward direction to the hymn. There is
good learning opportunity in this piece for students to develop aural capacity for jazz harmony as
compared to more traditional classical harmonies in the remainder of the program.
Piece: Second Suite in F Gustav Holst (1129)
Justification: Playing classic concert band repertoire is an important part of our students development as
concert band instrumentalists. Programming this type of music gives ample opportunity to discuss ideas
around the meaning and importance of this genre of music. Second Suite was written in 1911 and
published in 1922. We can discuss the influence of this piece of music on our musical lives today, as it
came about at the beginning of a time where music education became a valued part of schools. Learners
also continue to use music skills to deliver a completely different story to the audience. This is an
enjoyable piece of music for the audience as it takes them on a journey through four very different
characters stories the strict and beautifully melodic march, the love story songs without words, the
hardworking song of the blacksmith and the wild fantasia on the dargason!

Month-Long Rehearsal Plan
Calendar
Method Book:
Habits of a Successful Musician: A Comprehensive Curriculum for Use During Fundamentals
By Scott Rush & Rich Moon, edited by Marguerite Wilder
Week One
Goals: To look at the macro picture of all concert pieces. For students to gain a basic
understanding of the essence and/or stories behind each piece programmed.
Day 1
Warm-Up: Stretch/Breath, 11a (all #11s are different lip slur patterns for brass and chromatic
passages for woodwinds and percussion) Concert F Scale, Habits, p7 # 23 (Concert F exercise
scale, arpeggio, thirds & technical study), Chorale #3
Tuning: To the Oboe, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Holst 1 (15): sight-read through, work on matching staccato articulations esp. on beat 1s,
and rhythm accuracy
Windjammer (10): Give background, sight-read through
Closer Walk (5): listen to Mahalia Jackson singing at Newport Jazz tribute to Louis Armstrong,
read intro, measures 1 10
REHEARSAL PRIORITIES (highlight what we will focus on)
Technical Priorities: Intonation & Tuning / Rhythm & Rhythm Patterns / Ensemble Sonority
Elements: Tone, Balance, Blend, Colour & Texture / Articulations
Musical Priorities: Tempo & Ensemble Precision / Phrasing & the Musical Line / Style &
Interpretation / Dynamics, Nuances & the Musical Expression
---------------------------------------------------------------------------------------------------Day 2
Warm-Up: Stretch/Breath, 11b, Concert Ab Maj Scale, p8 #36 (Concert Ab Exercise), pg 19,
3a & 3b rhythm charts (with sixteenth notes and in Ab Maj)
Tuning: To a Flute Player, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Appalachian (10): Sight-read through all sections & show pictures of the Appalachian
Mountains!
Holst 2 (10): Listen to recording. Sight-read through twice, 2nd time watching for Rubato in
conducting
Holst 1 (10): Reinforce articulation (staccatos in theme, any unison eighth note and quarter
note accompaniment ex: E, J & G) and work with a metronome to establish goal tempo
----------------------------------------------------------------------------------------------------
Day 3
Warm-Up: Stretch/Breath, 11b, Concert BbMaj 2 Octaves Long tones, pg. 17, 1a & 1b
rhythm charts, pg. 9 Chorale #4
Tuning: To a Tuba player, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Closer Walk (10): Sight-read all the way through, noting balance and blend. Can soloists and
melody be heard at all time? Where is the melody everyone marks in their page.
Holst 3 (15): Sight-read all the way through. Practice breathing on the beat to be successful
with offbeat entrances. Focus on accurate articulations.
Holst 1 (10): Focus on 6/8 Section, rhythm precision, matching articulation and style in the
melodic line, dynamics (pp @ J, cresc into K)
---------------------------------------------------------------------------------------------------Day 4
Warm-Up: Stretch/Breath, 11c, C Maj Scale & a min scale, p. 5 #18 (concert C study), sightreading (there are numerous pages of sight-reading in this exercise book based on either key
signature or time signature and advance appropriately. We will work in order through both
pages, only 1 or 2 exercises every couple of days)
Tuning: To the TUBA, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Holst 4 (15): Sight-read all the way through, listen to a recording of Tokyo Kosei after reading
Holst 1 & 2 (15): mvmt 1, 47 110 Shape and Phrasing mvmt 2, accompaniment from 1
37 without melody, melody without accompaniment, and then put together focusing on
balance and blend of lines.
Windjammer (5): 22 43, shape, balance lines, dynamics, articulations
---------------------------------------------------------------------------------------------------Day 5
Warm-Up: Stretch/Breath, 11c, Eb Maj Scale with windjammer 6/8 rhythm patterns, pg.6 #21
(Concert Eb Scale Study), Chorale #2.
Tuning: With a tuner, Hum Pitch from the box, sing to loo play when section is called on
Concert Selections:
Holst 4 (10): Everyone learns the A theme and the B theme (provided), sings them and plays
them together in different instrument combinations. Rehearse Letter B C & Letter G H
Appalachian (10): Rehearsal 2 Everyone learn the melody, Rehearsal 6 balance 8th notes
lines create forward motion until measure 109. Keep ears open to the melody.
Windjammer (10): 43 123, rhythm precision, temp and articulations
---------------------------------------------------------------------------------------------------Week Two
Goals: To look at the micro picture for each piece and make connections between warm-up
and repertoire. Soloists to be assigned and start to become more comfortable with their parts.
Day 6
Warm-Up: Stretch/Breath, 11d, 2 octave a-minor scale, Hemiola lesson using a-minor scale,
pg.1 chord progression
Tuning: To the Oboe, Concert A for WW, Concert Bb for Brass
Concert Selections:
Holst 3 (5): measures 1 10 & 24 33, focus on accurate offbeat entries.
Holst 4 (10): 1 Letter E, recognize and write in parts who is playing the melody, review
melody style, balance all accompaniment in accordance to the melody
Windjammer (10):p/u to 151 199: hemiola, articulation, accuracy in rhythm
Closer Walk (5): Start @ the top, tuning and balance to low end of the band. Remove the Alto
soloist @ 10 to achieve blended accompaniment parts add back in and have accompaniment
support soloist phrasing and style.
---------------------------------------------------------------------------------------------------Day 7
Warm-Up: Stretch/Breath, 11d, two octave concert F long tones, pg 7 #23 (concert F study),
review hemiola, Chorale #3
Concert Selections:
Holst 1 & 2 (15): mvmt 1: 111(H) 159, transition back into the to, review to the fine. Mvmt
2, focus on tuning
Appalachian (10): Intro, measure 1 rehearsal 2, review until 109
Windjammer (5) review 151 end
----------------------------------------------------------------------------------------------------
Day 8
Warm-Up: Stretch/Breath, 11e, Abmaj long tones, Sightreading, page #1 BB&T, Chorale #5
Tuning: Oboe gives pitch, section leaders tune, others join when cued. WWs to A, Brass to Bb
(sing first, then play)
Concert Selections:
Holst 3 (15) All, micro details in pitch, rhythm accuracy and articulations
Windjammer (10): 1 - 22, transition section @ 123 151
Appalachian (5): 81 109 notes and precision, slow down the tempo
---------------------------------------------------------------------------------------------------Day 9
Warm-Up: Stretch/Breath, 11e, F Maj Remington Warm-up, Concert F study, Sightreading,
Chorale #3
Tuning: Oboe gives pitch, section leaders tune, others join when cued. WWs to A, Brass to Bb
Concert Selections:
Holst 4 (15): E- F, controlled, balanced, blended full band sound, accented articulations
matching in style. F G, tuning & blend in the accompaniment (remove melody)
Appalachian (10): 109 170, style, balance & blend, rhythmic precision.
Windjammer (5) Review 1 22, 183 end (soloists be solid!)
---------------------------------------------------------------------------------------------------Day 10
Warm-Up: Stretch/Breath, 11f, Bb min scale, A minor scale, 4a & 4b rhythm charts measure
1-16, Chorale #9
Tuning: Oboe gives pitch, section leaders tune, others join when cued. All to Concert F. (sing
first, then play)
Concert Selections:
Holst 1 (15): Intro E(46). Articulation, forward sense of pulse. Review 49 H.
Closer Walk (10): Start @ mm 28: ensemble dynamics & pulse, build into the KC @ 44 and
control intensity of the forte dynamic in the climax @ 56. Draw dynamic structure of this
section of the piece on the board.
Windjammer (7): 35 123 accuracy in pulse and articulation
---------------------------------------------------------------------------------------------------Week Three
Goals: To continue looking at the micro picture of each of our pieces, and start to become
comfortable with transitions within each pieces. Perhaps starting to bring the Macro picture
back into some pieces.
Day 11
Warm-Up: Stretch/Breath, 11f, 2 octave Eb Maj Long Tones, 4a & 4b Rhythm Charts measure
17 32, Sightreading, Improvised Chorale Eb Pentatontic notes
Tuning: To an Alto Sax, Concert A for WW, Concert Bb for Brass
Concert Selections:
Holst 4 (10): H end, precision in solo lines
Holst 2 (5): A 37, shaping the line of the accompaniment 8th notes.
Appalachian (10): 170 186 + Coda (at a slow tempo)
Closer Walk (5): review dynamic structure from last class (measure 28 56). Work on
entrances and tuning from 66 end.
---------------------------------------------------------------------------------------------------Day 12
Warm-Up: Stretch/Breath, 11f, F Maj Remington, pg 7, #23 (concert F study), Rhythm Chart
4a & 4b measure 33 48, Chorale #1
Tuning: Oboe plays Concert F, Section Leaders play, others follow when cued. Follow same
pattern with concert A, concert C and the upper octave concert F
Concert Selections:
Holst 1 (7): 1 E, Isolate inner voices & melody, sing both, bring back together
Holst 3 (7): All, micro details in pitch, rhythm accuracy and articulations
Windjammer (15): 123 199, focus on transition accuracy
----------------------------------------------------------------------------------------------------
Day 13
Warm-Up: Stretch/Breath, 11g, f min scale long tones, rhythm chart #5a & 5b measure 1 8,
sight-reading, improvised minor pentatonic scale
Concert Selections:
Holst 4 (15): Transition areas, use a metronome to keep a steady pulse throughout the band
as we pass of the melody
Appalachian (15): Coda 187 247, balance the two themes combined, technique dynamics
and articulations
---------------------------------------------------------------------------------------------------Day 14
Warm-Up: Stretch/Breath, 11g, Roots around the Circle of 4th in Minor Triads (teach about
appropriate tuning!), Rhythm Chart # 5a & 5b measure 9 13, review 1 8, Chorale # 8
Tuning: To a Tenor Sax, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Holst 1(5): Transitions
Holst 4 (10): Review the balance of the two themes together at G and at with Solo Euphonium
at C
Closer Walk (10): Whole piece. Balance, Blend, and Tuning proper support for the melody
and soloist, focus on transition into 28 and into 66
Appalachian (5): Review Coda
---------------------------------------------------------------------------------------------------Day 15
Warm-Up: Stretch/Breath, 11h, Roots around the Circle of 4ths in Major Triads (teach about
appropriate tuning!), Chorale #11 (Jupiter), sight-reading
Tuning: To the lead Clarinetist, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Holst 2 (5): Run, focus on balance, blend, tuning and overall sensitivity
Holst 3 (10): All, micro details in pitch, rhythm accuracy and articulations
Windjammer (10): Work on sections as necessary based on previous rehearsal
Closer Walk (5): run full piece
---------------------------------------------------------------------------------------------------Week Four
Goals: To come back to the Macro picture of all concert pieces. To feel comfortable playing
through full pieces of music, and address micro issues as needed.
Day 16
Warm-Up: Stretch/Breath, 11h, Concert C, Concert F, Concert Bb, Concert Eb, Concert Ab
back to back scales, pg 8 #26 (concert Ab study), sight-reading, chorale #6
pattern with concert A, concert C and the upper octave concert F (sing first, then play)
Concert Selections:
Holst 1 & 4 (15 min): Work on sections as necessary based on previous rehearsal, moving
towards running the full piece.
Appalachain (15): Transitions, Technical passages (coda, 81 108), 49 81 to balance eighth
note lines
---------------------------------------------------------------------------------------------------Day 17
Warm-Up: Stretch/Breath, 11a, Concert C, Concert F, Concert Bb, Concert Eb, Concert Ab
back to back scales, page 5 # 16 (concert B scale study), Chorale #4
Tuning: To the TUBA, Concert A for WW, Concert Bb for Brass (sing first, then play)
Concert Selections:
Holst 2 & 3 (15): Work on sections as necessary based on previous rehearsal, moving towards
running the full piece.
Windjammer or Appalachian (15): Work on sections as necessary based on previous rehearsal,
moving towards running the full piece.
----------------------------------------------------------------------------------------------------
Day 18
Warm-Up: Stretch/Breath, 11a, pg #1 Whole Tone Scale, Ascending intervals, BB&T, Chord
Progression
Tuning: To the lead trombone play, Concert A for WW, Concert Bb for Brass (sing first, then
play)
Concert Selections:
Holst, All (20): Work on macro sections of Holst, record each movement to reflect for next
rehearsal where we will touch on micro elements.
Appalachian (10): Work on sections as necessary based on previous rehearsal, moving
towards running the full piece this week.
---------------------------------------------------------------------------------------------------Day 19
Warm-Up: Stretch/Breath, 11b, Concert Ab Scale Patterns, pg 1 BB&T (sight transpose to
AbMaj), Improvised Chorale with Ab Maj Pentatonic
Tuning: To a French horn player, Concert A for WW, Concert Bb for Brass (sing first, then
play)
Concert Selections:
Holst, 4 movements (15 micro): Work on sections as necessary based on previous macro
rehearsal.
Closer Walk (10): 8th note precision through accompaniment forward motion throughout led by
pulsing eighth notes, black notes more important than white notes.
Windjammer (10): Work on sections as necessary based on previous rehearsal, moving
towards running the full piece tomorrow.
---------------------------------------------------------------------------------------------------Day 20
Warm-Up: Stretch/Breath, 11b, Concert F two octave long tones, pg 1: BB&T in F
pattern with concert A, concert C and the upper octave concert F
Concert Selections:
Full Concert set, in order (play through each selection without stopping to rehearse. If there is
time, and we need to review something, we will at the end of the run-through)
Appalachian Overture
Windjammer
Closer Walk
Holst
10

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What is the objective of the concert?

What curricular goals will students gain experience in through this concert repertoire?

Month-Long

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

Month-Long Rehearsal Plan

REHEARSAL PRIORITIES (highlight what we will focus on)

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