Wind Ensemble

Warm-Up and Chester

September 9, 2010
National Standards
2. Performing on instruments, alone and with others, a varied repertoire of music.
! 5. Reading and notating music.
! 6. Listening to, analyzing, and describing music.
Ohio Academic Content Standards
II. Creative Expression and Communication
! III. Analyzing and Responding

Concepts: balance and blend, dynamic contrast, style changes

Objectives: Students will play the beginning of Chester more musically, listening to
inner voices for balance and blend. Students will play the Allegro (to 170) with a better
concept of the many dynamic and style changes that occur throughout.
Materials: Smith Symphonic Techniques for Band, Chester score, baton, chalkboard

Procedures:
Warm-up aprox. 25-30 min.
1. C major (I.I) listen for intonation and ensemble blend
2. D major (I.10) beginning of chester centers around this, want to be sure the
ensemble doesn't sound too bright in this key.
3. From here, start with 1.24 and go through the book making sure they are watching
and playing as an ensemble. May ask different groups to play together such as hns,
fl, and euph and ask them to blend or something like that. (32, 40, 48, 56, 64, 72, 81,
89, 95, 103, 113, 125, 131)
4. Tune and play chorale II.10. Once again in D listening for balance and blend.
Chester Beginning Chorale 10-15 min.
1. Ask does anyone know there this "Chester tune" came from? A man named William
Billings wrote it at the time of the American Revolution and it was played and sung in
homes as well as in military bands. The only tune that may have been more
prominent at the time was Yankee Doodle. The lyrics will be written on their board so
they may be able to see them and possibly connect with them in their playing.
2. From the beginning, ask those without the chester melody to play (have brass ready
with same instruction in case we get that far). Listen for balance between low reed
and second and third clarinets. Possibly have them play by themselves.
1. Note to self, want them breathe on the and of 4 in measure where a breathe is
indicated.
3. Measure 14 - only 8th notes play.
4. When brass come in, ask for a full, centered, glorious sound. May need to point out
m. 30
5. Add in the melody and ask them to play into the harmony's sound so not to
overpower the inner voices. Ask Brass to listen to WW's and Vice Versa and ask
whether or not they thought the other choir played sensitively and musically.
6. Play beginning to 38.
Chester Allegro Vivo 38-100 10 min
1. WW's play at 46 if they have the melody. Pay close attention to style markings. This
resembles military bands. Rehearse if needed.
2. Add in everyone. Be sure downbeats get softer in 44 and 45.
3. Ask brass to play 57 - it should build.
4. Continue 60-100, stop only as needed. This was rehearsed on Tuesday, so now it's
time to see if it has improved at all since then. Remind them to listen for every note
while they're playing.
5. During this section, listen for percussion iterations. They were' here on Tuesday, so
they may need more attention at this part.
Chester Allegro Vivo 100-145 20 min
1. Begin at 100 to get into this next section. There should be a drastic volume change
in 102. Ask players to play comfortably, not to push the sound, and be light as
possible.
2. Most likely they won't give much of a difference at 120. Start at 118 and be sure they
give direction to this statement.
3. Character change at 123. WW's and Tbns. playing with full lush sounds. Sustain
through long tones giving tons of energy.
4. Another Character change at 133 with a diminuendo --- get really soft so that 138 is
an even bigger surprise.
5. 138, "bop" your part, each part needs to be equal. Same people bop the pyramid at
144. Notice the change in the sonority and tonal center.
Chester Flowing section 145-170 5-7 min
1. Brass play,WW's listen to harmonies. Point out the "legato, mellow" indication in their
part. Listen for the changes in the sonorities.
2. Add in WW's. Point out "dolce cantabile." This should be very expressive.

Assessment
1. Beginning - I am listening for sensitivity for the inner voices of each choir. When
each choir has to play by themselves, it gives me a chance to listen for this and see
if others in the room are listening as well (when I ask them their opinion).
2. Since we've already rehearsed 60-100, once we work a little bit at the beginning of
the allegro and continue on, I will be listening to see if this section has improved at
all since Tuesday. I will listen for 1-accurate entrances and rhythms and then 2-
accurate pitches. I understand that some people may need more time to work this
out, but the entrances, and style should definitely be there today.
3. Once at a good play to stop (planning on 170), go back to 100 and play through the
chunks we worked on today. I want them to be playing with more care to the
dynamic contrasts and "character changes" throughout.

Extension
Play 170 to the end, touching on "big picture" details.