CMP Teaching Plan

NAME
Andrea Bakkala
Yorkshire Ballad
James Barnes
Southern Music Company 3/3.40 mins

Broad Description
This piece has a standard ballad form of AABA with the B theme holding the climax of the piece.
However, each A theme has something different from the last, making it unpredictable for both
the players and the audience. The melody is passed between different instruments, showing
that not one section is favored, and the counter melodies have the same importance as the
main melody.

Composer Biography
-James Barnes (1949)
-Professor at University of Kansas
-Received the American Bandmasters Association Ostwald Award, twice
-Clear rhythms and melodic melodies
-Has written 79 wind band pieces
-Most well know in US, Europe, Australia, Japan, and Taiwan
-Written in the style of Percy Granger, but for younger, not as experienced, ensembles

Background Information
-Ballad
-Standard work for bands
-Composed in 1985
-American made

Elements of Music
Measu BIG Form Melody Rhyth Harmony Timbre Texture Expressi
re For m on
 m
1-4 A 4 bar Start of the Eighth Countermelo A warm WW have A very soft
phrase theme, a1, notes and dy 1 in sound melody beginning
"a" played in quarter Bassoons and created and
Clarinets, Alto notes Trombones by lower harmony,
Saxophones, make up WW and very little
and Horns the trombone brass, no
melody s percussio
and n
harmony
5-8 4 bar Same Same
phrase instrumentatio instrumentati
"a'" n, second part on
of theme
9-12 4 bar Third part of Countermelo Climax of
phrase theme in the dy 2 begins the fore
"b" same in Bassoons, part theme.
instruments Tenor
Saxophone,
and Baritone.
13-16 4 bar Forth part of Same
phrase theme comes instrumentati
"a'" back, similar to on
the first
17-20 B 4 bar First Flute with Same Clarinet 1 A higher No brass A new
phrase melody rhythm as with bright or counter
before countermelod WW percussio melody is
with an y 1, Clarinet sound n, introduces,
added 2 and Tenor with a This is the shows
dotted Saxophone bass "woodwin something
rhythm with clarinet d choir" new.
countermelod pedal section
y2 tone
21-24 4 bar Second part of Continued
phrase theme
25-28 4 bar Third part of Countermelo Theme is
phrase theme. Upper dy 1 played building
WW with by Second by adding
melody. Third Clarinets and more

2
 clarinets are Altos. WWs to
playing melody Countermelo melody
down a third dy 2 played and new
by low harmony
woodwinds voices.
29-32 4 bar Horns enter Continued
phrase and join
melody in forth
part of theme
33-36 A 4 bar Percussion Continued New Counter Key Brass and A new,
phrase enters and eighth Melody in change to percussio strong
brass take notes Alto subdomina n feeling is
over, first part Saxophones nt Eb featured added with
of theme and Trumpet major here. No new voices.
2. WW
Dissonance
and
resolution is
created
37-40 4 bar Second part of Continued
phrase theme
41-44 4 bar Upper brass Countermelo Heart of the
phrase and WW take dy 3 in piece
melody middle
voices.
Counter
melody 2 re-
enters in 44
45-48 4 bar No moving
phrase notes on the
downbeat of 45
to present the
strong chord,
parts continue.
49-52 Coda 4 bar Them begins in Eighth other voices Every All voices, Calm and
phrase clarinets, flutes and leading to the voices is WW delicate
enter in 50 and quarter down beat of used but melody
join note 52 where soft,
rhythm clarinets and showing

3
 sore on flutes finish strong
top of the phrase beauty
smooth with a unison
half notes E flat.
53-56 4 bar Theme begins countermelod All notes
phrase in Fist Clarinets y 1 is are held
and Trumpet transposed and
one and two as suspension
descending s are
alto released in
saxophone, 56
Trumpet 3,
and horn
57-59 4 bar and flutes carry E flat Major
phrase out the fermata chord is held
until nothing to the very
end
The Heart Statement
The heart of the piece uses every voice in the ensemble and is led up from a dissonance to a
strong resolution, and creates a sense of accomplishment for the players because working and
climbing to this moment together, as one band, is a strong feeling.

Affective Outcome:
Students will relate their own life experiences, such as feelings of wonderment and home, to this
piece.

Strategies
1. An assignment for this would be for the students to write a story, a journal, or to illustrate
their feeling of their "happy place."
Stories, journals, and illustrations will be read or shown to the band and the band will show
facial expressions that match what is being presented.

2. Play different pieces that incorporate different feelings, (Jaws- scary, intense; a march-
powerful, excitement) and have students think about a place that pops into mind while listening
to it.

4
 Play Yorkshire and have students think about how it makes them feel, especially at the
climax, B section. Have them share what they think each piece means.

Assessment
1. Journal assessment
Journal prompt will be "Describe what your favorite place on earth looks like and what
about this place make it your favorite? Write what you picture as the piece is playing, how does
your favorite place resemble what you hear in the music."

1 2 3

Students are unable to Students are able to Students can picture

interpret what is express what they hear and express what they
happening in the piece but unable to picture hear efficiently
and express it. what they hear through
the music

Skill Outcome:
Students will recognize intonation within a group and produce constructive criticism on how to
fix it.

Strategies
1. Start by tuning the band, or what they think is tuning
Have all of them adjust their instruments so intonation is horribly off, pull all the way out
or push all the way in. Percussionists can come sit within the band.
Try tuning again, maybe section by section, have them compare what this note was like to
the initial one.
2. Visual tuning chart worksheet for each individual. Shows every note with a space next to it,
allowing student to put how sharp or flat, or possibly in tune.
Tonal energy smiley face/tuner, left or right of center.

Assessment

5
1. Performance assessment
Students will get into groups of 3-5, instrumentation can be anything, and tune to a
concert A and concert Bb. Percussionists will be within the groups, may give tuning pitch. Groups
get 3 minutes. This is to gage an idea of their growth process in recognizing and fixing pitch
problems.

1 2 3 4

After the allotted Students take the It is seen that Students

amount of time, whole 3 minutes student's are efficiently listen
student's pitch is to tune but listening to each to each other and
still off, listening eventually get other and trying tune quickly
is not developed close to pitch, to correct
listening is themselves, pitch
developing is tuned

Knowledge Outcome:
Students will identify and notate four bar phrases.

Strategies
1. First, I will play other pieces of music that have the same phrase structure and have students
stand when they hear a phrase end. Then, I will play Yorkshire and have them direct the phrases
with me. They will also hold their breath through out the phrase and breathe when the phrase
allows.
After they have recognized the patterns, I will ask for volunteers, or call on people, to play
us four four bar phrases that they have created.

2. Show the band the score that has the four bar phrases marked while listening to it.
Hand out some staff paper, have students create four, four bar phrases. Be sure to explain
that melodies are as unique as the person writing them, there is no write or wrong melody.

6
Assessment
1. Paper and pencil assessment
Students will be given a score and will need to identify and bracket four bar phrases. They
will also be given staff paper and will need to write a 16 bar melody containing four four bar
phrases.

1 2 3

Students struggle to Students show an Student's melody was

write their own four bar understanding of writing thought out and notated
phrase melody and a four bar melody but correctly, they can
identify the four bar still lack knowledge of identify the four bar
phrases. identifying. phrase in a score.

Recommended Recordings
https://www.youtube.com/watch?v=XmYYnuWcUro

References
Grove music, James Barnes