The Trombone King, Karl L.

King
Teacher’s Guide

Elaine Snowden
MUSIC 670
 Table of Contents
Introduction 2

Score Study 3

Score Analysis 5

Warm-Ups 10

Historical Lesson 16

Melodic Lesson 18

Rhythmic Lesson 20

Art Integration Lesson 23

Form Lesson 25

Resources 26

Glossary of Terms 27

Practice Log 28

1
 Introduction
Title: The Trombone King
Composer: Karl L. King
Publisher: C.L. Barnhouse Co., Oskaloosa, Iowa, 1983
Grade Level: 3
Unit Goals:
• Create and analyze performed music
• Understand the role of the circus march in its performed settings
• Rehearse and perform The Trombone King
• Improvement of technical and performance skills
• Increase in knowledge of historical context and music theory
Unit Objectives:
Students will:
• Apply learned concepts from the warm-up strategies to the composition
• Develop control over changes in musical elements such as dynamics, style, and
articulations
• Assess and evaluate their performance during rehearsals as well as after the concert
performance
• Demonstrate an understanding of the form of this piece and its impact on other musical
elements within the composition
National Standards Addressed:
• MU:Pr4.2.EIa: Demonstrate, using music reading skills where appropriate, how
compositional devices employed and theoretical and structural aspects of musical works
impact and inform prepared or improvised performances
• MU:Pr4.3.E.Ia: Demonstrate an understanding of context in a varied repertoire of music
through prepared and improvised performances
• MU:Pr6.1.E.Ia: Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music representing
diverse cultures, styles, and genres
• MU:Pr6.1.E.Ib: Demonstrate an understanding of expressive intent by connecting with
an audience through prepared and improvised performances
• MU:Re9.1.E.Ia: Evaluate works and performances based on personally- or
collaboratively-developed criteria, including analysis of the structure and context
• MU:Cn11.0.T.Ia: Demonstrate understanding of relationships between music and the
other arts, other disciplines, varied contexts, and daily life

2
 Score Study
Unit 1: Composer
Karl L. King (1891-1972)
Karl L. King’s music background began late in his childhood when he began playing
trombone in the Canton (Ohio) Marine Band. Though he never had any training in theory or
composition, he studied the subjects on his own and by 17, produced his first march: March
T.M.B. At the age of 22, he composed his best-known composition, Barnum and Bailey’s
Favorite, and throughout his career became well-known for his circus marches. Some of his roles
included the bandmaster for Barnum and Bailey’s Greatest Show on Earth, the director for the
Fort Dodge Military Band and a publisher for a company he had established. Related to that, he
and his wife, Ruth, dealt in the sale of musical instruments through the brand King.

Unit 2: Composition
The Trombone King (1945)
This composition was originally published in 1945 and dedicated to Charles Toops, a
trombonist and bandmaster in Wilmington, Ohio. The arrangement this study focuses on was
published by C.L. Barnhouse Co. in 1983 and is one of King’s better-known compositions.

Unit 3: Historical Perspective

As early as the 1700s, marches served the martial purpose of regulating the functioning
of armies while on the field and keeping time during marching and maneuvers. As the music
became more popular to be performed by community bands, music by composers such as John
Philip Sousa, Henry Fillmore, and Karl L. King became a staple in concert band repertoire.
Marches were only further popularized by circus bands. Using subsections of the march genre
such as “Screamers,” “Two-Steps,” and “Cakewalks,” circus bands would excite the crowd while
circus acts were taking place. The Trombone King is categorized as a circus march.

Unit 4: Technical Considerations

The Trombone King requires fairly standard instrumentation with the addition of the
piccolo, the Eb clarinet, and the Eb alto clarinet. The scoring also calls for the Bb cornet but
these parts could also be performed on the trumpet if that is what is available. From a playing
standpoint, the range and rhythms are not difficult in the piece. Where the difficulty comes in is
that faster tempo, the striking contrast in dynamics and the sudden contrast in articulation from
smooth to hard. Beyond that, concert Ab is a reasonable key signature. The performers will also
need to pay attention to the fact that this piece is in cut time rather than common time.
The percussion set-up is not extensive and as long as there are five students every part
can be played. There aren’t any instrument changes on a single part and one part could be played
my multiple students if there are more than five students. The bell part does not have any fast
3
moving parts except at the beginning so it isn’t much of a concern for a high school-level band.
The timpani, however, requires preparation beforehand. During the first half of the composition,
the timpani drums need to be tuned for the notes F, C, and Bb. During the trio, there is the
addition of Ab and Eb. Before this, there is adequate time to change. When the Bb and F comes
back, there is only two measures of rest in between so it would be helpful to have the tuning
spots marked off for the timpanis.

Unit 5: Stylistic Considerations

The style of this composition is fairly typical for a circus march with the eighth note
rhythms, contrast in dynamics during repeats, and faster tempo. Students will need to take
special consideration when shifting from forte to piano on repeats as well as shifting from legato
to staccato or accents. There is also a stylistic change from the start of the piece to the trio
section and in order to be true to the march style, the change should be immediate and obvious.
The key, however, doesn’t change going into the trio section like it might in other marches.

Unit 6: Musical Elements

One unique aspect of this piece is the division of parts among the ensemble. Though
higher-ranged instruments might typically have the melody, that line has been given to the
trombone and baritone parts. From there, the other parts have a counter-line where the high-
range and mid-range instruments are often alternating.

Unit 7: Form and Structure

This piece uses the ABA formula that most marches follow but instead of the key
signature changing during the trio section, the composition uses the relative minor key before
going back to Ab major.

Unit 8: Suggested Listening

• Barnum and Bailey’s Favorite by Karl L. King
• Emblem of Freedom by Karl L. King
• Circus Days by Karl L. King
• The Circus Bee by Henry Fillmore
• American’s We by Henry Fillmore
• Circus King by Charles E. Double
• The Screamer by Frederick Jewell

Unit 9: References and Resources

• https://www.allmusic.com/artist/karl-l-king-mn0001786923/biography
• https://militarymusic.com/blogs/military-music/13515869-a-short-history-of-marches
• https://windliterature.org/2010/10/16/trombone-king-by-karl-king/
• https://www.windrep.org/Trombone_King,_The_(ed_Paynter)

4
Score Analysis

5
6
7
8
9
 Warm-Ups
The purpose of these warm-ups are not only about preparing the instrument to be played
but also focusing the student’s attention onto concepts that will be used in rehearsals. By using a
warm-up beforehand, the student can practice good technique before also focusing on the new
composition that might distract from that desired technique.

Strategy 1: Vertical Alignment

In this strategy, students are focusing on the vertical alignment of rhythms that vary from
other sections within the overarching pulse. In order to practice this, students all read off of the
same music sheet with a list of rhythms. Starting big, the ensemble can split as much or as little
as needed so that while one group plays one rhythmic pattern, another group is playing a
completely different one. This will exercise the idea of keeping moving notes in time with the
notes of longer duration. If desired, everyone can play on the same concert pitch, they can build a
chord, or even play through scales but the focus of this strategy is solely rhythmic.

10
 Strategy 2: Relative Major/Minor
In The Trombone King, the change in form is centered around the key change from F
minor to its relative major key: Ab. In this exercise, students are practicing both the hearing and
seeing of that change from one mode (major) to another (minor) with the same key signature. To
start this exercise, students begin by reading from their given major/minor scale sheets that look
like such:

11
 It is assumed that they have copies for the 12 major and minor scales since the start of the
year so that they can look at them for reference. From there, the teacher will instruct students to
perform their concert Ab major scale. After completing that scale, as per typical routine, students
will be instructed to find the scale in the relative key. The teacher should explain the concept of
relative and parallel keys beforehand so that when it is time to play the following scale, the
students will play F minor without specifically being asked to play F minor. This exercise can be
used for a few scales if time allows but the goal is to end on Ab major and F minor so that
students have practiced those notes and can hear those keys in their heads before playing the
composition.

12
 Strategy 3: Melody-Sharing
In this composition, the melody line is found in the trombone and baritone parts. This is
unusual when considering how well higher-range instruments tend to project. So it is important
that the rest of the ensemble doesn’t cover up the melody in the trombone and baritone parts. The
focus of this exercise is for the ensemble to become familiar with the melodic line so that they
can better search for it when everyone else is playing. In order to complete this warm-up, each
student is given the same sheet of music that has the melody from the first section of the piece
written out on both clefs, two octaves each. So then everyone can read the music and play it
together in their preferred octave and clef.

13
 Strategy 4: Subido
There are a lot of changes in this piece such as significant changes in dynamics, style, and
hard or softer articulations. And when there are changes, they’re sudden in order to be dramatic.
This exercise focuses on sudden changes in musical elements. Using the piece from the melody-
sharing assignment, students will repeat the melody but will need to focus changing something
like the dynamic, style, or type of articulation right at the start of the repeat and make sure that it
is done cleanly.

14
 Strategy 5: Articulation Development
One major part of marches is the precision with which they’re played and a lot of that
precision depends on clean articulations. This exercise focuses on building on top of clear
articulations on the basic rhythms and then slowly adding on to that. Students can run through
this exercise on a single concert pitch or in chords or even in scales so long as the focus is on
clean articulation with apparent differences between them.

15
 Historical Lesson
Standards
MU:Re7.1.E.Ia: Apply criteria to select music for specified purposes, supporting choices by
citing characteristics found in the music and connections to interest, purpose, and context
MU:Re8.1.E.Ia: Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, the setting of
the text, and personal research
MU:Cn11.0.T.Ia: Demonstrate understanding of relationships between music and the other arts,
other disciplines, varied contexts, and daily life

Objective
Students will demonstrate an understanding of the historical context of The Trombone King by
interpreting and selecting compositions that would be appropriate for the circus performance
setting.

Sequence
In this lesson, students will be split into groups of at least five with the purpose of
programming the music for a circus that takes place in 1945, when the composition was first
created. It is the students’ job to divide up roles during class so that students are researching
age/culturally/historically appropriate circus events and music that would make sense to be in
them. The goal of this lesson is not to just pick fun and silly music, students will need to select
music within the parameters of the assignment: The Trombone King must be one of the songs
selected, pieces shouldn’t be too long (audiences don’t want to go to a circus that takes all day),
at least 5 pieces but no more than 8, and the pieces do not have to be composed before 1945. All
pieces must have a rationale for their selection (especially music published after 1945).
These can be presented on posters or through powerpoint though it would be easier to
post a link to the selected music on a powerpoint.

16
 Assessment
Rubrics differ from checklists in the sense that they measure exactly how well students
did for each criteria. This is a good way for a teacher to not only properly assess a student’s
understanding of each concept addressed in an assignment but it is also a good way to hold
students accountable for their work on an assignment.

Student Name: ________________________________________

CATEGORY 4 3 2 1
Use of Class Time Used time well Used time well Used some of the Did not use class
during each class during each class time well during time to focus on
period. Focused on period. Usually each class period. the project OR
getting the project focused on getting There was some often distracted
done. Never the project done focus on getting others.
distracted others. and never the project done
distracted others. but occasionally
distracted others.
Required Elements The presentation All required All but 1 of the Several required
includes all elements are required elements elements were
required elements included on the are included on the missing.
as well as presentation. presentation.
additional
information.
Knowledge Gained Student can Student can Student can Student appears to
accurately answer accurately answer accurately answer have insufficient
all questions most questions about 75% of knowledge about
related to facts in related to facts in questions related the facts or
the poster and the poster and to facts in the processes used in
processes used to processes used to poster and the poster.
create the poster. create the poster. processes used to
create the poster.
Rationale Rationales for Rationales for Rationales for Rationales for
music selection are music selection are music selection are music selection
descriptive, descriptive and historically- either don\'t make
thorough, and historically- appropriate but sense or are
historically- appropriate could use a better inaccurate or
appropriate description inappropriate
Presentation (XC) Time was spent Time was spent
searching for making the
quality additions to presentation
the presentation attractive
such as pictures

17
 Melodic Lesson
Standards
MU:Cr2.1.E.Ia: Preserve draft compositions and improvisations through standard notation
MU:Cr3.1.E.Ia: Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address identified
purposes

Objective
Students will demonstrate an understanding of the form and style of The Trombone King by
composing a new background to support the pre-existing melodic line of the composition.

Sequence
If possible, students can do this lesson individually but if there is not enough notation
software or access to such available, group work is appropriate as well. For this lesson, students
are given the melody of the beginning of The Trombone King which is the same as found in the
warm-up strategies and will be in the student guides with that. From there, students are asked to
compose one percussion part for rhythmic context, a bass line for harmonic context, an
appropriate chord progression consisting of I, IV, and V chords, and a counter-line to interact
with the given melody. Though the piece does not have to be long, students are also asked to
arrange it in ABA form with the B representing a lyrical trio. When projects are completed,
students will also need to answer the following questions:
1. How is this similar to The Trombone King?
2. How is this different from The Trombone King?
3. What is my favorite part about this composition?
4. What was most challenging about composing this piece?
This lesson could be taken a step further by having students perform pieces in small ensembles
or the pieces can be played through the computer.

18
 Assessment
Rubrics differ from checklists in the sense that they measure exactly how well students
did for each criteria. This is a good way for a teacher to not only properly assess a student’s
understanding of each concept addressed in an assignment but it is also a good way to hold
students accountable for their work on an assignment.
Student Name: ________________________________________

CATEGORY 3 2 1 R - Redo
Music Notation All notes are Most notes are Notes are written Notes are written
written neatly written clearly clearly, but barline in a sloppy and
using proper using the proper placement is often illegible manner.
barline placement. barline placement. incorrect. Barline placement
is not correct.
Needs to be
resubmitted.
Music Score Music Score is very Music score is Music score is Music Score is
neat and all neat. Two or less legible. Three to illegible and many
required elements of the required four of the of the required
are included: Song elements are required elements musical score
Title, Composer missing from the are mising from elements are
Name, Instrument, musical score. the musical score. missing.
Clef Sign, Time
Signature, Key
Signature, and
Copyright.
Instrumentation Composition One part is Two parts are Three or more
includes given missing. missing. parts are missing.
melody, harmonic
progression, bass
line, counter-line,
and at least one
percussion part.
Overal The composition The composition The composition The composition
Performance was creative, was somewhat was very basic and was not complete,
clean/easy to read, creative and somewhat legible and very difficult
and included all legible. to read. to read.
required elements.

19
 Rhythmic Lesson
Standards
MU:Re7.2.E.Ia: Explain how the analysis of passages and understanding the way the elements
of music are manipulated inform the response to music
MU:Re9.1.E.5a: Identify and describe the effect of interest, experience, analysis, and context on
the evaluation of music

Objective
Students will analyze the prevalent rhythms in the first section of The Trombone King and
explain how a variety of rhythmic patterns impacts musical elements such as style, mood, and
forward momentum.

Sequence
In this lesson, students will be asked to complete a chart that covers measures 1-12 of the
composition. Within this chart, students are to listen to a recording of the piece and identify,
analyze, and notate the most prevalent rhythmic patterns. This will allow students to practice
listening for details in music that will create better pulse, vertical alignment, and precision when
performing music.

Measure Most prevalent rhythm pattern in section

2
3
4
5
6

20
 7

10

11

12

When listening to the piece, alternate by listen to the whole 12 measures and one measure at a
time so that student have time to process.

21
 Assessment
Rubrics differ from checklists in the sense that they measure exactly how well students
did for each criteria. This is a good way for a teacher to not only properly assess a student’s
understanding of each concept addressed in an assignment but it is also a good way to hold
students accountable for their work on an assignment.
Student Name: ________________________________________

CATEGORY 3 2 1 R - Redo
Measures 1-2 All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

4-Mar All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

6-May All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

8-Jul All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

10-Sep All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

12-Nov All rhythms were There was one or There were three There were four or
correct. two rhythmic rhythmic mistakes. more rhythmic
mistakes. mistakes.

22
 Art Integration Lesson
Standards
MU:Re7.2.E.8a: Describe how understanding context and the way the elements of music are
manipulated inform the response to music
MU:Re8.1.E.8a: Identify and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, and the
setting of the text

Objective
Students will apply their understanding of the historical and emotional context of The Trombone
King by recreating the composition as a storyboard.

Sequence
In this lesson, students will use the form analysis in the student guide to divide the piece
into six pieces. Once that is completed, students will work in groups to both find a piece of art
fitting for each section, a summary of what is going on in the artwork (this can be a whimsical
fiction if desired) and an explanation of what about the artwork related to that section of the
piece. This will be presented through PowerPoint so that students can paste the art, the story
summary, and the explanation all on one slide.

23
 Assessment
Rubrics differ from checklists in the sense that they measure exactly how well
students did for each criteria. This is a good way for a teacher to not only properly assess a
student’s understanding of each concept addressed in an assignment but it is also a good way to
hold students accountable for their work on an assignment.
Student Name: ________________________________________

CATEGORY 4 3 2 1
Use of Class Time Used time well Used time well Used some of the Did not use class
during each class during each class time well during time to focus on
period. Focused on period. Usually each class period. the project OR
getting the project focused on getting There was some often distracted
done. Never the project done focus on getting others.
distracted others. and never the project done
distracted others. but occasionally
distracted others.
Attractiveness The presentation is The presentation is The presentation The presentation is
exceptionally attractive in terms layout does not missing key
attractive in terms of design, layout make sense or is factors.
of design, layout, and neatness. missing a few
and neatness. factors.
Graphics - All graphics are All graphics are All graphics relate Graphics do not
Relevance related to the topic related to the topic to the topic. Most relate to the topic
and make it easier and most make it borrowed graphics OR several
to understand. All easier to have a source borrowed graphics
borrowed graphics understand. All citation. do not have a
have a source borrowed graphics source citation.
citation. have a source
citation.
Graphics - Several of the One or two of the The graphics are No graphics made
Originality graphics used on graphics used on made by the by the student are
the poster reflect a the poster reflect student, but are included.
exceptional degree student creativity based on the
of student in their creation designs or ideas of
creativity in their and/or display. others.
creation and/or
display.

24
 Form Lesson
Standards
MU:Cr1.1.E.8a: Compose and improvise ideas for melodies and rhythmic passages based on
characteristics of music studied in rehearsal
MU:Cr2.1.E.IIa: Select and develop arrangements, selections, and short compositions for
specific purposes that demonstrate understanding of characteristics of music from a variety of
cultures studied in rehearsal

Objective
Students will familiarize themselves with the musical elements inside of The Trombone King by
changing them to form a new arrangement of the composition.

Sequence
In this lesson, students will use the form analysis in their student guide in order to point
out musical elements such as dynamics, key, articulation, and style so that they can change them
within the piece and see how that impacts the overall effect. In groups of five, students will work
to first analyze the original composition so that they can then rearrange The Trombone King into
something with a different mood. They will fill out the following chart and then, if available, use
a music-writing program to bring one of the six sections to life for their classmates. As long as
students use the music already in the piece, there are no limits: change or don’t change the
dynamics, style, key (is it relative/parallel/neither?), or even the order. By completing this
assignment, students will see what makes each section of music unique within the piece and by
comparing and contrasting, they can see how the form of the composition is organized.
Analysis of original:
Measure Key Overall Style Dynamic Marking Articulation
1-21
22-38
39-54
55-87
88-102
103-118

25
New arrangement:
Measure Key Overall Style Dynamic Marking Articulation

Assessment
Checklists are an effective way to measure student participation as well as provide a list
so that students don’t forget important aspects of each activity.
1. Complete measure column Y or N
2. Complete key column Y or N
3. Complete overall style column Y or N
4. Complete dynamic marking column Y or N
5. Complete articulation column Y or N
6. Student participated with group Y or N

Resources
Recordings
• “The Trombone King” as performed by the University of Illinois Symphonic Band
• “Fightin’ Texas Aggie Band Halftime Show – SMU game at For Stadium on Sept. 20,
2014”

Websites
• johnmcallistermusic.com
o warm-ups

26
 Glossary of Terms
Accent: An emphasis or “punch” at the start of a musical sound
Articulation: The start in the production of a musical sound
Beat/Pulse: Regular pattern within a bar or measure. Determines the division of notes.
Common Time: This reads the same as 4/4 time, there are four beats in a measure and the
quarter note receives that beat.
Counter-line: More than a harmony with the melody, a counter-line is another line that opposes
the original that may or may not make sense with the initial idea of the piece.
Cut Time: This reads the same as 2/2 time, there are two beats in a measure and the half note
receives that beat.
Form: Shape or organization of a musical composition
Parallel Key: When a major and minor scale are related by the starting note, or the tonic. Both
start and end on the same pitch as one another.
Relative Key: When a major and minor scare are related by the same key signature. Some major
keys have the same number of sharps and flats as some minor keys even though they will start on
different notes (have a different tonic).
Screamer: A circus march intended to stir up the audience during the show. Often fast.
Subido: Italian for sudden. This is most often seen in front of a piano or forte for a sudden and
drastic dynamic change.

27
 Practice Log
(As pictured in Student Guide)

28
The Trombone King, Karl L. King
Student Guide

Elaine Snowden
MUSIC 670
29
 Learning Goals
You will be able to:
• Apply learned concepts from the warm-up strategies to the composition
• Develop control over changes in musical elements such as dynamics, style, and
articulations
• Assess and evaluate their performance during rehearsals as well as after the concert
performance
• Demonstrate an understanding of the form of this piece and its impact on other musical
elements within the composition

Historical Context
As early as the 1700s, marches served the martial purpose of regulating the functioning of armies
while on the field and keeping time during marching and maneuvers. As the music became more
popular to be performed by community bands, music by composers such as John Philip Sousa,
Henry Fillmore, and Karl L. King became a staple in concert band repertoire. Marches were only
further popularized by circus bands. Using subsections of the march genre such as “Screamers,”
“Two-Steps,” and “Cakewalks,” circus bands would excite the crowd while circus acts were
taking place. The Trombone King is categorized as a circus march.

Form Analysis
Measure Key What to Pay Attention to
1-21 F minor Presents melody
22-38 F minor New idea
39-54 F minor Repetition of initial idea
55-86 Ab major Trio: new stylistically lyrical idea
87-102 Ab major Back into grand march style
103-118 F minor Back to home base

30
 Practice Guide
Practice resources:
• johnmcallistermusic.com
o Warm-ups
Practicing tips:
1. Don’t practice just to practice, use your time efficiently and prioritize what you play
2. Begin with long tones, warm up the instrument and remind yourself of things such as
embouchure, good posture, and good technique on your instrument.
3. Articulation exercises can be found on johnmcallistermusic.com or in this student guide
under “Articulation Development” Focus on one thing at a time before moving on to the
next idea.
4. Use a metronome to help work out vertical alignment and rhythmic issues (these are two
separate issues that both need their own work). In addition to this, the metronome helps
you maintain control when you need to slow a passage down and then gradually bump
the tempo up.

31
 Glossary of Terms
Accent: An emphasis or “punch” at the start of a musical sound
Articulation: The start in the production of a musical sound
Beat/Pulse: Regular pattern within a bar or measure. Determines the division of notes.
Common Time: This reads the same as 4/4 time, there are four beats in a measure and the
quarter note receives that beat.
Counter-line: More than a harmony with the melody, a counter-line is another line that opposes
the original that may or may not make sense with the initial idea of the piece.
Cut Time: This reads the same as 2/2 time, there are two beats in a measure and the half note
receives that beat.
Form: Shape or organization of a musical composition
Parallel Key: When a major and minor scale are related by the starting note, or the tonic. Both
start and end on the same pitch as one another.
Relative Key: When a major and minor scare are related by the same key signature. Some major
keys have the same number of sharps and flats as some minor keys even though they will start on
different notes (have a different tonic).
Screamer: A circus march intended to stir up the audience during the show. Often fast.
Subido: Italian for sudden. This is most often seen in front of a piano or forte for a sudden and
drastic dynamic change.

32
 Activities/Assessments
Vertical Alignment
Focus: Keeping time with the conductor, your section, and when other sections are
playing a different part. Seek out the steady pulse.

33
Melody-Sharing:
Focus: Perform the given melody in an appropriate clef and octave.

34
Subido:
Focus: On each repeat of this piece, focus on suddenly changing a musical element cleanly
and in time with the rest of the ensemble.

35
Re-arrange the Form
Within your groups, use the chart (and the form analysis in this guide) to analyze parts of The
Trombone King. After completing the first chart, use the second to rearrange these elements
within the composition. Just don’t change the number measures, each section must stay the same
length and must start and end from the same original measure number.
Analysis of original:
Measure Key Overall Style Dynamic Marking Articulation
1-21
22-38
39-54
55-87
88-102
103-118
New arrangement:
Measure Key Overall Style Dynamic Marking Articulation

36
Rhythm Listening
Fill out the chart with the correct rhythms of each measure. The passage will be played
sometimes as the whole and sometimes measure-by-measure. Don’t worry about pitches, just
notate the most prevalent (only write one) rhythmic pattern of each measure.

Measure Most prevalent rhythm pattern in section

2
3
4
5
6

10

11

12

37
Performance Self-Assessment

Student Name: ________________________________________

CATEGORY 2 Points 1 Point 0 Points

Note Accuracy There were no There were a few A significant
apparent missed apparent missed amount of notes
notes or notes and were missed or
articulations. articulations. articulated poorly.

Tone Tone is full, Tone is consistent Tone is weak and

consistent, and but could be the note suffers for
well-supported by improved with the lack of air
air. more air support support.
or more open
cavities.
Stage Presence Performers are Performers are Performer is
sitting up in their sitting with a more slouching, under-
chairs with feet flat normal posture dressed, and is
on the floor and and are not holing holding the
instruments held in the instrument as instrument in a
an optimal optimally as they way that inhibits
position. could. performance.
Musicality Performer Performer Performer makes
intentionally plays attempts at an no attempt to
within the style of emotionally- perform musically.
the piece, follows satisfying
along with dynamic performance with
change, and intuitive phrasing,
follows good dynamic changes,
phrasing at all and stylistic
times. choices.
Rhythmic Accuracy There were no There were a few There was a
apparent missed apparent missed significant amount
rhythms or rhythms and of missed rhythms
alignment alignment and alignment
problems. problems. problems.

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