Teacher Guide 

Walking to the Sky 

By Robert Buckley  
Hal Leonard  
Level 3 
Shelby Goss 
 
Teaching Objectives:
1. Students will perform sections of Walking to the Sky with improved tone, articulation,
and alignment while also being challenged to assess and offer suggestions to their peers
2. Students will perform A section melody with improved tone and intonation.
3. Students will differentiate articulation styles in WTTS by comparing air support and
articulation word references.
4. Students will aurally analyze what sections play certain parts of the piece.
5. Students will be able to perform all transitions between differing section of style with
immediate response to style appropriation
6. Students will perform the last section of WTTS with musical accuracy, alignment, and
correct articulation with word/phrase guidance.

National Standards Addressed:

1. MU:Pr4.1.E.Ia Explain the criteria used to select a varied repertoire to study based on an
understanding of theoretical and structural characteristics of the music, the technical skill
of the individual or ensemble, and the purpose or context of the performance.
2. MU:Pr4.2.E.Ia 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.
3. MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire
of music, and evaluate their success using feedback from ensemble peers and other
sources to refine performances
4. MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.
5. 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
6. 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
 Unit Plan
Walking to the Sky by Robert Buckley

Unit 1: Composer
Robert Buckley was born in Brighton, England in 1958. He now divides his time between
Vancouver, Montreal, and Holland. Buckley took up the piano at the age of ten, and he began
composing almost immediately. At the age of twelve he started playing the clarinet inspired by
the opening solo in "Rhapsody In Blue". Soon after that he began playing the saxophone and
flute. He formed various bands in high school for which he wrote music; he also wrote for the
school orchestra, concert band and jazz band. He studied with California composer Hubert Klyne
Headley who exposed him to the twentieth century music of Stravinsky, Bartok, Ravel,
Shostakovich. He studied composition, conducting and arranging at the University of
Washington with American composer William Bergsma and studied electronic music at the
University of British Columbia. His career path has been very diverse including work as a
composer, arranger, performer, producer, recording artist, and conductor. He has created many
albums and hit songs with performing labels such as CBS and A&M. He has also conducted and
arranged for major artists including Michael Buble, Bryan Adams, Celine Dion, Our Lady peace,
Simple Plan, and Aerosmith. For film and television he has composed music for many award
winning shows for Disney, ABC, FOX, CBS, PBS, etc. Robert composed for worldwide events
including the Calgary Olympics, the Victoria Commonwealth Games, the Vancouver Olympics
and the FIFA World Cup Opening Ceremony with Cirque Du Soleil. He composed This Is My
Home for the Canadian Pavilion at the World Expo – a song that has been performed at every
Canada Day since and has become a Canadian tradition. In the concert world, he has composed
and conducted for major symphony orchestras and his symphonic wind band compositions are
being performed worldwide. Recently, he had the honour of recording a CD called
Undercurrents with the renowned Naden Band of the Canadian Navy. His concert music is
published by Hal Leonard.

Unit 2: Composition
Walking to the Sky is just one of Robert Buckley’s many pieces for band. The piece is inspired
by a 100 foot tall sculpture created by Jonathan Borofsky, also entitled Walking to the Sky. The
sculpture creates the illusion of a group of people of all ages, races, and genders walking
skyward into the sky. It was this vision that motivated Buckley to create this piece to “celebrate
humankind’s collective quest for wisdom and transcendence.” Buckley was very inspired by
movie music and movie scoring at the time he wrote this piece. The sudden shifts in dynamics
and unexpected key changes give the piece a certain drama and excitement. There are two main
themes in the piece. One that Buckley describes as “a majestic theme introduced by the low brass
representing the quest,” and the other is “a lyrical theme introduced by the upper woodwinds
representing humanity.”
Unit 3: Historical Perspective
Walking to the Sky was composed very recently in 2016. Currently composers are trying to write
new and exciting music for younger bands. This grade 3 piece combines excitement and a little
bit of challenge with the independence of parts. Today, many composers are working to compose
postmodern music. Robert Buckley does not have this goal in mind. He wants to make all music
accessible for all age groups and playing abilities. Walking to the Sky’s cinematic feel and the
drama created from it gives the piece the kick it needs to exceed the expectations of its modern
competition.

Unit 4: Technical Considerations

Walking to the Sky is a moderately challenging piece for young high schoolers. Tonal centers of
D minor, C minor and F minor must be required for the full ensemble. Upper woodwinds will
need to be able to play arpeggios in all required keys. Intonation and balance will be a huge
problem for the entire band, because of many exposed playing spots and the independence of
each part. Many melody lines are presented in unison which may or may not be a problem
depending on our ability to tune and listen. 1​st​ trumpets will need to be comfortable playing up to
an E in the staff, and Horns will need to be comfortable enough with the partials to play in major
and minor thirds throughout the piece.

Unit 5: Stylistic Considerations

There are many contrasting styles throughout Walking to the Sky. The beginning starts out very
soft and subdued, but with a short articulation from the clarinets and saxophones. The A section
melody is never heavy or heavily articulated and should float over the top of the ensemble. The
B section should be very lyrical and legato. The 8​th​ notes should provide a small amount of
contrast but not too short. As each section returns it grows in dynamic, scoring, and articulation
demands. Accented 8​th​ patters will be very important and will need to be ensured to have the air
accent on TAH opposed to a hard tongue accent. Vertical alignment will be huge once we reach
a point where notes and rhythms are not a problem. Half note lines become important in the A
section melody and again at the end of some sections where most of the ensemble has a half note
line leading/pushing into the next section.

Unit 6: Musical Elements

The beginning of the piece starts out with very thin scoring to create a sense of tranquility for
even just a moment. As the baritones, bassoon, and tenor sax come in with the melody, we
should feel it beginning to grow and decay. In 25, the flute, ob, cl1 line will need help with
shaping and phrasing up in the high register. The return of the A section depicts that we are
adding more weight and substance to the sound in regards to both the melody and the
accompaniment. The most important musical change is the accents at the end and not changing
the dynamics at the end of the piece.

Unit 7: Form and Structure

Form Measures Comments

A 1-25 Clarinets and saxophones only—melody

comes in at 9

B 26-41 Flute, oboe, cl1 melody. Sparsely scored

accompaniment

A 42-72 Growing, more people playing melody.

Arpeggios beginning at m. 49 and
continue through key change
A’ 73-84 Synth solo with flute, oboe, and clarinet
1. Very sparsely scored accompaniment.
B 85-104 Same as 25—different key, more people
playing. Brass accented 8​th​ note pattern.

A 105-end Marcatto with legato interruptions, but

melody remains full and confident.
Growing to the end

Unit 8: Suggested Listening

Flying Colors—Robert Buckley
Post Cards from England—Robert Buckley
Inception Soundtrack—Hans Zimmer
Score Analysis
 Assessment

Playing Test Rubric:

Peer assessment:
Peer Assessment Prompts
A. Is my partner playing with good tone? How can I help them play with a more
rounded tone?
B. Is my partner playing all the right notes and rhythms?
C. Is my partner playing musically? How would I shape this phrase in my own
playing?
D. Is my partner playing with good posture?
E. Is my partner playing correct articulations? How can I help my partner have more
accurate articulation style?
Self Assessment:
Self Assessment Prompts
A. How is my tone? Is it characteristic of my instrument?
B. Am I playing technically accurate with good beat?
C. How is my phrasing? Does my musicality make sense for this piece?
D. What problems am I having with this piece? How can I solve those problems?

Practice Guide
Suggested Practice Techniques
 Lesson Plans
Walking to the Sky 1

Objective: Students will perform sections of Walking to the Sky with improved tone,
articulation, and alignment while also being challenged to assess and offer suggestions to their
peers

Assessment: Is there an active effort being made to improve tone quality and intonation? Is there
definitive articulation in the sections that need one? Are the notes vertically aligned front to
back?

Warmup​:
1. Show them the statue of “walking to the sky”
2. Tell them about Jonathan Borofsky
a. He's a sculpture artist that graduated from carnegie mellon in the late 60s and has
been commissioned for his sculptures ever since. He only sculpts human figures
depicting daily human life and struggle.
b. The sculpture walking to this guy consist of a 100 foot tall stainless steel pole
facing the sky. 5 realistically painted life size figures are walking upwards,
including a little girl and three people standing at the base looking up. “A
celebration of the human potential for discovering who we are and where we want
to go” the sculpture was inspired by his favorite story as a kid of a giant who lived
in the sky. “what was unique about this giant is that he did good things for people,
we visit him and the sky and discuss what good things we could do down on
earth. That got me thinking how do you go to the sky? how do you get up there?”
c. The sculpture is installed in dallas, pittsburgh, seoul south korea, and rockefeller
center in new york where it was viewed as the unofficial tribute to 9/11 victims.
d. We're going to listen to the piece now and I'm going to leave the pictures up think
about how this piece relates to you we're all striving in life to make ourselves
better, think about how that applies personally to each of your lives.

Lesson Sequence:
3. Let's start at the beginning, we'll play a little ways into it before we go back and fix some
stuff. take what you thought about while looking at the sculpture, apply here. I know all
the notes aren't quite there, but we're all musicians, let's put some music into this piece of
art- stop @ m.85
4. Beginning-
a. Clarinets and saxophones (toms, congas, cabasa)
 i. Don't let your lower notes be softer than your higher notes, keep
everything at a consistent dynamic - push more air through the lower notes
so the top notes don't stick out as much. Saxophones, don't let your eighths
be any louder than what you hear the clarinets doing.
ii. EVERYONE LISTEN TO HOW THEY PLAY IT-- DO YOU THINK
THE 8THS ARE SHORT ENOUGH?
iii. Clarinets make sure you get out of the way and start today crescendo at
least two measures before the melody comes in - add everyone stop at 25
5. M 17
a. Anyone with any kind of eighth note including percussion
b. Think about your vertical alignment within the different articulations --
EVERYONE ELSE LISTEN AND TELL ME HOW THE ARTICULATED
EIGHTHS FIT IN WITH THE SLURRED. FOLLOW UP: WHO NEEDS
TO COME OUT MORE?
c. Again with that in mind plus people with whole notes - then everyone - play to 49
6. M. 41
a. Melody only including vibes
i. Listen for intonation - if you can't hear the synth you're too loud you're all
in unison. she's your reference for pitch. if you're closer to vibes listen
there - hold out each pitch if needed. Same at 45
ii. EVERYONE ELSE---IS IT IN TONE, IS IT IN TUNE. WHAT
ADVICE CAN YOU GIVE TO HELP IF YOU PLAY THIS
SECTION AT A DIFFERENT TIME?
iii. Get into that-- everyone-- two before 41-- stop at 49
iv. Regroup--offer some kind of feedback whatever that may be
v. Two before 41 to 73-- apply everything we've gone over today into these
sections, they're all the same with a few differences in who has what. be
intelligent, aware musicians
 Walking to the Sky 2

Objective: Students will perform A section melody with improved tone and intonation.

Assessment: Can students apply their singing into their playing? Can students transfer the
difference of singing in tune to playing in tune?

Warm up:
1. Drone concert D- play D remmington as written with drone
a. Pay close attention to not playing any louder than the drug. percussion play on
something pitched or play eighth notes on your instrument for this piece
b. Again
c. Hold out each note, I'm not going to change notes until that interval is in tune -
what do you personally need to do on your instrument to improve intonation - find
someone that doesn’t play your instrument and be in tune with them.
d. Again - no drone
e. What happens when you play out of town, what do you hear? focus on
eliminating the waves in the sound.

Lesson Sequence:
1. M. 5- melody only-- WRONG NOTE IN M.5 Eb PART SHOULD BE A D
a. Are you listening across the ensemble for people you play with, are you matching
unison pitch ?
2. Letter A on the melody hand out-- percussion play m. 9-17
a. Play
b. Sing
c. Number off by 1 and 2
d. 1 sing 2 play
e. Switch
f. Melody at 9-- if you’re not playing sing
g. Melody only
3. M. 17-- same as letter A stil
a. Melody play
b. Melody at 5 join them. Play melody at 5 at the same time as 17
c. Again, everyone else sing
4. Beginning-25
 a. Play
b. Sing your part unless you’re melody--play starting pitch if y ou need it
c. switch --accompaniment play melody sing
d. Together
5. M. 57-65
a. Play
6. Letter B of the sheet--perc play 57-65
a. Everyone play
b. Sing
c. 1 play 2 sing
d. Switch
e. Play again
7. M. 57
a. Melody play
b. Melody play everyone else sing melody
c. Play
d. Melody sing, accompaniment play
e. Switch
f. Play
8. M. 49-65
a. Sing only if you have melody. If you stop having melody drop out
b. Play only melody
c. Accomp. Play --melody sing
d. All play
 Walking to the Sky 3
Lesson Objective- Students will differentiate articulation styles in WTTS by comparing air
support and articulation word references.

Assessment: Can students use different articulations correctly within the context of the piece?
Can students apply a sound word to their articulation on their instrument?

Warm up:
1. Flexibility 3
a. How does lip flexibility in the brass impact your playing? Why is it important?
b. How does flexibility exercises help the woodwinds?
c. How do we apply this to WTTS?
2. Articulation Exercise
a. Differentiating articulation
b. What can we do to help our air direction when using articulation?
c. Should articulations be tongue or air emphasis?
d. How do we not lose tone and pitch when learning to correctly articulate?
e. Is there a word sound that we can use to help our breath and tongue remember
how to correctly articulate?
f. Beginning and ends notes

Lesson Sequence:
1. 25-39--start them and stop conducting to make them listen if needed
a. Alto, trumpet, perc 2&3--​matching articulation--TA VS. DAH
b. Add staccato quarters
c. Add whole note line--​growth and decay of sound--intonation
d. Add melody--does the whole note line bury or support it?
e. Everyone
2. 39-41--changing half notes are the most important
a. Everyone
b. Trumpets--​articulation, intonation--lead voice--SING
c. Add altos--​same^^^^--SING
d. Add whole notes---
e. Percussion--only rhythmic activity
f. Everyone--start them and stop conducting to make them listen if needed
3. 89-105
 a. What's different? Rhythmically, dynamically, articulation. How do we convey
that to people 50 feet away? You have to convince me before you'll convince
them. IF YOU PLAY WHAT'S WRITTEN YOU’LL BE WRONG.
b. Low brass--​starting together, articulating together, releasing together (half
note)
c. Add perc 3&4 & BD (if possible)
d. Everyone with accent pattern eighths & HH (if possible)--​air accents
e. Everyone
f. Consider the difference between 89 and 97--​key is different but not much else.
Do we make it different?
4. 103-105
a. Percussion--​accents, unison rhythm, match and grow together as a section
b. Trumpets, Tsax and trombone-- ​half notes--starting together, tonguing
together, releasing together
c. Everyone--​half notes that change are the most important
d. IF INTONATION IS A PROBLEM--SING
5. 89-105 to end the day
 Walking to the Sky 4
Objective: Students will aurally analyze what sections play certain parts of the piece.
Students will be able to perform all transitions between differing section of style with immediate
response to style appropriation

Assessment: Can students find the sections that play the same part as them? Can students match
the sections that play the same part as them?
Can students change styles immediately and appropriately according to the style of the music?

Warm up:
1. Letter I pg 123- chords
a. Lvl 1 chords
b. Pick a note in your SATB
c. Find an instrument who is playing the same part as you.
d. Discuss the pyramid of sound
e. Sing--play
2. Level 2 chords
a. Incorporation of minor chord
b. Who’s playing the same notes as you?
c. Can you blend and balance within your section and within the ensemble?
d. 3 levels of listening.
3. Twister Lvl 2-
a. Warming up the fingers
b. Vertical alignment-articulation
c. Apply articulation patterns from piece into this warm up
d. How do we decide as an ensemble by listening how long our notes will be?

Lesson Sequence:

1. Beginning-25
a. Who plays the same part as you? Are you playing it the same?
b. Play again, only listening to yourself
c. Listening to your section
d. Listening across the ensemble.
i. Who do you play with?
2. 17-25
 a. Ask if they know who they play with
i. No: play again
b. Sit by the people that play your part
c. Hear each part individually
d. Together
e. Back to seats
3. 25-41
a. Play
b. Together
c. Scramble--can you still find your section and the people you're playing with
d. Find balance, even in this context
e. Hear each part--comment as necessary (HORNS IN THIRDS. MAKE SURE
THEY'RE HITTING RIGHT NOTES)
f. Together
g. Back to seats
4. Beginning-41
5. M 97-113
a. After playing ask them what styles remain the same through the transition from a
B section to this A section. (The accented 8ths) and who DOES NOT change
styles between sections (horns, low brass)
b. What do we have to do as musicians to make an effect transition between legato
to accented?
i. The crescendo needs to be a priority in getting the music pushed into the
next section
ii. The eighth note pick ups in the upper woodwinds needs to be heard. It's a
driving force.
iii. The half notes in the low brass starting in m. 98 need to be in tone and in
tune but also very powerful. We've worked them before but should
probably review.
6. 81-97
a. This one should be easier going from slurs to another slurred section
b. Again, the crescendo and the slurred eighth notes in the high WW needs to be
what drives us into the next section-however it's not as loud as they probably want
to play it
c. Brass going from half notes to accented 8ths will need to make sure that they are:
1) matching articulation immediately and not making 4 measures to find each
other and 2) not out playing the melody as they come out of their crescendo into
89
7. 81-113
 a. To incorporate those sections together and reiterate the transitions again.
8. 65-81
a. The hardest part of transition between these sections is the abruptness that occurs
the measure before 73.
b. WW with eighth notes need to release on 4 and regroup at a piano dynamic
because of the synthesizer solo. (She won't be there but that's okay) they have the
same melody as the solo but it's a support system not a soli section
c. All of the brass with whole notes in 71 72 need to make sure that they do not
continue to play forte at 73. The eighth notes they begin at 73 needs to be subito
piano. It's supposed to be a dramatic effect and a huge texture change.
9. 65-121
a. 121 will get them though the last A section before the end
b. This large chunk will hopefully confirm that they can get through the transition
sections thoughtfully and with correct style, articulation, and with appropriate
dynamic change.
 Walking to the Sky 5

Objective: Students will perform the last section of WTTS with musical accuracy, alignment,
and correct articulation with word/phrase guidance.

Assessment: Can students apply the words/phrases I came up with to better understand the
implied articulation and musical style?
Can students play the music with vertical alignment with sections outside their own.

Warm up:
1. Articulation exercise pg 21.
a. How can these articulations be applied to the piece?
b. Where do we have similar articulations?
c. Where do articulations change rapidly?
d. How do we adjust our airstream to play these articulations?

Lesson Sequence:
1. Read them the program notes
a. Emphasize humankind’s collective quest for wisdom and transcendence.
b. Two main themes
i. A represents the quest
ii. B represents humanity
c. Spy movie
2. 105-end
a. I will catch you , I'll catch you
b. Haha no you won't haha no you won't
c. 119 ive got you now
d. 121- haha no you don't <<<<<
e. 125--I will catch you, I'll catch you I'll catch you haha haha I caught you
3. 125--
a. Air accents
b. Vertical alignment
c. Percussion accents
i. Put those in place to lead the ensemble accent
d. Pass off to low brass
 i. Maintaining the line and the dynamic
e. Low brass last measure
1. Vertical alignment
ii. Last note.
iii. Dynamic
f. Together 2-3 times
4. 121-end
a. Bassoon, BCL, Tsax, Bsax, tuba, perc 1 3 4 timp.
i. First to immediately drop down and guide the crescendo to the end.
ii. Vertical alignment
iii. Balance
b. Add quarter note line
i. Don't surpass the dynamic the lows are giving. Follow their lead
ii. Intonation
iii. Release of count four--just check
c. Maintain dynamic into 105
i. Low brass low WW drop out
d. Run 2-3 times
5. 105-end
a. 105 call 106 response (113 114 same)
i. Response has to come through
b. 103 half notes (117 same)
 Warmups: Link to the 12 page warm up packet I created
https://docs.google.com/document/d/1LocjMF3kJo6OzYOTJMjxVlZTQsdaT5_-EuasFgI5eGw/e
dit