SECONDARY UNIT

The Red Balloon by: Anne McGinty

For Early Middle School or Early High School Bands

Abby Giles

MUSIC 670 | FALL 2018

TABLE OF CONTENTS

Learning Objectives…………….………………………………………………………………….…………….3

Standards……………..……………………………………………………………………………….…………….4

Unit Study…………….…………………………………………………………………………………………5-11

Grid Analysis………………………………………………………………………………………….………12-17

Warmups………………………..…………………………………………………………………………….18-29

Activity #1 Improvise Music in ¾ time and ¾ time Body Percussion…………......21-22

Activity #2 Drone Work………………………………………………………………………………...23-24

Activity #3 Using Singing to Improve Balance, Blend, Tuning, and Pitch………..25-27

Activity #4 Moving to Play by Someone you don’t normally Play with…..………28-29

Activity #5 History of
Storyboards…………………………..……………………………………………………………..……….30-31

Glossary……………………………………………………………………………………………………….…….32
THE RED BALLOON
By: Anne McGinty

Learning Objectives:
• Students will learn and apply the composers’ intent behind the piece to their playing.
• Students will learn and demonstrate the correct style, tempo, and dynamics.
• Students will understand and demonstrate the correct style of the piece with minimal
missed notes and correct rhythms.
• Students will actively think about goals for themselves throughout this song, and they
will write down how they want to achieve them and what you need to do to get there.
• Students will play through the piece with the correct style and while keeping constant
air throughout the phrases.
• Students will improve tuning through singing their parts, tuning individually by section,
and listening to their part of chords.
• Students will play with the correct blend and balance by playing softer when they have
the harmony.
• Students will effectively play the transitions between sections in the piece.
• Students will demonstrate good tone quality on their instrument by using open, clear
tone and good air support.
• Students will effectively transition into the rit. and back to A tempo smoothly and
maintaining tone and balance.
• Students will play the rit. using correct style, dynamics, and balance.
• Students will use correct tone and pitch by tuning sections to a drone.
• Students will play with proper balance and blend through not overplaying and causing
the melody to work harder than they need to and playing the correct dynamics.
• Students will play smooth transitions between the sections by using the correct
dynamics, style, and passing the line from one section to the next.
• Students will play through the piece with correct pitch, listening for in-tune chords,
correct dynamics, balance and blend throughout.
• Students will apply musical expression to the song, “The Red Balloon,” by using
dynamics, phrasing, and interpretation.
• Students will be able to identify and perform dotted quarter and eighth note rhythms.
• Students will apply knowledge of their own story behind the piece to musical
expression, informed musical decisions, and the overall style of the piece.
Standards:

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.

MU: Pr4.2. E.5a Demonstrate, using music reading skills where appropriate, how the setting
and formal characteristics of musical works contribute to understanding the context of the
music in prepared or improvised performances.

MU: Pr4.2. E.5a Demonstrate, using music reading skills where appropriate, how knowledge of
formal aspects in musical works inform prepared or improvised performances.

MU: Pr6.1. E.5a Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music.

MU: Pr6.1. E. Ib Demonstrate an understanding of expressive intent by connecting with an

audience through prepared and improvised performances.

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: 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 (when
appropriate) the setting of the text.

MU: Re9.1. E.8a Explain the influence of experiences, analysis, and context on interest in and
evaluation of music.

MU: Cn11.0. T.8a Demonstrate understanding of relationships between music and the other
arts, other disciplines, varied contexts, and daily life.
Composer
Anne McGinty was born in 1945 and is a native of Findlay, OH. She received her
bachelor or music and Master of Music degrees from Duquesne University with emphasis in
flute performance and composition. McGinty has been active throughout her career as a flutist,
teacher, and clinician. She is a well-known composer and arranger of music for young bands.
McGinty has composed over 130 works for band ranging from Grades 1-5. McGinty operates
Queenwood Publications, which specializes in music for young musicians, with her husband,
John Edmondson. Along with The Red Balloon, her other original band works include Falling
Branch, Clouds, American Folk Festival, Excelsior, and Divertissement.

Composition
The Red Balloon was composed in 1992, and it is based on a painting which left an
impression on the composer even though she only viewed it once. The painting shows a
grandfather facing away from a small child. The two people and the background of the painting
were painted white-on-white. The only color in the painting is the red balloon, which the child
is holding. This composition is intended to not only suggest the flight of a balloon, but also to
encourage players to use imagination to visualize its journey in the air. The duration of this
work is approximately 2:30.

Historical Perspective
Program music can be defined as referential music, which is instrumental music that
describes, characterizes, suggests, interprets, or is inspired by a nonmusical subject or idea that
the composer indicates through a title and/or explanatory remarks. Program music became one
of the prominent forms identified with the Romantic Movement in the nineteenth century. Its
free expression and frequent references to extra-musical events, characters, or situations cause
it to be identified as program music. Many important works have programmatic subjects, such
as Tchaikovsky’s Overture 1812 and Romeo and Juliet, Schumann’s Carnaval, Berlioz’ Symphonie
Fantastique, Mussorgsky’s Pictures at an Exhibition, Paul Dukas’ The Sorcerer’s Apprentice and
Richard Strauss’ Don Juan and Till Eulenspiegel. Works for band programmatic in nature
include: Bassett’s Colors and Contours, Schuman’s George Washington Bridge, Dello Joio’s
Scenes from the Louvre, Colgrass’ Winds of Nagual, and Maslanka’s A Child’s Garden of Dreams.

Technical Considerations

Instrumentation

The instrumentation is suited for a young band with like-instruments paired together:
Flute Baritone Saxophone Triangle
Oboe Trumpet 1-2 Snare Drum
Clarinet 1-2 Horn Suspended cymbal
Bass Clarinet Trombone/Baritone Claves
Alto Saxophone Tuba Tambourine
Tenor Saxophone Bells Bass Drum
Woodwinds
Intonation of octave melodies in mm. 17-24 and mm. 63-70 will require attention. The flutes
need to be able to produce a good tone on D2. Clarinet 1 must be comfortable moving over the
register break but Clarinet 2 stays below the written B for the entire piece. Both clarinet 1 and 2
divide for a total of four parts at m. 70. Both alto and tenor saxophones need to be aware of
the low pitches (written D, E-flat and E for alto saxophone) that must be played piano. This will
be an issue if the band has an abundance of alto saxophones.

Brass
The range for all of the brass instruments is consistent for Grade two in this composition.
Trumpet 1 goes to a written E1 and is divisi for sections of the piece, for a total of three
trumpet parts. There is an optional trumpet solo in mm. 71-74, and low brass and woodwinds
are together and have the melody in mm. 37-42.

Percussion
The bell part in this piece can be challenging because of its many accidentals and exposed
writing. Sensitivity is required to play the snare drum and auxiliary percussion instruments.
Because of this, they may be challenging for some young players.

Articulation
Smooth, legato playing is required throughout by all wind and brass players. This is the primary
focus in order to properly convey the style of the piece. Although many notes are slurred,
attacks still need to be together and in the legato style of the piece. Brass players can use a
“doo” syllable to achieve this.

Harmony
Accidentals (both sharps and flats) are prominent throughout the piece and are used liberally in
all parts. Lydian mode is also prominent. This will most-likely be a new concept for young
players.

Rhythm
The rhythmic values in the piece are basic, and the dotted-quarter note is prominent in the
melody. Dotted-half, half, dotted-quarter, quarter and eighth notes are also common
throughout the piece.

Stylistic Considerations
The melody of this piece must have an airy, ethereal quality in which slurred phrases are
sustained fully with a relaxed tone quality in order to match the ideal of this piece. The melody
often ends with one instrumental color and is immediately passed on to another, requiring a
smooth connection of sound between the two phrases. This could depict a balloon floating
through the air. Articulation decisions need to be addressed in regard to the tenuto and accent
markings. Consider these markings to show stress and weight within the confines of the overall
impression of the piece.
 Dynamics change often, with added diminuendos and crescendos. Diminuendos often
continue until a new sound enters. Because of this, they need to be carefully considered. The
director needs to carefully articulate when they should start and end. Constant attention is
required to balance between the primary musical ideas and the accompaniment. The
percussion section provides different colors that provide variety, and they should be subtle and
not too overpowering to the melodic ideas. Bells provide a complementary color to the melodic
line as well as present melodic material alone.

Musical Elements
Melody:
The melody is often grouped in four-measure phrases. The flute and oboe first present the
melody line. The A theme is varied in terms of scoring, transposition, and a developmental
nature. Melodic lines sometimes come to a resting point before continuing a new voice.
Handing off the melody is a very important concept in this piece. A seamless effect is the goal
for this.

Harmony:
The Lydian mode is prominent throughout this piece. The composer uses this mode based on C,
G, D-flat, B-flat, F, E-flat, and G-flat. D major and E-flat major are used briefly.

Rhythm:
The dotted-quarter-and-eighth-note rhythm is found throughout the melody of this piece. Ties
over the bar line are found in the clarinet accompaniment figures.

Timbre:
Sensitive playing from the percussionists is required as well as a light, ethereal tone quality
from all of the wind players. Many different color changes occur as the melody passes from one
set of instruments to another. The characteristic tone quality of each set of instruments
changes the quality of the melody. An awareness of the paring or combination of instruments
and how balance contributes to the overall timbre of the combination is required.
Percussionists need to consider how their parts fit in with the rest of the ensemble.

Form and Structure:

Section Measure Musical Considerations

and Scoring
Section 1
A 1-9 Melody presented in flute
and oboe; elision with
section B of theme; mainly
stepwise motion; C Lydian
tonality
B 9-16 Skips are prominent in
melodic line; alto
 saxophone and clarinet add
diagonal harmonies; bells
and triangle add color to
accompaniment;
harmonically unsettled: A
Dorian, B-flat Lydian, A-flat
Lydian, D-flat Lydian
(implied); triton
relationship to G Lydian
arrival in m. 17
Section 2
A 17-24 Stepwise melody now in
oboe, clarinet, horn, tenor
saxophone, and bells; G
Lydian tonality (G major
triad in low brass and low
woodwinds, trumpet, alto
saxophone, and flute)
A 25-36 Stepwise melody in
trumpet; D-flat Lydian
tonality; clarinet has
accompaniment pattern
similar to mm. 1-9; four
measure extension in D
major moves upward from
trumpet, alto saxophone,
and clarinet to flute, oboe,
and clarinet; claves and
tambourine add rhythmic
element.
Transition
A’ 37-46 First phrase of stepwise
melody in low brass and
woodwinds with slight
rhythmic alteration; four-
part harmonies in horn,
tenor saxophone, trumpet,
and a lot saxophone, then
flute and clarinet; E-flat
major tonality followed by
shift to G Lydian with
repeated fragment from
phrase in oboe, clarinet,
 horn, tenor saxophone, and
bells used to slow forward
motion; six measures with
no percussion, then snare
drum, claves, and
tambourine help with poco
ritardando in mm. 44-46
Section 3
A 47-55 Return of section A;
stepwise melody in alto
saxophone with flute added
to second phrase; B-flat
Lydian tonality
B 55-62 Melody B in flute for two
measures, then in trumpet
for four measures, then
back to flute, oboe,
clarinet, horn, and tenor
saxophone for two
measures; harmonically
unsettled
Section 4
A 63-70 Varied form of first two
phrases from section A;
tonally unsettled; F Lydian
A 71-80 Second phrase of section A
melody in E-flat Lydian in
trumpet (optional solo),
followed by shortened
section B melody in clarinet
for two measures, then
trumpet for four measures
with an overlap of the last
two measures in flute,
oboe, and clarinet; ends in
G-flat Lydian with a tritone
relationship to C Lydian
arrival in m. 81
Closing Section
A 81-92 Return to C Lydian with the
harmonic movement
through F and B-flat Lydian
before returning to C
 Lydian; literal presentation
of first phrase of section A
melody; second phrase
varied with melodic line
passed from trumpet 1 to
bells to flute and oboe;
second phrase of section A
recalled by bell solo;
incomplete cadence in
melodic line.

Suggested Listening:
• Basset, Leslie. Colors and Contours. Deja View. North Texas Wind Symphony, Eugene
Migliaro Coporon, conductor. Klavier 11091. 1998.
• Cassette recordings to Queenwood Publications Beginning Band Books I and 2.
• Colgrass, Michael. Winds of Nagual. Hearts Music. Cincinnati Wind Symphony, Eugene
Migliaro Corporon, conductor. Klavier 11064. 1995.
• Dello Joio, Norman. Scenes from the Louvre. Teaching Music through Performance in
Band, Volume 1, Grade 4. The University of North Texas Wind Symphony. Eugene
Migliaro Corporon, conductor and Keystone Wind Ensemble, Jack Stamp, conductor. GIA
Publications CD-490. 1997.
• Maslanka, David. A Child’s Garden of Dreams. Emblems. Cincinnati Wind Symphony,
Eugene Migliaro Corporon, conductor. Klavier 11030. 1991.
• Schuman, William. George Washington Bridge. American Dreams. Cincinnati Wind
Symphony, Eugene Migliaro Corporon, conductor. Klavier 11048. 1992.

Additional References and Resources:

“The Basic Band Curriculum: Grades 1, 2, 3.” BD Guide, September/October 1989, 2-6.

Duarte, Leonard P., Daniel S. Hiestand, Carol Ann Prater, Doy E. Prater. Band Music That
Works, Volumes 1-2. Burlingame, CA: Contrapuntal Publications, 1987, 1988.

Dvorak, Thomas L., Cynthia Crump Taggart, and Peter Schmaltz. Best Music for Young Band.
Bob Margolis, ed. Brooklyn, NY: Manhattan Beach Music, 1986

Garofalo, Robert J. Instructional Designs for Middle/ Junior High School Band. Fort
Lauderdale, FL: Meredith Music Publications, 1995

Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill, 1988. Kreines, Joseph. Music
for Concert Band. Tampa, FL: Florida Music Service, 1989.
Queenwood Publications, Scottsdale, AZ

Rehrig, William H. The Heritage Encyclopedia of Band Music, Paul #. Bierley, ed. Westerville,
OH: Integrity Press, 1991.
WARMUPS

Warmup #1 (9 minutes)

1 minute- Breath in for 4, out for 4, in for 4 out for 8, in for 4, out for 16
1 minute- Do the same thing, only have them play Concert F when they breathe out in the
previous exercise.
1 minute- Have each section play concert F for 4, come in separately, starting with the tubas.
Ask students if they know why you asked them to do this. They are completing this exercise to
improve tuning and tone.
1 minute- Now, ask students to
1 minute- Play a B flat major scale, having them play 4 quarter notes on the way up and then 4
eighth notes on the way down. Remind them to tongue it legato, just as they would play in the
song.
1 minute Play the B flat major scale with everything slurred.
1 minute- Have them tongue it, and this time remind them to use the same air that they used
when the notes were slurred.
1 minute- Play through it again, but this time add in dynamics, given by the director.

Transition: Let’s apply what we learned about tonguing, articulation, and constant air
throughout notes as we work on, “The Red Balloon”

Warmup #2

1. Start by having the ensemble repeat after you on the trumpet. Play concert f and start
with larger note quantities, and then break it down to working on articulation. Before
working on articulation, make sure that they are matching your tone quality. If time,
turn around and play a phrase and tell them the starting note, then have them try to
repeat it. What note have we been playing this whole time? This means that in addition
to listening to articulation and tone, we also need to be adjusting by tuning constantly.
2. Play a tuning note. Then, have all of the section leaders play the tuning note. The
ensemble will then play, and remind them to imitate the sound of their section leaders
and to not be louder than their neighbor.
3. Tune each section individually. If needed, have the principle player play and then match
their sound.
4. Which sections really matched each other well? Let’s try to imitate their sound.
5. Have the whole band play the tuning note together.
6. If there is still time in the warmup, then have each pick the root, 3rd, or 5th of a b flat
chord and play it together.

I want you to take a few seconds to breath and relax. I want you to think about what this
song is about. Think about a balloon floating on a nice day, and what that looks like. What kind
of movement does that balloon have?
Now, I want you to think about this as well play today. We’re going to start at the beginning of
the piece, and there are 3 things that I want you to keep in mind.
-focus on applying the tuning and tone that we worked on in warmup to all parts of the song
-if you aren’t the melody and the main focus, then back off on your sound so that we can hear
the melody and they don’t have to work as hard.
-think about a balloon floating through the air. Think about the trade-off between sections
when you are either getting or passing the melody, and think about how to use constant air and
your ears to achieve this. Also focus on the way a balloon moves smoothly through the air and
show this in passing the tune.

Warmup #3

T: I want us to start off by practicing our dynamics and tone, and so we’re going to do a fun
exercise!
I’m going to hold up a number between 1 and 5. 5 is the loudest you can play with good tone
quality and 1 is the softest you can play with good tone quality.
Start on the first note that you have at 17 and follow me dynamically depending on what finger
I am holding up.

Warmup #4

Perform a chromatic B-flat scale:

• Using a piano visual as a model, explain what a chromatic scale is by explaining the
difference between half steps and whole steps

• Students will spend time with small groups identifying aurally the half steps in their B
flat major scale
• In groups of 2-3 students with like instruments, students will learn the rest of the
required fingerings for their range on the fingering charts.
• As a group, the class will play their B flat chromatic scale slurred.
• The class will then play the chromatic scale with the notes tongued.
T: Did you have to use a different amount of air when you tongued vs. slurred the notes? You
shouldn’t have. This time apply the same amount of air that you used to slur the notes up the
chromatic scale to tongue the notes with a legato articulation.

Transition: Now, apply this air support and style while playing, “The Red Balloon.”

Warmup #5

Students will learn to listen and tune chords in this warmup exercise.
• Students will count off 1,2, or 3 in each row.
• 1’s will start on Concert B flat, which is the root of the chord.
• 2’s will play the 5th of the chord, which is concert f.
• 3’s will play the 3rd of the chord, which is concert d.
• Go around to each section and make sure that they know what their starting note is.
• Following the pattern below, students will play through this warmup exercise focusing
on proper tuning, tone, and pitch.

#1 #2 #3 (All together)

• Ask students if they know the volume that they should play each part of the chord at.
• Explain that the root (#1) is the most important part of the chord. Then, the order goes
in the order of the 5th and the 3rd. The Root of the chord should make up 50% of the
overall volume of the chord, the 5th should make up 30%, and the 3rd of the chord
should make up 20% of the volume.
• Students will continue to complete the same exercise, but they will go down a half step
each time.
 ACTIVITY 1: Improvise Music in ¾ time and ¾ time Body Percussion

Objectives:
Students will learn and demonstrate the correct style, tempo, and dynamics.
Students will understand and demonstrate the correct style of the piece with minimal missed
notes and correct rhythms.
Students will be able to identify and perform dotted quarter and eighth note rhythms.

Purpose:
Through improvising the music in ¾ time, it allows students to get a feel for ¾ time. It also gives
them the chance to exhibit creativity through improvisation.
In the ¾ time Body Percussion Exercise, students also get a feel for ¾ time. Kinesthetically, they
can actively understand the feel of 3/4. In the second half of the activity, students will not only
be working on their understanding and knowledge of ¾ time, but they will also learn and show
the style of the piece by demonstrating smoothness and a legato style in the body percussion.
These two exercises pair well together because they help students understand and have the
knowledge to demonstrate ¾ time as well as actively feel the legato style of the piece.

Activity:
1. Improvise Music in ¾ time
1. Teacher-led call and response with melodic patterns in ¾ time
For each example, students will clap and count the pattern before playing it.
2. Student-led call and response with melodic patterns in ¾ time following the same
process.
In this process, students will improvise the “call” melodies.
2. ¾ time Body Percussion
Ask students what they notice about the piece and discuss the roadmap.
• Meter
• Key
• Style
• Tempo
• Dynamics
3. 2 minutes Body Percussion Exercise for the students to get a ¾ meter feel.
“Now we’re going to do a fun exercise together! I want you all to get up and imitate me
(Step clap clap, step clap clap…. Etc.)
Then transition to this to imitate the smoothness of the piece:
(Step butter the bread, step butter the bread)….
What do you think was the purpose of this body percussion?
T: The main purpose of it was to get you to feel and understand the ¾ feel of the piece. When
you were asked to “butter the bread” instead of clapping in between the steps, it was so that
you could practice being smooth and legato. As we sight read this piece, think about how you
can apply this to your playing.
Transition: “Now that you all have a good feel of the ¾ meter that this piece is in, we are going
to play through the piece! We’re going to take it at our goal tempo, which is quarter note=112.

Assessment:

Journal: Students will journal after class and will respond to the following questions:
-Do you feel that you can describe and demonstrate ¾ time to a younger student? If so,
describe how you would do this.
-Do you think these exercises help you better understand the time signature and style of The
Red Balloon. If so, why? If it didn’t help you, what could you change to make it helpful for you
personally?
-What is another activity that you could create that would help you to actively understand the
time signature and style of the piece The Red Balloon, even before you ever play it?

Rubric for grading Journal Entries:

Rating
Criteria 5 points 3 points 1 point 0 points
Prompts All prompts are Two prompts At least one No prompts
addressed, showing are addressed, essay prompt is are submitted.
critical thinking skills. showing criticaladdressed.
Depending on what it thinking skills.Critical thinking
calls for, in-depth Student is skills are not
examples/explanation adequately demonstrated
are given for each detailed in the as the student
prompt answers given. didn’t embellish
on their
information.
Writing Student completes at Student writes Student does A complete
least 3 complete at least two not write in sentence isn’t
sentences for each complete complete given, and
prompt. There are sentences for sentences. there are
minimal grammatical each prompt. There are minimal
errors or mistakes. It There are a few several answers to the
is evident that the grammatical grammatical questions. The
student thought errors, but errors. The information is
about what they nothing major. information is not structured
wanted to say and not structured in a way that
how they wanted to in a way that allows the
structure the allows the reader to easily
information. reader to easily understand
understand what the
what the student was
student was getting across.
getting across.
 ACTIVITY 2: Drone Work

Objectives:
Students will use correct tone and pitch by tuning sections to a drone.
Students will demonstrate good tone quality on their instrument by using open, clear tone and
good air support.
Students will play with proper balance and blend through not overplaying and causing the
melody to work harder than they need to and playing the correct dynamics.
Students will play smooth transitions between the sections by using the correct dynamics, style,
and passing the line from one section to the next.
Students will play through the piece with correct pitch, listening for in-tune chords, correct
dynamics, balance and blend throughout.

Purpose: The purpose of this exercise is to improve the pitch and tone of notes by using a
drone to improve tuning and tone quality. By playing the sections listed below with a drone,
students can hear the root of the tonality of each section. By listening down to the root of the
chord, they have a model from which they can tune accordingly. This is something that they can
also apply to their individual practice. In the student guide, practice help for using a drone is
included and can be implemented by practicing each section with a drone based on the key that
it is in.

Activity:

Hi everyone, today we’re going to focus on our pitch! To do this, we’re going to be working a lot
with a drone. How many of you play with a drone in your own practice? I know that it is very
beneficial for me when tuning and warming up, and so today we’re going to play parts of The
Red Balloon with a drone.
1. m. 1-8 with C5 drone (in C Lydian tonality)
2. Play m. 1-16 without a drone
3. m. 17-24 with G 5 drone (In G Lydian tonality)
4. Play m. 25-32 with a D flat4 drone (In D Lydian tonality)
5. Play m. 17-36 without a drone
6. Play m. 37-42 with an E flat4 drone (if needed do rit. with G drone) (In E flat major
tonality)
7. Play m. 37-A tempo without the drone, also working on the rit.
8. Play from m. 1- A tempo without the drone and practice getting into the A Tempo
9. Is it improving? Do you need to rehearse individual sections by themselves? How is
breath support and tone??
10. A tempo- m.54 with a drone on B flat
11. Play from A tempo to m. 63. Focus on seamless transitions and Dynamic contrast. Pay
attention to the crescendo into m. 63, and address how percussions volume is.
 12. M. 63-71 play F drone with (F Lydian tonality)

Have the ensemble play through wherever you got with drone work. Aim for m. 1-m. 71.
They will use correct pitch, tone, and balance while playing through these sections without a
drone.

Assessment:

Rating Scale- Drone Work

Student’s Name: Class Period
When you played, the passage: Rating
Improved Drastically|Improved a little|Didn’t
Improve
m. 1-8 with C5 drone
m. 1-16 without a drone
m. 17-24 with G 5 drone
m. 25-32 with a D flat4 drone
m. 17-36 without a drone
m. 37-42 with an E flat4 drone

Rating Scale- Drone Work

Teacher Copy Class Period
When the students played, the passage: Rating
Improved Drastically|Improved a little|Didn’t
Improve
m. 1-8 with C5 drone
m. 1-16 without a drone
m. 17-24 with G 5 drone
m. 25-32 with a D flat4 drone
m. 17-36 without a drone
m. 37-42 with an E flat4 drone
 ACTIVITY 3: Using Singing to improve balance, blend, tuning, and pitch

Objectives:
Students will improve tuning through singing their parts, tuning individually by section, and
listening to their part of chords.
Students will play with the correct blend and balance by playing softer when they have the
harmony.
Students will effectively play the transitions between sections in the piece.
Students will demonstrate good tone quality on their instrument by using open, clear tone and
good air support.
Students will effectively transition into the rit. and back to A tempo smoothly and maintaining
tone and balance.
Students will play through the piece with correct pitch, listening for in-tune chords, correct
dynamics, balance and blend throughout.
Students will apply musical expression to the song, “The Red Balloon,” by using dynamics,
phrasing, and interpretation.

Purpose:
In this activity, students will make sure that their sound represents that of a floating balloon.
They will do this by making sure that they are playing with constant air. They will also sing
through several parts of the song, focusing on phrasing, breath support, and musical
expression. Then, students will sing through portions of the song with melody and harmony
separately. The purpose of that the students will understand who has the melody and harmony
in different parts of the song. While getting the students to play with correct tone and air
support, they are also learning to play with correct blend and balance as they are aware of
which sections they play with at different times. This will benefit the students throughout the
whole song. They learn how to play together instead of as individuals.
Activity:
T: We’re going to start at m. 17 and go to m. 42 with everyone playing. As you are playing this, I
really want you to focus on the aspect of a balloon floating through the air. The air that you are
putting in your instrument should be constant. This means that your sound should also be
constant. Focus on not letting there be breaks in your sound. Think of it like this, as if you are
just reaching out and gently touching your neighbors’ shoulder. You’re not hitting your
neighbor or abruptly poking your neighbor, but it is a gentle attack. Also, continue to focus on
your tone and pitch. We’re going to start at a 3 at dynamics.
The ensemble plays from m. 17-m. 42 with everyone playing.
5. Now, we’re going to all sing the melody. Let’s having the flutes, clarinets, French horn and
bells play through m. 17-24 for everyone once so that we can hear the pitches.
Now, let’s sing this whole line that they just played for us together. Continue to focus on every
note touching and singing with a smooth style. We’re going to sing on la, and I want you to slur
every note. Try your hardest to sing 4 measures before taking a breath all together, but if you
have to breath before that to keep good tone, that is okay. Keep your air and sound constant.
If you want to point your finger forward to remind yourself of this while singing, you can.
Assess whether or not they need any more feedback on how to sing it in the correct style.
Let’s do this one more time (either to correct anything or to reinforce it.
6. This time, we’re going to play through 17-42 again, but I want you to only play if you have
that melody line. If you don’t have the melody, then follow along in your part and finger along. I
may also ask you some questions, so make sure that you’re paying attention to how it sounds
even if you aren’t playing. There may also be a break where no one has melody for part of that,
but I will continue conducting and I want you to internalize time so that you can come in when
it is your turn.
When you have the melody, try to play it as we sang it. Think as if you are singing through your
instrument.
7. T: (addressing the ensemble) Whose interpretation of the melody did you like the most?
Who do you think played it closest to the correct style?
8. Let’s play it one more time, only with the melody, and let’s focus on making our sound and
style being more like …………… Please make sure to continue fingering along in your part if you
aren’t playing the melody. If it would help you to do an air pattern while fingering along, you
may do that.
9. I hope that you have been paying attention if you are an accompaniment part, because now
we’re just going to play from m. 17 to m. 42 with any other parts that didn’t play last time.
Melody, finger along to your part when you are not playing and think about how the parts fit
together. Accompaniment parts, still focus on singing through your instrument, connecting
we’re going to practice by listening to each other as the drone.
2. Let’s start at m. 17, and if you have the melody, you’re going to sing, and if you have the
harmony and are holding out a long note, then you’re going to play the long note.
If you switch at any time, it is okay to switch from singing to playing and vice versa.
3. Everyone play their first note with a full, open, and vibrant sound.
4. If you’re playing first and have the harmony, let’s hear just you all play the first note.
5. Melody, hold out the first note by yourselves.
6. Now, let’s do it for real with the melody singing and the harmony playing. Harmony, your job
is to focus on matching each other in pitch and tuning the chord. Melody, listen down to
harmony when you are singing and focus on centering your pitch on what they are playing.
7. Students play from m. 17-46 like this with the melody singing.
8. Now, let’s have everyone play, and don’t let your attention to pitch change, but also focus on
balance and making the melody the most important line. Students play instruments from mm.
17-46.
9. This time, we’re going to do the same thing at m. 45-71

Assessment:
Students will complete the worksheet at the end of class to demonstrate the knowledge that
they learned during this class period. They are allowed to use their music during this activity.
Worksheet:

Name: Date:
Melody/Harmony Worksheet

In which measures do you have the melody?

Which measures do you have the harmony?

Who plays with the melody with you in the sections that you have the melody?

Who plays the harmony with you when you have the harmony?

In the sections that you have the harmony, how do you support the melody lines?

Is there anything that you want to learn more about melody and harmony?
 ACTIVITY 4: Moving to Play by Someone you don’t normally Play with

Objectives:
Students will learn and demonstrate the correct style, tempo, and dynamics.
Students will understand and demonstrate the correct style of the piece with minimal missed
notes and correct rhythms.
Students will play with proper balance and blend through not overplaying and causing the
melody to work harder than they need to and playing the correct dynamics.
Students will play through the piece with correct pitch, listening for in-tune chords, correct
dynamics, balance and blend throughout.

Purpose:
The purpose of this activity is to primarily work on balance and blend. Student will become
aware of the different parts that are playing. Because of them, they will know how to better
balance across the ensemble. They will also learn to blend with different sections depending on
who has the melody and harmony. Another purpose of this activity is for students to become
independent in their parts. This activity will help students learn to play confidently while being
aware of each part of the ensemble.

Activity:
1. We’re going to try something new! Now that we have improved in pitch, I want
everyone to pick up their instrument and music and move QUIETLY to a different spot in
the ensemble. Percussion, please stay where you are.
2. from mm. 17-71, and don’t let your pitch or tone go further back from where we have
come, but make sure that you are listening across the ensemble and can always hear the
melody. What did you hear? How can we further improve?
3. Let’s play through this one more time, keeping those thoughts in mind.
4. This time, play again and try to listen to someone across the ensemble.
5. Who did you listen to? How did this change the way you played?
6. Now, we’re going to quietly go back to our original seats and apply what we have
learned to playing in our normal setup.

Assessment:

Journal: Students will journal after class and will respond to the following questions:

What surprised you when we changed seats? What did you hear that you normally don’t
notice?

How did this change the way that you played?

How will you continue to further apply this in your playing in the future?
 Rating
Criteria 5 points 3 points 1 point 0 points
Prompts All prompts are Two prompts At least one No prompts
addressed, showing are addressed, essay prompt is are submitted.
critical thinking skills. showing criticaladdressed.
Depending on what it thinking skills.Critical thinking
calls for, in-depth Student is skills are not
examples/explanation adequately demonstrated
are given for each detailed in the as the student
prompt answers given. didn’t embellish
on their
information.
Writing Sentences are written Student writes Student does A complete
as complete complete not write in sentence isn’t
sentences for each sentences for complete given, and
prompt. There are each prompt. sentences. there are
minimal grammatical There are a few There are minimal
errors or mistakes. It grammatical several answers to the
is evident that the errors, but grammatical questions. The
student thought nothing major. errors. The information is
about what they information is not structured
wanted to say and not structured in a way that
how they wanted to in a way that allows the
structure the allows the reader to easily
information. reader to easily understand
understand what the
what the student was
student was getting across.
getting across.
 ACTIVITY 5: History of Storyboards

Objectives:

Students will learn and apply the composers’ intent behind the piece to their playing.
Students will apply knowledge of their own story behind the piece to musical expression,
informed musical decisions, and the overall style of the piece.

Purpose: Historical/Cultural- Based on knowledge gained from the history of filmmaking and
making storyboards, students will use creativity and knowledge of the music to develop their
own story behind the music. This will help them play with more musical expression as they have
a story in their minds as they are playing.

Activity:
1. Students will watch the first 4 minutes of the following youtube clip about the history of
storyboards. https://www.youtube.com/watch?v=inYgIs-Ofyk
2. They will apply this knowledge to making their own storyboard by writing down the
measure numbers and drawing a story that you imagine happening during those
measures based on what the music is doing.
3. After students make their own storyboard, they will go over the different ideas that they
had compared to what the composer had for the piece.
This is what she thought when she composed the piece:
The Red Balloon is an original composition based on a painting that McGinty once saw. In the
painting, there was a small child holding a balloon and a grandfather. The two people and the
background were done in white on white, and the only color in the painting wa the red balloon.
This piece depicts the balloon floating in air.
Because of this, 4 bar phrasing is very important as well as the legato style of the piece. The
notes are all slurred, and the last note of each phrase should be held full value so there are no
gaps or unwritten rests in the music. Keep the balloon afloat as the melody passes between
instruments. The opening section, which you are soon going to work on, should have an
ethereal quality. The percussion effects should be subtle and add color. Keep your tone well
supported throughout and add musicality with the dynamics.
Assessment:
Directions: Complete this storyboard activity by writing down the measure numbers and
drawing a story that you imagine happening during those measures based on what the music is
doing. Be creative, and think outside of the box!
GLOSSARY

Style- style is often reflective of the genre of music, the time period it was written in, and the
marking in the music

Tempo- the speed at which a piece of music is played. Sometimes the exact tempo is given at
the beginning of a piece of music with the number of beats to a minute, as measured by a
metronome

Dynamics- the levels of sound, loud or soft, in a piece of music

Blend- an ensemble’s ability to play together using the same tone quality, pitch, and dynamics

Balance- balance regards the ensemble playing with correct dynamics depending on whether
they are playing the harmony and melody in relation to the dynamic that is marked.

Chromatic Scale- a scale made up of the half steps of a major scale in succession of each other

Tone- relates directly to a sounds pitch, quality, and strength; you should play with a tone that
represents good sound quality on your instrument, and it should match across your section and
the band.

Pitch- quality of a sound governed by the rate of vibrations producing it; the degree of highness
or lowness of a tone

Phrase- recognizable musical unit, generally ending in a cadence of some kind, and forming part
of a period or sentence

Musical Expression- showing emotion and feeling though music, and this is often achieved by
dynamic contrast, style, articulation, and tempo

Melody- prominent part in a piece of music; what you want to be heard; the most important
part

Harmony- combination of simultaneously sounded musical notes to produce chords and chord
progressions having a pleasing effect; supporting part to the melody