liturgical fanfare
Robert w. smith - Grade 1
About the music
Liturgical Fanfare was written as a concert opener or festival work. The intensity of the work also makes is a viable closer for the developing band's concert. For classroom use, Liturgical Fanfare was conceived as a musical vehicle to teach the concepts of articulation and dynamic shaping. This work is a bit more aggressive from an interpretation standpoint than most works composed at this level. For this reason the rhythmic and range demands are minimal, allowing for greater concentration on the musical content of the piece.
Tempo & style
Majestic (QN=132)
Ranges
Flute
|
Clarinet
|
Trumpet
|
Trombone
|
instrumentation
WOODWIND
Flute Oboe Bassoon Clarinet Bass Clarinet Alto Sax Tenor Sax Baritone Sax |
BRASS
Trumpet French Horn Trombone Baritone Tuba |
PERCUSSION
Bells Snare Drum Bass Drum Crash Cymbals Triangle Timpani (opt.) |
teaching concept categories
teaching considerations
This piece contains extreme and sudden dynamic changes (entire range of dynamics as well as sforzandos and bell tones). Consider having the students sizzle their part prior to--and throughout--the rehearsal process. The tendency will be to gradually decrease the intensity of the dynamics over time, so using the sizzling technique for review and and reinforcement. Teaching some of the sizzling patterns by rote would make for a great warm-up, both for the benefit of learning the music and for engaging the breath at the start of rehearsal.
There are several specific compositional techniques used in the piece that student should be made aware of. The rhythmic "motor" (ta-ta-ti-ti-ta) is used throughout the piece and should not cover up the melody. Students need to understand the importance of this role, but also the need to stay in the background. After the melody is introduced, the bass voices play the melody with rhythmic augmentation. This voice should be slightly louder than the melody since the normal melody has already been heard.
There are several specific compositional techniques used in the piece that student should be made aware of. The rhythmic "motor" (ta-ta-ti-ti-ta) is used throughout the piece and should not cover up the melody. Students need to understand the importance of this role, but also the need to stay in the background. After the melody is introduced, the bass voices play the melody with rhythmic augmentation. This voice should be slightly louder than the melody since the normal melody has already been heard.
Resources
Available on SmartMusic
JW Pepper - Liturgical Fanfare
Teaching Music Through Performance in Beginning Band, Volume 1
JW Pepper - Liturgical Fanfare
Teaching Music Through Performance in Beginning Band, Volume 1