Paige Kibbler

EDUC-M 344
Comprehensive Musicianship Through Performance Project
BackgroundInformation
o Title:SketchesonaTudorPsalm
o Dateofcomposition:1971
o Composer(withdates):FisherTull(193494)
o Arranger/Transcriber/Editor(ifapplicable):None
o Gradelevel:5/6
o Lengthofcomposition:335Measures,10minutes
o Publisher:Boosey&Hawkes,Inc.Copyright1973.
MusicSelection
o Describewhatmakesthispieceavaluableteachingpieceandmusicalwork
SketchesonaTudorPsalmisawonderfullyuniquepieceofmusicalliterature.Itisbasedon
thesamesettingofthesecondpsalmintheEpiscopalHymnalbyThomasTallisthatRalph
VaughnWilliamsusedinhisFantasiaonaThemebyThomasTallisfordoublestringorchestra.
However,bothcomposersapproachthethemeincompletelydifferentways:Tulloptingforthe
juxtapositionofdense,dissonantinstrumentationwithlightanddrivenvariations.Theuseofthe
WindEnsembleasamediumalsosetsSketchesapart,sinceitprovidesopportunitiesforsuch
extremesofdynamicsandtimbrethatcannotbereachedinastringorchestra.
Thecompositionbalancespredictabilityandsurprisethroughitsjuxtapositionofbrass
andwinds,highandlowtimbres,soloperformancesofthetheme,andthick,fullstatements.He
oftencontraststimbresbysettinghighpitchedinstruments,likemutedtrumpets,againstlow,
especiallylowwoodwindsortuba.Tulltookgreatcarewhenanalyzingtheoriginalsettingto
noticehowunevenlythepiecewasmeasured,andreplicatedthatwithalmostconstantmeter
changes.Tullstatesthethemeineverymusicalgroup,usingshiftsintempoandretrogradesto
generatenewmaterial.Healsoaddsmovingmelodiclinestohighlightportionsofthemelody,
suchasthesoaringHornsoloobligatoinmeasures6264.Hisuseofpercussionclearlyaccents
theexistentmelodiclines,oftenhighlightinganimportantmelodyorbridgingthegapbetween
twopartsofaphrase.Thereisalwayssomethingnewtohearwhenlisteningtothispiece,but
thatdoesnotmeaneachnewthingisnotconnected.Aspreviouslymentioned,thepieceisa
seriesofvariationsonathemebyThomasTallis.Thistheme,whilewarpedandremade,still
bindsthepiecetogetherintoacohesivewhole.Whilethejuxtapositionoftimbresservestoadd
anelementofsurprisetothepiece,italsobecomesslightlypredictablebecausehetendstoreuse
certainjuxtapositions(mutedtrumpetvs.lowwoodwind,highbrassvs.lowbrass,woodwinds
vs.brass).
Theformofthispieceissetasvariations,butitincludesasortoflargersonataform.
Thefirsttrueandfullstatementofthethemecomesinmeasure12inthesoloaltosaxophone.
Fromthere,itisconsistentlyremadeandrescoredthroughvariations.Tullplayedwithelements
oftempo,rhythm,instrumentation,andtimbretocreateeachvariation.Truly,nostatementof

thethemeisexactlythesame.Whatstartsoutasaslowandsombermelodybecomesathick
resonance,usingthefullbrass.IcallthissectiontheExposition,anditendswiththebeginning
ofmelodicretrogradeinthewoodwinds:thefluteandoboepassingaroundthenowlilting
theme.TheDevelopmentbeginsinmeasure88,thefirsttimethepercussionisfeatured.This
sectionisfilledwithvariation,asthethemeischunked,passedaroundtoeachsection,andthen
piecedbacktogetherinanewway.Theintensitybuilds,bringingthepiecebackintothefull
scoringandthickdissonanceoftheoriginalsettingfromtheExposition,butthistimelouderin
dynamicandwithfewercountermelodiclines;thisistheRecapitulationatmeasure262.The
returnisintenselycathartic,providingarawoutpouringofmusicalemotionifdonewell.
Thereisnotextdirectlyrelatedtothemusic,butasthepieceisbasedoffofThomas
TallisssettingoftheSecondPsalm,itstextisasfollows:
1.Whydotheheathenrage,andthepeopleimagineavainthing?2Thekingsoftheearthset
themselves,andtherulerstakecounseltogether,againsttheLord,andagainsthisanointed,
saying,3Letusbreaktheirbandsasunder,andcastawaytheircordsfromus.4Hethatsitteth
intheheavensshalllaugh:theLordshallhavetheminderision.5Thenshallhespeakuntothem
inhiswrath,andvextheminhissoredispleasure.6YethaveIsetmykinguponmyholyhillof
Zion.7Iwilldeclarethedecree:theLordhathsaiduntome,ThouartmySon;thisdayhaveI
begottenthee.8Askofme,andIshallgivetheetheheathenforthineinheritance,andthe
uttermostpartsoftheearthforthypossession.9Thoushaltbreakthemwitharodofiron;thou
shaltdashtheminpieceslikeapotter'svessel.10Bewisenowtherefore,Oyekings:be
instructed,yejudgesoftheearth.11ServetheLordwithfear,andrejoicewithtrembling.12
KisstheSon,lesthebeangry,andyeperishfromtheway,whenhiswrathiskindledbutalittle.
Blessedarealltheythatputtheirtrustinhim.

Amostbasicanalysisshowsthistextasmeaningthatthepeopleoftheworldcaneithergo
againsttheLordandsufferbecauseofit,orfollowGodswillandbeblessed.Thismessage
relatestothecompositionaltechniqueofjuxtapositionandsharpcontrastthatisusedthroughout
thepiece.
Thiscompositionteachesagreatdeal,anditshowcasesmanydifficultskillsforwind
ensemblestoobtain.Thispieceisincrediblychallengingtechnicallyonbothsidesofthe
spectrum;itcontainsbothchallengesofslow,sustained,andlyricalpassagesandquick,
rhythmicbackgroundphrases.Itcanteachnotonlychangingtempi,andthetransitionsrequired
withthat,butalsoconsistentlychangingmeter.Itcanteachstudentshowtofollowmusicallines
throughextendedmelodiesandatypicalsettings.Itcanteachstudentsavarietyofmusicalstyles
andmarkings,includinglegato,tenuto,andstaccato.Itcanteachthecontrolofextremesin
dynamicandtimbre.Itcanteachensemblebalanceandphrasing,anditcanteachrhythmic
independence.Intermsofcompositionaltechniques,itcanbeusedasanexampleofthemeand
variations,andstudentscouldcompleteassignmentstocreatetheirownvariations.Icould
continuelistingskillsandexamplesofitsaestheticbeauty,butthatcouldbeanentireresearch
paperinandofitself.

Analysis
ThispieceiswrittenforConcertBand,withfullinstrumentation.

o Melody:
ThemainthemeofTheTudorPsalmwasoriginallysetbyThomasTallisandfoundina
bookcalledMusicaDiciplina,Vol.II.Thesettingwaslaterarrangedintoahymnalsettingfor
theEpiscopalHymnal,whereitisthesecondpsalm.RalphVaughnWilliamsusedthesame
pieceofmusicasthebasisforhisFantasiaonaThemebyThomasTallisfordoublestring
orchestra.

Afterchoosingthissectionofmusic,Tullscouredthepassageforelementsthatcould
easilybeexploitedbyvariationstechniques.Heworkedthroughthedifferentparts,andcreated
thefollowingmotives,whichareusedthroughoutthework.

Themotivesareusedthroughoutthepiece;followingisananalysisofwhereeachmotive
isusedandhowtheyaredevelopedineachsection.
Theme(1187)
1233Theme(sax,horns,oboes)
4167Restatementoftheme
6787Developmentofmotif5
Developmentbycontinuousvariations(88266)
88100Ostinato(percussion,trombone)
101104Motif1(horns,cornets)
111150Melodyderivedfromretrogradeoftheme
151176Developmentsofmotifs1,1a,2
177199Developmentofmotif6
200212Developmentofmotifs5,1
243261Conclusionofdevelopmentwithmotifs2,6
RecapitulationandCoda(262335)
262268Motif6(chimes)
269298Themeinaugmentationfollowedbymotif2
299310Lasthalfoftheme(tutti)
311335Codabasedonmotifs3,1
Intheintroductorysection,wherethethemeisfirstheard,itiswrittenataslowtempo,
performedinasomber,legatostyle.Asthemotivesareintroducedanddeveloped,theyare
writtenmuchfaster,oftentakingonadancelikefeel.

o Form:
ThispiecewasconceivedasathemeandvariationsbyFisherTull,butitalsoincludes
sectionsthatcanbelabeledusingsonataform.
Introduction:Measures110
Exposition(Theme):Measures1187
Development(Variations):Measures88266
Recapitulation:Measures267310
Coda:Measures311335
o Harmony:
Harmonically,Tallismusicwasquiteconsonantandtypicalof16thcenturymodalstyle.
However,Tullwasinterestedbythejuxtapositionofmajorandminortriadsoverthesameroot
resultingfromtheapplicationofmusicafictaprinciplesatthepassagescadentialpoints.This
featuregaverisetotheharmonicmotifusedintheintroductorymeasuresandinseverallinking
passagesthroughoutSketches:anFminorchordresolvingtoanFmajor7chord.Followingis
ananalysisofwheretheharmonicmotifisheard.
Introduction(110)
15Harmonicmotif(brass)followedbymotif2
610Harmonicmotif(woodwinds)followedbymotif2
Theme(1187)
3440Harmonicmotiffollowedbymotif2
6787Harmonicmotif
Developmentbycontinuousvariations(88266)
88100Ostinato(percussion,trombone)
243261Conclusionofdevelopmentwithharmonicmotifandmotifs2,6
RecapitulationandCoda(262335)
262268Harmonicmotif(woodwinds),motif6(chimes)
Tonalitywithinthepieceisrelativelymoveable,andattimescanappearatonal.Thefirst
chordsoftheintroductionsuggestCmajor,butwhenthethemeisintroduced,itisintherelative
minor:Aminor.TherestoftheExpositionsectionvacillatesbetweenthetwotonalities,Cmajor
andAminor.Still,thereareelementsofdissonanceanddisruptioncomingfromtheFmin
FMaj7harmonicmotif.TheendoftheExpositionisconstantlymovingandchanging;inthe
firstfewbarstherearesuggestionsofDmajor,Bmajor,Emajor,andEbmajor.The
DevelopmentsettlesintoEbmajorinthebeginning,butitisaccompaniedbyverycrunchy
backgroundchords.Whenthethemefinallyreturns,itishasbeenaugmentedandscoredinE
minorinthewoodwindsandhorns.ThefinalchordrevertsbacktoAmajor,effectively
resolvingthetheme.

o Timbre
Thispieceincludesmanyjuxtapositionsoftimbre.Asanexample,thepieceopenswith
afullbrasschoirplayinghomophonicchords,butquicklyshiftstomovingeighthnotesinthe
lowwoodwinds,baritone,andtuba.Thelowsoundsarethenoffsetbytheupperwoodwinds
andmutedtrumpets.Inasimilarfashion,everytimethethemeisplayed,itshowcasesa
differenttimbre.Itisfirstheardasanaltosaxophonesolo,accompaniedbymovingeighthnote
andtripletaccompanimentsinthewoodwindsandceleste.Itthenshiftstothehornsection,
scoredinthirdsandwithchordalaccompanimentsfromthebassesandbassoons.Theoboethen
takesoverthemelody,accompaniedbyawoodwindchoir.Thisisquicklyfollowedbysharp,
mutedbrassbreakingtheslowandsombertimbreswithbright,rhythmicinterjections.Why
doesTullshowcasethesechangesintimbresooften?Ibelievehedoesthistoaddasenseof
movementanddramatothepieceandtobreakfromatypicalthemeandvariationsform.Inthe
themeandvariationsofcomposerslikeHaydn,thevariationsareseparatedanditisclearwhat
techniquethecomposerisusingtocreatethatvariation.Forthispiece,thejuxtapositionslightly
obfuscatestheprogressionofthevariationsothattheaudiencehasamoredifficulttime
distinguishingwhatwillcomenext.
o Texture
Textureisalsovariablethroughoutthispiece.Itbeginsinhomophony,withthebrass
chorale,butasthechoirfadesawayitisreplacedwithlowwoodwindsinunison.Asthetheme
isintroduced,thepieceusesasolowitharpeggiatedchordalaccompaniment.Thesetwotextures
alternateformostoftheexposition,anditispunctuatedbyunisonmovinglinesintheupper
woodwinds.Inmeasure72,afugaltextureisintroducedintheupperwoodwinds,whichleads
intothedevelopment.TheDevelopmentbeginswithadrasticallydifferenttexture:unisonhits
inthetomtoms.Thisservesasanintroductiontotheconstantlychangingtexturesthatfollowin
therestofthedevelopment.Ithinkitismostappropriatetolabelthetextureofthedevelopment
asmelodyandaccompanimentbecauseeventhoughthemelodyispassedquicklybetweensolo
andgroupsofinstrumentsitisusuallypresentedinunisonwithanaccompanimentthatcontains
melodicandrhythmicelements.Sometimesthemelodyispresentedincanonicsegments,such
asinmeasures202205.Sometimesthesesegmentsarepresentedwithoutaccompaniment,or
onlywithhighlightsfromthepercussion.Thetextureinthefinalsectionisverythicklytextured,
asinahomophonicchoraleincorporatingallsectionsoftheband,includingthepercussion
duringclimaxes.
o Expression
ThetempooftheIntroductionandExpositionisdenotedasAndante,butitcanusequite
abitofrubatotoemphasizetheaccompanyingdynamicswellsandchangingmeters.Tullwrites
manyhairpinswellsaccompanyingsegmentsofthemelody,optingforforteormezzoforteas
theclimaxofthedynamicchange.Theaccompaniment,whenapparent,isoftenwrittenas
quietlyaspossiblesothatitisclearwheretheexpressivefocusis.Theresultisasomber,
serious,yetemotionalexpressionofameaningfulmelody.Inacontrastfromthebeginning,the
transitiontotheDevelopment(Allegro)iswrittenatpianoandmezzopiano,asawaytodraw
theaudienceinbeforethenewmaterialbegins.Thisissimilartoaconscientiousspeaker,who

decidestolowertheirvoicetodrawintheaudiencebeforeprovidingtheiraudiencewitha
particularlyimportantpieceofinformation.ThetempooftheDevelopmentismuchstricter,
withtheeighthnotecontinuingthroughallmeterchanges.Whenthefirstpieceofnewvariation
begins,itiswrittenatmezzoforte,whichislouderthanthepianodynamicthepercussionstarted
thesectionwith.Again,thisjarstheaudience,providingthemwithastarkcontrasttowhat
theyvejustexperienced.TherestoftheDevelopmentfollowsthesameidea,keepingthetempo
drivingforwardwhileprovidingquickchangesindynamicsandarticulationstyletounsettlethe
audienceandkeepthemwonderingwhatwillcomenext.TheRecapitulationislabeled
Largemente,butwiththequarternoteatthesametempoasthebeginning.Theexpressioninthis
sectionissimilartothebeginning,requiringtemporubatotoaccompanythedynamicswellsand
meterchanges,butthistimeitisonamoreintenselevel.Here,insteadofforte,thedynamic
climaxesreachfortissimoandtheresolutionsreachpiano.Thereisalsoagreateruseofaccented
articulationsinthissection,toemphasizetheemotionaloutpouringtheaudiencefeelsaftersuch
atumultuousdevelopment.
HeartStatement
Theheartofthispieceliesintheeverpresentjuxtaposition,whichservestohighlightthe
emotionsandoutcomesthatarisefromchoosingtofollowordefyGodswill.
IntroducingthePiece
PlayapivotalscenefromthemovieInception,wherethesignalmusic(EdithPiafs
Non,jeneregretterien)isfollowedbythewellknownactionbackgroundmusic.Alternatively,
playbothpiecesofmusicseparately.Askstudentstodescribebothpiecesofmusic,noting
similaritiesanddifferences.Afterdiscussion,playthefollowingvideo:
https://www.youtube.com/watch?v=UVkQ0C4qDvM.ThisvideoplaysPiafsmusicslowed
downtoshowhowthebackgroundmusicisreallyjustavariationoftheoriginaltheme.The
composerusedboththeelementoftimeandaugmentationofkeytocreateanewpieceofmusic.
Aswerehearsethisnewpiece,askstudentstoidentifywheretheoriginalthemecomesbackin
variation,andwhatmethodsthecomposerisusingtocreatethenewvariation.
SkillOutcomes
Outcome1:Studentswillperformswitchesbetweensimpleandcompoundmetersata
steadytempo.
o Strategy:WhatistheGreatestCommonFactor?
Welcometomathclass!Presentstudentswithnumbers.Askstudentsto
findthegreatestcommonfactor(Thesmallestnumberthatbothare
divisibleby).
Presentstudentswithtwotimesignatures:and6/8.Wewanttofindthe
smallestcommonunitthattheybothshareincommon.Oneisalready
dividedinquarternotes,andtheotherineighthnotes.
Studentswillfindthatbothtimesignaturescanbedividedineighthnotes.
Askstudentstoclapeighthnotesandtokeeptheirtempoassteadyas
possible,nomatterwhatthedirectordoes.Beginconductingin,
counting1,2,3,followingthebeats,thenswitchto6/8,counting1,2,

followingthebigbeats.Switchbackandforthbetweenconductingand
countingeachtimesignature.
Askstudentstoclapeighthnotesandcountthebeatnumbersoutloud
whilethedirectorcontinuesconductingandchangingtimesignatures.
Askstudentskeepclappingeighthnotesintheirheadswhilesayingthe
beatnumbersoutloudasthetimesignatureschange.Transitionstudents
toplayingbeatsoninstrumentswhilecountinginternally.
Introduce5/8inasimilarmanner.
o Assessment:Iwilllistentostudentsinlessonsandrehearsalstoassessiftheycan
performthemeterchangeswithconsistenttempoandrhythm.Iwillassessthe
strategylistedabovetoevaluateourprogress.Mostimportantly,Iwillask
studentstoselfassesstheirprogressusinganendofunitreflectionintheirBand
Journals.

Outcome2:Studentwillperformchoraletextureswithproperbalance.
o Strategy:WheredoIfit?
Playarecordingofafamiliarpieceofmusicwithimproperequalization
(toomuchbass,toomuchtreble,etc.)
Askstudentswhichpartstheycanhearornothear.Forexample,students
maybeabletohearthemelody,butnoneofthebassorharmonyparts.
AskstudentstoplayaconcertBb.Askstudentsiftheycanheartheir
neighbors,oriftheirownsoundistoomuch.Givestudentstheanalogyof
fittingtheirsoundinsidetheotherpersonssound,withnoroughorpoint
edgesstickingout.
Asklowbrass/woodwindstoplayaconcertBb,andaskallotherstudents
tolistentotheirsound,andimaginetheirinstrumentsinsidethose
instruments.(Tangent:howmanypiccoloscanfitinatuba?)
AskallstudentstoplayaconcertBb.Asklowplayerstochooseanother
lowplayerontheothersideoftheensembleandtofittheirsoundinside
thatpersonssound.Askallotherplayerstochooseanotherlowplayeron
theothersideoftheensembleandtofittheirsoundinsidethatpersons
sound.
Askensembletoplayachorale(ex.LipBenders#10,endofpiece)with
thatsoundconceptinmind.
Identifyimportantpartswithinchorale(melody,movingparts).Ask
studentswithimportantpartstoplaythemwithexpression.Askallother
playerstolistentotheimportantpartsandimaginetheirsoundsinside
that.
o Assessment:Iwilllistentostudentsrehearsalstoassessiftheyareperforming
theirpartbalancedwithinthegreaterensemble.Iwillassessthestrategylisted
abovetoevaluateourprogress.Mostimportantly,Iwillaskstudentstoselfassess
theirprogressusinganendofunitreflectionintheirBandJournals.

KnowledgeOutcomes

Outcome1:StudentswillanalyzeanddescribeThemeandVariationsasamusicalform.
o Strategy:snoitairaV!
Givestudentsasheetincludingtheoriginalsettingandallthemotivesthat
Tullcreatedfromtheoriginal.Askstudentstoanalyzethebandscoreto
seewherethesemotivesshowupinthemusic,andhowtheyhavebeen
modified.(Time,rhythm,key,retrograde,etc.)Includeobservationsin
BandJournal.
Givestudentsasimplemelody,likeTwinkleTwinkle.Askstudentstouse
thismelodyandthetechniquestheyobservedtocreatetheirownvariation.
Performvariationsforclass.Askstudentstoidentifywhattechniques
wereusedbytheirpeers.
o Assessment:Iwillknowifstudentshaveachievedthisoutcomebyreadingtheir
observationsinthebandjournal.This,alongwithobservingtheirperformances,
willletmeknowiftheyunderstandtheconcept.Iwillalsoencouragethenew
composerstocreatefurthervariationsupontheirnewmaterial.

Outcome2:Studentswillanalyzeanddescribetimbreasacompositionaldevice.
o Strategy:YouaretheComposer
YouhavebeencommissionedtoarrangeathemebyThomasTallisfor
band.Listentovocalrecordingandfollowthevocalmusicjottingdown
whatinstrumentswouldplaywhatparts.
Analyzethevocalpartandbandscorehowdotheycompareand
contrast?Whatinstrumentsgotwhatvocalparts?Doesitwork?How
mightyouhavedoneitdifferently?
Ingroupsof610musicians,createyourownarrangementusingyour
instrumentkey.
Discuss/recordinBandJournalwhatworked,whatdidnt,whatyouwant
totrynext.
o Assessment:Iwillknowifstudentshaveachievedthisoutcomebyreadingtheir
reflectionsfromthisstrategy.This,alongwithobservingtheirperformances,will
letmeknowiftheyunderstandtheconcept.Iwillalsoencouragethenewly
formedensemblestoconsiderperformingbeforetheconcertoratsolo/ensemble.
o
AffectiveOutcomes
Outcome1:Studentswillconsiderthevalueofreusingoldmusicalmaterialtomake
somethingnewandexciting.
o Strategy:Reduce,Reuse,Recycle
Askstudentstobringinthingstheywouldconsider(clean)trash(ex.
Papertowelrolls,shoeboxes,brokenhairbands,etc.)
Dividestudentsintogroupsof34.Askstudentsingroupstousethese
itemstocreateanewinstrument.
Showcaseeachgroupsinstrument:whatitsmadeoutof,howtheymade
it,whatitsoundslike.

Askstudentstoreflectintheirjournalsonwherethattrashmayhave
endedupifithadnotbeenreused.
AskstudentstolistentotheoriginalsettingofThomasTallisstheme,
thenarecordingofasectionofthepiece.
Askstudentstodiscussandrecordintheirjournalshowtheoriginalmusic
wasreused/recycledtocreatethenewmusic.Isthemusicmore
interesting?Inwhatwaysitismoreinteresting?Whatpartsofthemusic
werereused?Wouldyoulistentotheoriginalmusicontheradio?
o Assessment:Myassessmentforthisstrategywillcomemainlyfromreading
studentsjournalsandreflections.Iwillalsotakementalnoteofstudents
discussionsandverbalresponsesduringclass.

Outcome2:Studentswillanalyzetherolevariationplaysinourlives.
o Strategy:OvercomingMetathesiophobia
Metathesiophobiaisafearofchange.Weveallprobablyexperiencedita
littlebit(startinghighschool,anewgrade,anewclass,etc.).Butwhat
woulditbelikeifthingsalwaysstayedthesame?
Showvideo:https://www.youtube.com/watch?v=_TZ_SdhpHZA.Video
includesarepetitivedailyroutine,suchthatitiscomical.
Discusswhatpartsofstudentsroutinesthatarethesameeveryday.What
thingsshouldbedoneeveryday?Whatdoyouwanttodoeverydaybut
cant?
ReadstoryChristmasEveryDay.Alittlegirlwishedforittobe
Christmaseveryday,andSantagranteditforonewholeyear.Whatwere
theconsequences?
Reflectinjournalsaboutrepeatingthings.Whatifweplayedthesame
musicforeveryconcert?Whatifyouatethesamemealeveryday?How
woulditaffectyourwellbeing?
Sometimes,whatwefearmostisthingsstayingthesame.
o Assessment:Myassessmentforthisstrategywillcomemainlyfromreading
studentsjournalsandreflections.Iwillalsotakementalnoteofstudents
discussionsandverbalresponsesduringclass.

BIBLIOGRAPHY
Murphy-Manley, S. K., Ph.D. (n.d.). Sketches on a Tudor Psalm. Retrieved September 20, 2016,
from http://www.fishertull.com/Pages/TudorPsalmArticle.html
Murphy-Manley, S. K., Ph.D. (n.d.). Biography of Fisher Tull. Retrieved September 20, 2016,
from http://www.fishertull.com/Pages/FisherTullBio.html
Warszawski, J. (2006, June 16). Aurlien de Rom. Retrieved September 22, 2016, from
https://www.musicologie.org/Biographies/a/aurelien_de_reome.html
Score Analysis Project Template (Sketches on a Tudor Psalm by Fisher Tull, Grade 5-6)
Musical and Instrument-Specific Elements
Form (list
Introduction: Measures 1-10
sections, A, Exposition (Theme): Measures 11-87
B, etc. and
Development (Variations): Measures 88-266
measure
Recapitulation: Measures 267-310
numbers)
Coda: Measures 311-335
Key(s)

Key 1 CM: Ms. 1 to 10

Key 2 Am: Ms. 11 to 87

Key 3 DM: Ms. 87 to 296

Meter(s
)

Meter 1 (5/4): Ms. 1 to 4

Meter 2 (4/4): M. 5

Meter 3(3/4): Ms.16 to 17

Meter 4(2/4): M. 72
Meter 7 (9/8): M. 170

Meter 5 (6/8): M. 94
Meter 8 (6/4): M. 302

Meter 3 (5/8): M. 102

This piece includes quick meter changes that often only last for a measure or two. I do not find it
useful to notate every instance of each change, so I have notated where each meter is seen for the
first time and its duration.
Range(s)

Flute: F in staff to G an

Oboe: Middle C to C

Bassoon: G below staff to

octave above staff

Clarinet: E below staff to

above staff
Bass Clarinet: E below

A above staff
Alto Sax: E in staff to B

D above staff
Tenor Sax: Bb below

staff to C in staff
Bari Sax: Middle C to A

above staff
Trumpet: A below staff to

staff to C above staff

Horn: G below staff to

above staff
Trombone: E in staff to G

C above staff
Euphonium: Ab in staff to

Ab above staff
Tuba: E below staff to B

above staff
Timpani notes: F, Eb, G,

E above staff

on top of staff

C, E, Ab, Db, A, B, F#,

Bb, C#,
(concert pitch not necessary)

Bowings

N/A

Percussion
instruments

In order of appearance: Timpani, Chimes, Celesta, Suspended Cymbal, Triangle,

Snare Drum, Tenor Drum, Glockenspiel, Timbales, Tambourine, Bass Drum,
Xylophone, Wood block, Whip crack, Tam-tam.

Pedagogical Analysis Questions:

1. Where are the primary musical concepts located in this piece? Include issues related to:
melody, form, harmony, timbre, rhythm, texture, expression, style (indicate measure numbers)
A large part of this piece is the form and its combination of both theme and variations
style and sonata form. The treatment of the melody stems from this idea; it is presented clearly
in measure 11, then segmented and developed from measure 88 until measure 267, where it
returns in full, glorious form. The concept of aural juxtaposition arises naturally from the
necessity for variations, and it leads directly to affect the composers treatment of timbre,
rhythm, texture, expression, and style. When the theme is introduced in measure 11, the dark

timbres, thick textures, and active dynamics are all pulled together by playing in a very
connected style. This is compared somewhat within the exposition in measures 34-38, where the
brass enter with a quick rhythm, bright timbre, and staccato notes. However, I believe Tull
makes the exposition so somber and legato because he wanted to offset the drastically different
music in the development. Whereas the melody in the exposition was presented slowly, in legato
style and with long phrases, in the development the melody is presented in short segments,
played staccato. These chunks are often repeated in quick succession, moving between
instruments. The rhythms are much faster in this section, and the juxtapositions become much
quicker as well. There is quick comparison between light, bright, and dark timbres, and
alternation between slurred and staccato notes. The texture remains relatively thin throughout
this section, but the sounds are being constantly being passed from high to low, from percussion
to woodwind and to brass. Since this piece is influenced by sonata form, the return of the theme
is treated in the same way it was introduced, but this time it is presented much more intensely,
with thicker textures and bigger swells, and somewhat less juxtaposition. The only clear contrast
found in this section is between the large ensemble and the percussion.
2. What technical skills are required to execute the musical concepts in this piece? (Refer to
specific instruments as well as ensemble issues)
For ensemble issues, the entire group must have a firm control over extremes of
dynamics. In just the first few measures, there are very specific increases and decreases between
oppositional dynamics. Every part includes dynamics ranging from piano to fortissimo, and
performers must have the understanding of where their dynamic fits into the ensemble as a
whole. The ensemble must also be adept at performing extremes of style, and be able to clearly
distinguish between the thick, legato style of the introduction and the sharp, brassy interjections
in measures 34-38 and the light, separated notes in the development section. This is especially

true for the brass section. The ensemble must have a firm inner pulse in the Allegro section
starting at measure 88 so that they can navigate all the meter changes without losing time. The
individual performers within the ensemble must also exercise a certain amount of independence
in this section as many of the melodic fragments are presented in one instrument at a time. In
terms of rhythm, the ensemble must be able to subdivide in both triplets and duples, as both are
present at the same time throughout the piece. For example, starting in measure 11, the first
clarinet is playing triplet arpeggios, while the Eb alto and celesta are playing straight eighth
notes. The solo horn player must have a firm control over the upper register in order to be able
to portray the easy, soaring-nature of the solo in measures 62-64. The first alto saxophone must
have a rich, dark sound when performing the solo that presents the theme for the first time in the
piece. The clarinet section must have great ensemble playing because they are often marked in
unison or homophonic parts with difficult rhythms. The trumpets and horns will most likely use
double tonguing from measure 105-143 for the repetitive sixteenth notes. The percussion section
needs to be very exact in their rhythms, as they often line up with the winds in order to highlight
important sections or notes or fill in rests between the segments.
3. What specific problems would you anticipate when rehearsing the piece? Consider ensemble
issues as well as instrument-specific issues. (Indicate measure numbers)
I can foresee having difficulty in the development section because there are so many
independent and moving parts. Especially in measures 182-186, where each percussion part has
a separate rhythm and there are many individual entrances in the brass that build to a unison
phrase. There are a lot of individual entrances throughout the development, and if a player is not
confident, they may end up missing the entire phrase. Measures 197-200 will also pose a
problem, as almost every section has a unison rhythmic phrase that includes several syncopated
rhythms and triplets moving directly into sixteenth notes. In a section like this, it only takes one

person play a little behind or rush slightly and the whole section sounds out of place. I foresee
the whole ensemble having issues counting rests, as the meter is constantly changing in this piece
and it is easy to lose track. This may also account for the lack of confidence that causes missed
entrances. I can foresee students having trouble clearly distinguishing between staccato, legato,
and accented articulations. For example, in measures 166-168, the cornets have an accented slur
followed directly by staccato notes several times in a row. In both the beginning and end of the
piece, I can anticipate that the brass especially with have issues with balance. They tend to be
overzealous and may overblow their good tone. From measure 267-272, I also anticipate that the
woodwinds will have issues with balancing their sound while performing different and
complicated lines at the same time. I can imagine the flutes having troubles with intonation as
they reach the higher limits of their range, as in measures 172-177. In measures 295-296, the
woodwinds have several quick scales that prepare the grand return of the main theme, and I can
foresee issues with keeping the fingerings light and accurate, and lining up the runs so that they
mesh properly. In the very last measure, I imagine there will be issues with balance and
intonation of the last chord, which will have to be addressed quickly.
Responding Assessment
The project I have created to assess students ability to respond to music is a take-home
essay. In class, I will give students a list of criteria for good music, as below.
Criteria for Good Music:

Clearly distinguished, singable melody

Variation in dynamics
Variation in timbres
Variation in textures
Exciting rhythmic component
Use of multiple instruments

Clear use of form

Etc.

I will give students the task to listen to two songs at home. One piece will be Sketches on a
Tudor Psalm by Fisher Tull, and the other piece will be one of the students choosing. The
student will write 3 paragraphs assessing each piece of music by my criteria. Most students will
find that while my criteria applies perfectly to the piece I chose, it will not apply to the piece they
chose. After having assessed both pieces of music, they will create their own rubric with criteria
for good music that will allow both pieces of music to fit into the category. They will also
include an explanation of why they chose these criteria.

Rubric:

Response to
Sketches

Response to
personal song

New Criteria

Explanation of

4- Excellent
Response was
well thought out
and articulated,
addressing all
parts of the
criteria and the
music.
Response was
well thought out
and articulated,
addressing all
parts of the
criteria and the
music.
New criteria are
well thought out
and formulated,
and apply
clearly to both
pieces of music.
Explanation was

3-Well done
Response was
well thought out,
addressing most
parts of the
criteria and the
music.

2- Some effort
Response
addressed some
parts of the
criteria and the
music.

1- Minimal effort
Response did not
address any of the
criteria and was
poorly planned.

Response was
well thought out,
addressing most
parts of the
criteria and the
music.

Response
addressed some
parts of the
criteria and the
music.

Response did not

address any of the
criteria and was
poorly planned.

New criteria are

well thought out,
and apply
mostly to both
pieces of music.

New criteria
apply somewhat
to both pieces of
music.

New criteria apply

to only one piece
of music.

Explanation was

Explanation

Explanation did

New Criteria

Spelling and
Grammar

well thought out

and articulated,
addressing all
parts of the old
and new criteria.
Zero issues with
spelling or
grammar.

well thought out,

addressing most
parts of the old
and new criteria.

addressed some
parts of the
criteria and the
music.

not address any of

the criteria and
was poorly
planned.

2-3 issues with

spelling or
grammar.

4-5 issues with

spelling or
grammar

6+ issues with
spelling or
grammar

This assessment applies MU:Re7.1.E.Ia, MU:Re9.1.E.Ia, and State Standard H.7.2. The
students apply specific criteria to the two pieces of music with the purpose of determining
whether it is good or not. Students will be citing characteristics found in the music in relation
to the criteria in their responses. The will be evaluating the music based on the criteria I give
them, which includes analysis of structure. The students will then be creating a rubric of new
criteria for the music, and they will use the proper musical terminology to do so. I hope that with
this assessment I will be able to spark some in-class discussions about the value of music in and
out of context.

Performing Assessment
For this assessment, students will be creating and performing their own methodexercises. Students will choose one element of Sketches on a Tudor Psalm that they are
struggling with, even one particular note or interval. They will then create a 16-24 bar method
exercise to aid in their practicing that element. Students will be armed with a list reminding
them what techniques can be used to reinforce musical skills, as below.

Ways to practice that part I cant play so that I can!

Pick a small section; the smaller it is, the more specialized the skill
Chunk long passages
Repetition
Slow practicing
Put it in a new context: new key, new register, etc.
Practice it in multiple keys
Repetition
Add/subtract dynamics
Mouthpiece buzzing
Singing
Fingering alone, or while singing/buzzing
Use your scales
Etc.
Students will practice with their new exercise for one week, then perform the exercise

and the original passage in their following video-recorded Performance Assessment, and
submit that with a written-out copy of the exercise.
Rubric:
4- Excellent
Self-Assessment Student reported
of Progress
a great amount
of progress after
using their selfcreated methodexercise.
Use of Practice Student used 3
Techniques
or more of the
listed practice
techniques in
their methodexercise.
Performance of Performance of
Trouble
passage was
Passage
outstanding,
with no mistakes
in fingerings.
Good breathing
and tone were

3- Well done
Student reported
a good amount
of progress after
using their selfcreated methodexercise.
Student used 2
or more of the
listed practice
techniques in
their methodexercise.
Performance of
passage was
good, with few
mistakes in
fingerings.
Good breathing
was used.

2- Some effort
Student reported
moderate
progress after
using their selfcreated methodexercise.
Student used 1
or more of the
listed practice
techniques in
their methodexercise.
Performance of
passage was fair,
with several
mistakes in
fingerings. Fair
breathing was
used.

1- Minimal effort
Student reported
no progress after
using their selfcreated methodexercise.
Student used none
of the listed
practice
techniques in their
method-exercise.
Performance of
passage was
unsatisfactory,
with many
mistakes in
fingerings. Poor
breathing was

Musical
Grammar

used.
MethodExercise is very
legibly written,
with proper
notes, clef, key
signature, and
staff.

MethodExercise is
legibly written,
with few
mistakes in
notes, clef, key
signature, and
staff.

MethodExercise is
somewhat
legibly written,
with some
mistakes in
notes, clef, key
signature, and
staff.

used.
Method-Exercise
is not legibly
written, with many
mistakes in notes,
clef, key signature,
and staff.

This assessments relates to MU:Pr5.3.E.8a, H.2.1, and H.2.3. Students will use the
established list of techniques as a base point for creating methods that they can use to tackle their
own performance problems. In watching their video recordings I will be assessing them on how
they have progressed on their instrument, which includes proper tone quality, accurate tuning and
intonation, and good breath support, posture, and hand position. Since they are playing an
excerpt from the repertoire we are preparing in class, I will also be assessing their ability to play
the repertoire accurately and expressively with correct pitches and rhythm, and appropriate
tempo, dynamics, phrasing, and articulation, depending on what element of their performance
they decided to focus on in their method-exercise.

Grading Policy
5% Attendance/Participation: Students are expected to attend all classes and
performances, and participate appropriately. If the student is on time; prepared with instrument,
music, and necessary accessories; and follow general instructions in rehearsal, they will do well
in this category.
25% Performance Assessments: Bi-weekly, students will submit a video recording of a
playing test. Content will be determined in advance by the teacher, and will consist of

appropriate scales, excerpts from ensemble music, and sight reading components. During solo
and ensemble time, excerpts will come from students solo repertoire.
20% Written Theory Assessments: At the start of the year, students will be given an
ungraded music theory pretest to assess their current abilities. As students learn elements of
music theory in class, they will be able to reference their pretest to see what they have learned
and what they still need to learn. Two post tests will be given throughout the year, covering
elements from the pretest in greater detail.
20% Journal prompts: Each student will receive a Band Journal at the start of the year.
Students may be asked to respond to a prompt given by the teacher in the journal during class or
outside of class as homework. Students will turn in their journals bi-weekly (on nonperformance assessment weeks) so the teacher can view their progress and assess their responses.
20% Concert Reflections: Following each concert, students will respond to prompts
related to the performance. Students will assess their personal performance as well as the
performance of the group. Following solo and ensemble, students will respond to their
experiences and performances there. Honest and thoughtful responses are required for this
category.
10% Final Project: Students will be asked to present creatively What I learned from
band this year. Students may use any medium, provided it is approved in advance by the
teacher.

Grading Scale:
97--100%

A+

73--76%

93--96%

70--72%

C-

90--92%

A-

67--69%

D+

87--89%

B+

63--66%

83--86%

60--62%

D-

80--82%

B-

<60% F

77--79%

C+