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THEBATTLEPAVANE
Susato/arr.Margolis
RichardLaprise
MaterialsandRehearsalTechniques
Spring2017
TABLEOFCONTENTS
THECOMPOSERS 2
Tylman[Tielman]Susato 2
BobMargolis 2
BACKGROUNDONTHEPIECE 3
ANALYSISOFTHECOMPOSITION 4
Form 4
MusicalElements 5
InstrumentConsiderations 6
STUDENTLEARNINGOBJECTIVES 9
TEACHINGSTRATEGIES 10
Creating 10
Responding 11
Performing 12
STUDENTMATERIALS 15
EssentialQuestions 15
Backgroundinfo 15
Glossaryofterms 16
BackgroundInformationQuiz 17
MaterialsforCompositionProject 18
MaterialsforListening/RespondingAssignments 21
MaterialsforPerformingAssignments 22
RubricforJournalResponses 23
BIBLIOGRAPHY 24
THECOMPOSERS
Tylman[Tielman]Susato
Susato (ca. 1510 ca. 1570) was a leading Renaissance
music publisher, composer, and instrumentalist activein
the southern Netherlands. At various timeshewasalsoa
calligrapher, and trumpeter, both at Antwerp Cathedral.
He was the major music publisher in the Netherlands
from 1543 to 1561, publishing musicofcomposerssuchas
Crecquillon, Josquin Desprez, Handl, Clement Jannequin,
Clemens non Papa, and Lassus. His editions include 19
books or motets, 3 booksofmasses,25booksofchansons,
and 11 Musyck boexken, from the third of which, alderhande Danserye (1551), a
collection of populardancetunesarrangedbySusato,fromwhichTheBattlePavaneis
taken.(Forney,2017)
BobMargolis
Bob Margolis (b. 30 April 1949) is a native New Yorker. He studied recorder with
Bernard Krainis and pursued the study of music at Brooklyn College before
transferring to the University of California at Berkeley, where he studied design. He
later returned to Brooklyn College, completing his Bachelor of Arts degree in speech
and television production in 1974. Margolis subsequently studied composition under
William Schimmel and Robert StarerandorchestrationwithArnoldRosner.Heearned
his Master of Arts degree from Brooklyn College in 1977. Bob Margolis is the owner of
ManhattanBeachMusic.(windrep.org)
BACKGROUNDONTHEPIECE
Apavaneisa16th-centuryItalian
court dance. Its popularity spread
throughout Europeasaslowstately
dance with a repetitive rhythmic
pattern in duple meter. It was often
pairedwithafasterdancelikeagalliardorasaltarello.
ANALYSISOFTHECOMPOSITION
Form
MusicalElements
The Battle Pavane adheres to the typical harmony and rhythm of a Renaissance
pavane. The composition is in the key of Bb major with extensive use of tonic and
dominant harmony with the occasional use of the IV and vichords.Harmonicinterest
is createdwithsuspensionsoccurringthroughout.Themelodyismostlystep-wisewith
the most common leaps being a distance of a 3rd. The pavane rhythm is constant
throughout the composition with the most support provided by the percussion. Other
rhythms include whole, half, dotted quarter, quarters, single 8th, groups of four 8ths
notes, and four 16ths on the same pitch. Percussionist also need to perform dotted
eighthsixteenthnotecombinations.
As is typical ofpavanes,thispiece
is in 4/4 and Margolis emphasizes a
strict tempoof76beatsperminute.A
polyphonic texture prevails but a
variety of thin and thick scoring,
like-instrument choirs and small
consorts, and creative use of
percussion instruments occur
throughout. Dynamics range from
p-fff with extreme care given to
which instrument families receive
which marking. The change of
textures, dynamics, and
instrumentation help to create
variation between repeated strains.
The style is consistent with
Renaissance pavanes with mostly articulated rhythms. Margolis avoids common
Italian musical terms and instead gives extensive instructions in English such as
sustained,accented,warm,ormajestic,throughoutthecomposition.
InstrumentConsiderations
Margolis notes that the piccolo, Eb clarinet, and string bass parts are optional. He
also provided ample cross-cuing to promote a successful performance by smaller
bands.
This arrangement calls for eight percussionists but can successfully be performed
with as little as four players. Margolis suggests parts 1, 2, 3, and 4 be covered when
only four performers are available, parts
1, 2, 3, 4, and 5 when five are available, 1,
2, 3, 4,5,andtimpaniwhensixperformers
are available, and parts 1, 2, 3, 4, 5, 6, and
timpaniwithsevenplayers.
Piccolo C5-F6 Only plays after m. 41- student could play flute for
thefirsthalf.
STUDENTLEARNINGOBJECTIVES
Student learning objective are based on the 2014 National Music Standards with the
abbreviationCAusedforCommonAnchor.Seeresourcesforwebsitelink.
Creating
Performing
CA5:Rehearse, Developandusestrategiestoimproveensembleperformance
Evaluate,Refine andevaluatetheeffectivenessofthesestrategies.
Responding
AdditionalSLOs
Studentswillbeable Definecomposition-relatedterms
to Givebackgroundinformationrelatedtothecomposition
PlayaBbmajorscale
TEACHINGSTRATEGIES
Creating
1.Givestudentstheinstructionsforthisproject:
Many composers, like Susato, come up with a melody before writing harmony,
countermelodies, accompaniment, etc. You are going to travel back in time to the
Renaissance where you are an apprentice of Susato. He wants your group to pick 1
out of the 4 melodies from the 4 strains of The Battle Pavane and compose any
combination of a melody, countermelody, rhythmic accompaniment, etc. to go with
it. He wants you to perform your composition by the end of thisweek.Eachmember
of your group must contribute to the composition and must play a part in the
performance. Be creative, but remember, you are a composer from the Renaissance
andyourmusicshouldreflectthat.HowwillyourcompositionimpressSusato?
4. Have students perform their compositions for the class. Using applicable criteria
fromtheclass-createdrubric,havestudentspeer-assesstheperformances.
Whatwentwell?Why?
Whatcouldhavegonebetter?How?
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Whatdidyoulearnaboutcomposition?
Whatdidyoulearnaboutyourselfwhileworkinginthisgroup?
Howdidyourgroupcomeupwithcreativeideas?
Howdidyoucometodecisionsonwhatideastouse?
Howdidyourefineandimproveyourcomposition?
Howdidyouknowyourcompositionwascomplete?
Whatelsedidyoulearn?
Responding
1.Havestudentsbreakupintogroupsof3-4.
While playing excerpts of authentic-based recordings of Renaissance music, have
studentswritedownallcharacteristicsthattheyhear.
2. Have students share responses and record the most accurate answers (based on
theteachersdiscretion)onaT-chartsimilartotheonethatfollows.
Characteristics
Renaissance NotRenaissance
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4.Havestudentsquicklychangegroupmembers.
Give students the opportunity to hypothesize what characteristics are present in
musicthatisnotfromtheRenaissance.
Then, plays a series of non-Renaissance music and have students write down
characteristics they hear in their T-charts that contrast with their Renaissance
column.
Example1: Why:
RenaissanceNotRenaissance
Example2: Why:
RenaissanceNotRenaissance
Etc.
6.Havestudentsreflectontheactivitybyansweringthefollowingjournalprompts:
HowdoesunderstandingthecontextofRenaissancemusicchangehowyoulistento
if?
Whydoyouthinkcharacteristicsofmusichavechangedovertime?
Whatdidyoulearn?
Performing
1. Usingtheknowledgecreatedintherespondingactivity,havestudentsdiscussasa
class how they can apply the characteristics and style of Renaissance dance music to
their performance of The Battle Pavane. These ideas should be recorded by the
students.
2. Audio record the ensembles performance of The Battle Pavane (whole piece or a
section). Have students evaluate their performancecitingspecificelementsrelatingto
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accuracy and style. Students should then work in their sections tocreatestrategiesto
improvetheirperformancebasedontheircritiques.
Critiques Strategiesforimprovement
4.Duringtherehearsal,trysomeofthestudentssuggestedstrategiesandhavethem
evaluate the effectiveness of the approach. Conclude this activity with the following
journalprompts:
Howdoesunderstandingthecontextandstyleofthemusicinformperformance?
Howdoperformersinterpretmusicalworks?
Howdomusiciansimprovethequalityoftheirperformance?
Whydidsomerehearsalstrategiesworkbetterthanothers?
Whatdidyoulearn?
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SUGGESTEDLISTENINGS
Composer/Arranger Composition
ThoinotArbeau/arr.Margolis BelleQuiTiensMaVie
PierreAttaignant/arr.Margolis Fanfare,Ode,andFestival
MichaelPraetorius/arr.Margolis Terpsichore
RonNelson CourtlyAirsandDances
JanBach PraetoriusSuite
GiovanniGabrieli Anybrassensemblepiece,Canzon,
SacraeSymphoniae
TielmanSusato/arr.MichaelWalters TwelveDancesfromtheDanserye
GuyWoolfenden IllyrianDances
RESOURCES
TeachingMusicThroughPerformanceinBand,Vol1
RichardMiles
GuidestoBandMasterworks,Vol.2
RobertGarofalo
TheNationalStandards
http://www.nafme.org/wp-content/files/2014/11/2014-Music-Standards-Ensemble-Str
and.pdf
SmartMusic
www.smartmusic.com
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STUDENTMATERIALS
EssentialQuestions
Howdoesunderstandingthecontextandstyleofthemusic
informperformance?
Howdomusicianscomeupwithcreativeideas?
Howdomusiciansimprovethequalityoftheir
compositions?
Howdoesunderstandingthecontextofmusicchangehow
youlistentoif?
Howdomusiciansimprovethequalityoftheirperformance?
Backgroundinfo
Tylman[Tielman]Susato
Susato (ca. 1510 ca. 1570) was a leading Renaissance
music publisher, composer, and instrumentalist activein
the southern Netherlands. At various timeshewasalsoa
calligrapher, and trumpeter, both at Antwerp Cathedral.
He was the major music publisher in the Netherlands
from 1543 to 1561, publishing musicofcomposerssuchas
Crecquillon, Josquin Desprez, Handl, Clement Jannequin,
Clemens non Papa, and Lassus. His editions include 19
books or motets, 3 booksofmasses,25booksofchansons,
and 11 Musyck boexken, from the third of which, alderhande Danserye (1551), a
collection of populardancetunesarrangedbySusato,fromwhichTheBattlePavaneis
taken.
15
BackgroundonthePiece
A pavane is a 16th-century Italian court dance. Its popularity spread throughout
Europe as a slow stately dance with a repetitive rhythmic pattern in duple meter. It
was often paired with a faster dance like a
galliardorasaltarello.
Glossaryofterms
Antiphonal- musicperformedbytwoormoregroupstypicallyonoppositesidesof
theperformingspace.
Majestic- implyinggrandeur;broadandstately.
Pavane- astatelydanceinduplemetercommonduringtheRenaissance.
Strain- asectionofmusiccontainingoneormorephrases.
Suspension- prolongingaconsonantnotewhiletheharmonychanges,typically
makingitdissonant,beforeresolvingtheheldnote.
Tenuto- anoteheldforitsfullvalueoftenwithasenseofweight.
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BackgroundInformationQuiz
Name______________________________________
TrueorFalse
Ifthestatementiscorrect,circleTRUE,ifthestatementisincorrect,circleFALSEand
rewritetheinformationsothatitiscorrect.
ShortAnswer-printneatlyandusethebackofthepageifmorespaceisneeded.
6.BesidesbeingaRenaissancecomposerandinstrumentalist,whatotherimportant
careerdidSusatohave?Whydoyouthinkthiscareerwasimportantduringthe1500s?
7.CitingspecificcharacteristicsofaRenaissancepavane,describewhyTheBattle
Pavanebelongsinthisgenre.
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MaterialsforCompositionProject
Instructions
Many composers, like Susato, come up
with a melody before writing harmony,
countermelodies, accompaniment, etc.
You are going to travel back in time to
the Renaissance where you are an
apprentice of Susato. He wants your
group to pick 1 out of the 4 melodies
from the 4 strains of TheBattlePavane
and compose any combination of a
melody, countermelody, rhythmic
accompaniment, etc. to go with it. He
wants you to perform your composition by the end of this week.Eachmemberofyour
group must contribute to the composition andmustplayapartintheperformance.Be
creative, but remember, you are a composer from the Renaissance and your music
shouldreflectthat.HowwillyourcompositionimpressSusato?
Strain1
18
Strain2
Strain3
19
Strain4
JournalPrompts:
Whatwentwell?Why?
Whatcouldhavegonebetter?How?
Whatdidyoulearnaboutcomposition?
Whatdidyoulearnaboutyourselfwhileworkinginthisgroup?
Howdidyourgroupcomeupwithcreativeideas?
Howdidyoucometodecisionsonwhatideastouse?
Howdidyourefineandimproveyourcomposition?
Howdidyouknowyourcompositionwascomplete?
Whatdidyoulearn?
20
MaterialsforListening/RespondingAssignments
Characteristics
Renaissance NotRenaissance
IdentifymusicalexamplesasbeingcharacteristicofRenaissanceornotRenaissance
musicanddefendyouresponsesbasedontheinformationinyourT-charts.
Example1: Why:
RenaissanceNotRenaissance
Example2: Why:
RenaissanceNotRenaissance
Example3: Why:
RenaissanceNotRenaissance
Example4: Why:
RenaissanceNotRenaissance
Example5: Why:
RenaissanceNotRenaissance
JournalPrompts:
HowdoesunderstandingthecontextofRenaissancemusicchangehowyoulistentoif?
Whydoyouthinkcharacteristicsofmusichavechangedovertime?
Whatdidyoulearn?
21
MaterialsforPerformingAssignments
Instructions
Basedontherecordingofourperformance,givecritiquesorthingsweneedtoworkon
andthenasuggestiononhowwecanimproveforeach.
Critiques Strategiesforimprovement
JournalPrompts:
Howdoesunderstandingthecontextandstyleofthemusicinformperformance?
Howdoperformersinterpretmusicalworks?
Howdomusiciansimprovethequalityoftheirperformance?
Whydidsomerehearsalstrategiesworkbetterthanothers?
Whatdidyoulearn?
22
RubricforJournalResponses
23
BIBLIOGRAPHY
BobMargolis.(n.d.).RetrievedMarch27,2017,from
http://www.windrep.org/Bob_Margolis
Forney,K.(2017,March23)Susato,Tylman.GroveMusicOnline.OxfordMusicOnline.
OxfordUniversityPress.Retrievedfrom
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/27146>.
Miles,R.,&Blocher,L.(2010).Teachingmusicthroughperformanceinband.Volume1/
compiledandeditedbyRichardMiles;[contributionsby]LarryBlocher...[etal.].(2nd
ed.).Chicago:GIAPublications.
Susato,T.,&Margolis,B.(1981).Thebattlepavane/TielmanSusato;arrangedfor
concertbandbyBobMargolis.Brooklyn,N.Y.:ManhattanBeachMusic.
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