Garofalo Project
Garofalo Project
To
Melodious Thunk
for winds and percussion
By
David Biedenbender
Lovell Tufts
Mus 359 Spring 2016
Teacher Guide
Table of contents
Principal Concept
Learning Goals
Resources
Performance Notes
Principal Concept
In this unit there will be two major concepts that should be addressed. The
first concept that this piece can help address is syncopation. Throughout the
entire piece syncopation is used heavily due to the jazz influence of the
piece. This makes this a good piece to explain the idea of syncopation and
develop the students ability to perform syncopated rhythms. The second
concept in this unit that would be good to address would be the connection
to jazz. This piece has a strong influence from jazz and it would be a good
piece to teach basic jazz concepts and techniques that would normally not
be addressed in a typical concert band setting.
Learning Goals
By the conclusion of the unit, students will be able to...
1) Correctly play their part to Melodious Thunk
2) Define syncopation and any other terms listed in the glossary
3) Identify and be able to perform different musical techniques associated
with jazz
4) Know a basic background of the composer and the piece
Resources
Information
Melodious Thunk for Winds and Percussion by David Biedenbender
Originally written and published in 2012
Published by Bent Space Music
Duration: c. 415
Books and Articles
Teaching music through performance in band. Volume 10 / compiled
and edited by Richard Miles ; [contributions by] Larry Blocher, Eugene
Program Notes
David Biedenbender was born in Wisconsin in 1984. Biedenbenders
musical background stem from his background as a jazz and rock bassist.
This background has influenced many of his pieces and who he collaborates
with. He has worked with many artists of both classical and non classical
artists. He has also worked with many different groups over the course of his
career. Some notable groups he's worked with are the Eastman Wind
Ensemble, he U.S. Navy Band and the University of Michigan Symphony
Orchestra. Biedenbender received his undergraduate degree from Central
Michigan University and his masters and doctorate degree from the
University of Michigan in composition. Biedenbender now works at Boise
State as music theory professor.
Biedenbender writes this about Melodious Thunk.
I dont normally like to begin program notes with dictionary definitionsit
feels pretty stuffy to mebut it seemed appropriate for this piece, so here
goes
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the
floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious
Monk. Monks wife, Nellie Smith, nicknamed him Melodious Thunk because
of his clunky, awkward, and brilliant(!) piano playing, and his, somewhat
scatterbrained and disoriented nature. I really liked the idea of playing
around with Monks namefirst, because I personally really enjoy goofing
around with spoonerisms (silly, ridiculous, mix-and-match letter games,
which often happen by accident: for example, slip of the tongue becomes tip
of the slung), and, second, because this nickname actually provided great
musical inspiration. Melodiouswell, thats fairly obviousand thunk (which
is a great onomatopoeia!) became the starting points for the piece. Big, fat
thunks are interspersed with pointy, clunky, bluesy blips, which are then
transformed into a long, smooth, laid-back melody accompanied by a funky
bass line. I havent consciously borrowed any specific tunes or licks from
Monk, although I do use a small fragment of Dizzy Gillespies tune Salt
Peanuts, but I hope youll hear some similarities between this piece and
Monks iconic musical style and quirky attitude.
Melodious Thunk was commissioned by a consortium of bands
organized by Ryan Shaw and the Cedar Springs High School Symphonic
Band, including:
4
Measur
es
1-24
Events in Music
Intro of short, rhythmic Monk like snippets in the
key of Eb; use of rests in between motives and the
meter changes frequently; the major 2nd is a
prominent interval
5
9-13
19-23
25-41
29-41
Developme
nt
(42-88)
42-45
47-54
Recapitulat
ion
Coda
47-82
55-88
63-68
67-82
73-76
83-88
89-115
116121
Orchestration
This piece is scored for Piccolo, 2 Flutes, Oboe (div.), 3 Bb Clarinets, Bb Bass
Clarinet, Bassoon (div.), 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb
Baritone Saxophone, 3 Bb Trumpets, 2 F Horns, 3 Trombones, Euphonium
(div.), Tuba (div.), Timpani, 6 Percussion
Expression
Since this piece is modeled after the playing style of Thelonious Monk, the
way you express the piece should reflect his style. Monk is known as one of
the main artists behind the rise of the bebop style of jazz along with Dizzy
Gillespie. Monk was known for his heavy, percussive attacks as well as his
short leaping rhythms and his use of space. With this in mind make sure that
articulations are observed and that there is a clear difference between the
more lyrical melody and the rhythmic background.
Technical Considerations
This piece is really dependent on rhythmic accuracy and a good sense of
time for the group. From the beginning of the piece to letter B, it is important
for the conductor to make sure that they catch all of the meter changes. It is
also important that the percussion section to be solid on all of their rhythms
because they keep the pulse for the majority of the piece. There are no
errors in printing
Student Guide
Table of contents
Principal Concept
Learning Goals
Assignments
Historical Notes
Glossary
Assessment Tools
Principal Concept
In this unit there will be two major concepts that should be addressed. The
first concept that this piece can help address is syncopation. Throughout the
entire piece syncopation is used heavily due to the Jazz influence of the
piece. This makes this a good piece to explain the idea of syncopation and
develop the students ability to perform syncopated rhythms. The second
concept in this unit that would be good to address would be the connection
to jazz. This piece has a strong influence from jazz and it would be a good
piece to teach basic jazz concepts and techniques that would normally not
be addressed in a typical concert band setting.
Learning Goals
By the conclusion of the unit, students will be able to...
5) Correctly play their part to Melodious Thunk
6) Define syncopation and any other terms listed in the glossary
7) Identify and be able to perform different musical techniques associated
with jazz
8) Know a basic background of the composer and the piece
Name_____________________
Melodious Thunk Listening Homework
Directions: For questions 1-3, listen to a recording of Melodious Thunk
performed by the North Texas Wind Symphony and answer the questions.
Make sure to provide the time stamp with your answers. The url to access
this recording is https://open.spotify.com/track/6QnBllb8pY4arqb5JvS21B
1) Listen to the entire piece all of the way through and list 3 different
examples of when you hear the use of Jazz like articulations or timbres
2) In the first minute of the piece can you hear a sense of meter? If not, when
do you first feel the meter of the music? What musical elements makes it
easier to find the meter? (List one example)
3) Listen from 0:49-1:30 and from 2:10-3:00 and identify at least 2 similarities
and one difference between theses sections of music
D)
Practice Assignment
For this assignment you will need to video record your self playing the
following passages from Melodious Thunk with a metronome.
Everyone should record these sections of music:
Letter B- Letter D
Letter G- Letter J
If you have a solo in the piece, you should also record that as well.
You will also need to play an Eb and Ab major and blues scales each with one
of the listed rhythms wth the correct articulations:
11
12
Historical Notes
Information
Melodious Thunk for Winds and Percussion by David Biedenbender
Originally written and published in 2012
Published by Bent Space Music
Duration: c. 415
David Biedenbender was born in Wisconsin in 1984. Biedenbenders
musical background stem from his background as a jazz and rock bassist.
This background has influenced many of his pieces and who he collaborates
with. He has worked with many artists of both classical and non classical
artists. He has also worked with many different groups over the course of his
career. Some notable groups he's worked with are the Eastman Wind
Ensemble, he U.S. Navy Band and the University of Michigan Symphony
Orchestra. Biedenbender received his undergraduate degree from Central
Michigan University and his masters and doctorate degree from the
University of Michigan in composition. Biedenbender now works at Boise
State as music theory professor.
Biedenbender writes this about Melodious Thunk.
I dont normally like to begin program notes with dictionary definitionsit
feels pretty stuffy to mebut it seemed appropriate for this piece, so here
goes
thunk [thuhngk] noun & verb
1. [n.] an abrupt, flat, hollow sound (example: The book landed on the
floor with a thunk.); synonym: thud
2. [v.] to produce an abrupt, flat, hollow sound
3. [v.] colloquial past tense and past participle of think.
Melodious Thunk was inspired by the famous jazz pianist Thelonious
Monk. Monks wife, Nellie Smith, nicknamed him Melodious Thunk because
of his clunky, awkward, and brilliant(!) piano playing, and his, somewhat
scatterbrained and disoriented nature. I really liked the idea of playing
around with Monks namefirst, because I personally really enjoy goofing
around with spoonerisms (silly, ridiculous, mix-and-match letter games,
which often happen by accident: for example, slip of the tongue becomes tip
of the slung), and, second, because this nickname actually provided great
musical inspiration. Melodiouswell, thats fairly obviousand thunk (which
is a great onomatopoeia!) became the starting points for the piece. Big, fat
thunks are interspersed with pointy, clunky, bluesy blips, which are then
transformed into a long, smooth, laid-back melody accompanied by a funky
bass line. I havent consciously borrowed any specific tunes or licks from
13
A due- two instruments playing from the same part or score are to
play in unison, after divisi or a solo passage for one of the instruments
Sonata form- It is also known as first-movement form. It consists of an
exposition, followed by a development and a recapitulation
Blues scale- A diatonic major scale incorporating a lowered or bent 3rd,
a lowered or bent 7th and sometimes a lowered or bent 5th to
approximate melodic notes that originated in African work songs
Bebop- A jazz style which developed in the 1940's characterized by
very fast or very slow tempos with improvised lines of eighth notes,
irregular accents, and an extended harmony
Staccato- A style of playing notes in a detached, separated, distinct
manner, as opposed to legato
Marccato- Marked, accented, emphatic, stressed.
Tenuto- A directive to perform the indicated note or chord of a
composition in a sustained manner for longer than its full duration
Ostinato- A short melodic, rhythmic, or harmonic pattern that is
repeated throughout an entire composition or some portion of a
composition.
Slur- A sign in musical notation consisting of a curved line drawn over
or under a series of notes, indicating that those notes should be played
legato
Legato- A directive to perform the indicated passage of a composition
in a smooth, graceful, connected style, as opposed to staccato.
15
Total
/15
16
Total ___/15
D)
17
18
Total____
Exce
pt
B-D
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
G-J
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
Ab
Majo
r
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
Eb
Majo
r
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
Ab
Blue
s
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
19
Eb
Blue
s
Student is
not able to
play the
excerpt
whatsoeve
r
Student
struggles
greatly with
pitches, sound
quality and
rhythmic
interpretation
no attention to
articulations
whatsoever
Students
struggle with
pitches, sound
quality and
rhythmic
interpretation
very little
attention to
articulations
Student has
some
problems with
pitches, sound
quality and
rhythmic
interpretation
some
articulations
observed
Student has
very few
problems with
pitches, sound
quality and
rhythmic
interpretation
most
articulations
observed
Student has
no problems
with pitches,
sound quality
and rhythmic
interpretation
all
articulations
observed
20
Poster Rubric
Biography (10 pts)
The student included the composers name (2 pts)
__/2
Their date of birth and death was present (2 pts)
__/2
The student included where they are from (2 pts)
__/2
The student included if they had any formal training (2 pts)
__/2
The student included at least 1 other thing about their life (2 pts)
__/2
List of Works (10 pts)
The student listed 5 of their most famous/recognizable pieces (1 for
each piece) __/5
The student included date and album for each piece (1 for each piece)
__/5
Pictures (5 pts)
The student included at least 5 different pictures of your composer (1
pt each) __/5
Characteristics(9 pts)
The student included at least 3 different characteristics that are unique
to your composers music or their playing technique (like Monks
thunky sound or Dizzy Gillespies cheeks) (3 pts each)
__/9
Personal Opinion (11 pts)
The student clearly states whether they like or dislike the composer's
music (2 pts) __/2
The student listed 3 things that they like or dislike about the
composer's music (3 pts each)
__/3
Creativity & Bibliography (5 pts)
The student put their own creative touch on their poster and made
your poster look nice (2 pts)
__/2
The student included a bibliography of all of their sources on the back
of the poster (3 pts)
__/3
Total ___/50
21