Comprehensive Musicianship Project

Ancient Voices by Michael Sweeney

By Peter Manzi
Broad Description
*Great piece to introduce tone clusters
*Students et to uses alternative instruments throuhout !Pencils" #ecorders" Voice$
*Good piece to discuss story tellin throuh music
*%ell written percussion parts &or youn band
*'pportunity to discuss early civilizations throuh piece
*(ntroduction to motive
Time Period Written
)his piece was written in *++, and utilizes a number o& contemporary compositional techni-ues
such as tone clusters" blowin air throuh the instrument" sinin" and pencils tappin on the
stands. (t was composed to suest the moods and sounds o& early civilizations. Per&ormers are
encouraed to use their imaination as they listen to and per&orm this piece.
Historical Considerations
/)he Music o& the 01th century is made up o& a world o& new and interestin compositional
techni-ues throuh the use o& melody and harmony" instrumental te2tures" and colors. Sinin
and playin traditional instruments in non3traditional ways are just a &ew o& the numerous new
e2perimental techni-ues that composers interate into their wor4s. (n addition" the use o&
di&&erent modes" in lieu o& major5minor sonorities" also recalls music o& a di&&erent time in
history. (ndeed" composers wishin to create new sounds and stretch the boundaries o&
traditional music have o&ten loo4ed both to the &uture and the past &or musical inspiration./
Composer Information
A raduate o& (ndiana 6niversity !Bloominton$" and 7irector o& Band
Publications &or 8al 9eonard Corporation in Milwau4ee" %isconsin Michael
Sweeney has over :11 publications to his credit. %hile at (ndiana" he
composed and arraned &or the jazz ensembles and marchin bands. 8is teachin e2periences
also includes &ive years in the public schools in (ndiana and 'hio" where he produced success&ul
concert" jazz" and marchin ensemble. As a winner o& numerous awards &rom ASCAP" his
Imperium !*++0$ and Ancient Voices !*++,$ are &eatured in the acclaimed G(A Publications
series Teaching Music Through Performance in Band. Some o& his other compositions such as
Black Forest Overture !*++;$" The Forge of Vulcan !*++<$ and Distant Thunder of the Sacred
Forest !011=$ have become standard repertoire &or middle school bands. 8e has received
commissions ranin &rom middle and hih school bands to the >astman %ind >nsemble and
Canadian Brass. 8is wor4s are included on many state contest lists and his music is o&ten
per&ormed worldwide. Mr. Sweeney is in demand as a conductor and clinician &or &estivals and
honor bands ali4e.
Form
FORM MEASURES CHARACTERISTICS
Introdction !"# Percussion sounds combined with air e&&ects made by air blown
throuh instruments. Stron percussive scorin hints at motive
by playin it?s rhythmic outline.
A $"!% (ntroduction o& eihth note modal &iure !which acts as a
uni&yin motive$ is introduced on records. Continuation o&
percussion e&&ects. 6se o& tone clusters in Clarinet5Alto Sa2.
)rumpets at a minor =rd. (ntroduction o& vocals at end o&
measure *=.
!#"&' Percussion scorin continues te2ture chanes o& motive.
Chordal accompaniment beins. Continued interplay o& motive.
&%"(( )ransposition !measure =1$. Melody line jumps around &rom
instrument to instrument. Chordal accompaniment continues.
Percussion drives into ne2t section
B ()")! Pencil tappin accent on stands. Snare drum plays cross accents
at =@ !Snares o&&$
)&"*! 9ow brass presents chaned motive. 6se o& marcato accents on
-uarter notes. Pencils end at ,:" Vocals enter at ,;. Motive
passed around )rumpets and Alutes
*&"*# Continued development leadin to thematic material at :+. At
:; all instruments play in unison.
*$"'# Motive chanes into new theme presented in &lutes *st time and
clarinet * B trumpet 0nd time. Percussion continues rhythmic
urency.
A '$"%# Brie& return o& A te2ture with motive presentations and identical
harmonic accompaniment.
Coda %$"end Partial &i&ths in stepwise motion. Ainal presentations o& initial
motive. Modal proression leads to &inal chords o& G minor
R+,t+m
#hythm is a major component to this piece. )he rhythms are based o&& o& combinations o&
whole" dotted3hal&" hal&" -uarter" and eihth notes. )he percussion parts also includes the motive
o& eihth5two si2teenth. )he wor4 is in ,5, with the e2ception o& one 05, measure. )here is one
repeated section where *st and second endins are used.
Melod,
)he melody o& Ancient Voices is based o&& an @ note modal &iure presented in the recorder?s in
measure +. )hrouhout the piece this motive is chaned and present in all o& the instruments.
%hile the percussion is very rhythmic" the melody line most o& the time is a slurred smooth line.
Harmon,
)he piece is centered around G minor althouh it?s harmonic movement is not strictly &unctional
in the traditional sense. Modal root and melodic movement add to the /ancient/ sound o& the
music.
Tim-re
6ni-ue scorin helps create the /Ancient/ sounds in this pieces. )here are a &ew unusual timbres
used throuhoutC
*.$ Blow air throuh instrument while rapidly &inerin random pitches3 )he e&&ect here
should be that o& a /swirlin wind/. )he players should be care&ul not to play any actual
pitches" however" there will be the sound o& movin valves and 4eys
0.$ )one Clusters3 )hese are &ound in the beinnin section played by the clarinets and
sa2es.
=.$ #ecorders3 Played by entire &lute section i& possible. )his will dramatically enhance
the overall e&&ect.
,.$ Sinin3 Most parts contain a short chant3li4e vocal section.
:.$ Pencil tappin3 6se wooden pencils to tap lihtly on the ede o& the metal music
stands.
Te.tre
)he overall te2ture o& this piece is homophonic. Chordal and ostinato patterns used throuhout
as well. )e2ture o& tone clusters with major5minor seconds are used o&ten. Accordin to the
composer" the pencil tappin !scored with other percussive techni-ues$ was inspired by the idea
that prehistoric man possibly used animal bones and s4ins as musical instruments.
E.pression
)his composition is suestive o& the moods and sounds o& early civilizations. Since there has
not been an attempt to depict any speci&ic culture" this piece may conjure thouhts o& early
people o& this continent. 'r it may brin to mind even earlier populations who used the bones o&
Mammoths and other animals as musical instruments tens o& thousands o& years ao. Per&ormers
are encouraed to use their imaination as they listen to and per&orm this music.
T+e Heart
)he heart o& the piece is its use o& motive and percussive e&&ects that help create the sounds and
imaery o& ancient civilizations.
Resorces
httpC55blos.jwpepper.com5DpE0,*< !Michael Sweeney (nterview$
Miles" #ichard. )eachin Music )hrouh Per&ormance in Band. Chicao" (9C G(A Publications"
*++<.
Sweeney" Michael. Ancient Voices. Milwau4ee" %(C 8al 9eonard Corp" *++,.
O-/ecti0e 1! S2ill3Ps,c+omotor
Students will be able to visually identi&y and accurately per&orm eihth note accent patterns.
Teac+in4 Strate4ies
*.$ Project eihth note accent patterns on the smartboard durin warm3up. As an ensemble and
individually students will count" clap" and play the rhythms on the board. !(n preparation &or
Ancient Voice you can substitute clappin the rhythm with playin the rhythm with your pencil
on your stand$
0.$ Student will complete >ihth Fote Accent Madness wor4sheet where they will write out the
counts &or di&&erent eihth note accent patterns used in Ancient Voices. )hey will hihliht the
accents throuhout the e2ercise.
=.$ Students will compose their own eihth note accent patterns in roups.
Assessment
*.$ (n band rehearsal students will demonstrate understandin o& countin" clappin" and
per&ormin eihth note patterns.
0.$ Students will complete >ihth Fote Accent Madness wor4sheet.
=.$ (n roups o& = in class" students will create their own @ bar eihth note accent pattern and
per&orm it &or class.
O-/ecti0e 1& 5no6led4e3Co4niti0e
Students will be able to describe" identi&y" and compose a motive.
Teac+in4 Strate4ies
*.$ (n class student will listen to a variety o& motives !%izard o& 'z" Beethoven :th Symphony"
(ndiana Gones" Star %ars" #ide o& the Val4yrie$. 8ave a discussion on what ma4es these lines
motives and why they are an e&&ective compositional tool.
0.$ 8ave an in class discussion on di&&erent compositional tools you can use to create and chane
a motive. )o chane it" write it in a di&&erent 4ey" &or e2ample" or usin di&&erent intervals or
rhythms" or playin the moti& /bac4wards/ or /upside3down. %rite out a &our measure motive
and have the students in roup chane up the motive usin one o& the above techni-ue. 'nce
complete" have someone in the roup per&orm their chaned motive &or the class.
=.$ 8ave students add di&&erent music elements that are used in Ancient Voices into motive lines
iven to them that will chane up the tone or timbre o& the line
,.$ >2plain within Ancient Voices how the use o& the motive is developed and manipulated
throuhout the piece.
Assessment
*.$ Students will listen to a piece o& music &or the &irst time and be able to identi&y the motive
used in the composition.
0.$ Students will compose their own , bar motive and then chane it up by usin one o& the
techni-ues learned in class. !Become the Composer %or4sheet$
=.$ Students will complete the de&initions on Ancient Voices Musical )erms %or4sheet
,.$ Students will e2plain to the teacher where the motive is used in Ancient Voices and show
e2amples o& where it had been chaned.
O-/ecti0e 1( Feelin4s3Affecti0e
Students will be able to e2press how music can create imaes and emotions throuh uni-ue
sounds and timbres.
Teac+in4 Strate4ies
*.$ 8ave students listen to pieces o& music without any bac4round in&ormation and draw what
they hear !Ancient Voices3 do be&ore playin on %hat do you 8ear wor4sheet" Ghost )rain
Mvmt. *" Shenandoah" (nto the Storm$
0.$ 8ave an in class discussion on the correlation between music and art. Play e2amples o&
music that has been written to depict art while loo4in at the piece !Blue and Green Music$
=.$ (n a journal entry" have students write a list o& sons that ma4e them &eel emotions. )his
could be a band piece" or a main stream piece. 8ave them describe what in the pieces made
them &eel this way.
,.$ %ords can be an easy way to et across emotions in a vocal piece. 8ave students write lyrics
to a melody !So you want to be a 9yrist wor4sheet$
Assessment
*.$ Students will complete %hat 7o 8ear wor4sheet where they draw what they hear and then
create a storyline to o alon with it.
0.$ )eacher will read journal entries on how music impacts them emotionally when they listen to
it.
=.$ Students will compose lyrics to Ancient Voices melody on the So you want to be a lyrist
wor4sheet.
Become the Composer
'n the sta&& provided below" write your own , bar motive in the 4ey o& G minor on the &irst 0
staves. )hen on the 0nd 0 staves" write , measure where you have chaned up your motive.
#emember to write the 4ey sinature on each line" put a time sinature on the &irst sta&&" and ive
your composition a title. Ma4e sure you bein and end the piece on G. Since we are in a minor
4ey" remember this should sound sad" not happy. Compose creatively and have &unH Be prepared
to per&orm your composition &or class !)hose with transposin instrument" once you turn your
composition in" ( will ive you a copy with the piece in the correct 4ey.$ (& you have any
-uestions don?t hesitate to as4H
%hat 7id you 8earD
As a musician it is our job to create an imae &or our audience throuh our music. 7urin this
initial listenin to Ancient Voices by Michael Sweeney" draw what you hear in the space below.
)here is no wron answer to this as the composer did not state speci&ic thins he was composin"
but rather an overall theme and mood. See i& you can pic4 up on these themes. )his recordin
will play several times durin class so you may want to just sit bac4 and listen the &irst time
be&ore you start drawin. 'n a separate sheet o& paper" %rite a short @ sentence pararaph
e2plainin why you chose to draw what you did.
So you want to be a lyrist
)a4e the &ollowin melody line &rom Ancient Voice and create your own words &or it. Be
creative and ma4e sure you syllables line up with the movin line. #emember you can?t have
words sun durin a tie. Be creative and have &un with your lyricsHHH
Ancient Voices Musical )erms %or4sheet
%rite out the de&initions &or the &ollowin musical terms associated Ancient Voices as we discuss
them in class. )hese de&initions will be used in a -uiz later this -uarter.
Accent3 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Crescendo3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
7ecrescendo3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Aorte3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Aortissimo3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Marcato3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Mezzo Aorte3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Mezzo Piano3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Motive3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Pharse3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Piano3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
)empo (3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
)heme3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
)one Cluster3IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
>ihth Fote Accent Madness
%rite in the count &or the &ollowin eihth note accent rhythms. All o& these rhythms appear in
the winds or percussion parts o& Ancient Voices. 8ihliht all o& the accented notes throuh out.
Be prepared to per&orm these rhythms with your pencil on your stand as well as on your
instrument.