The Dawnland

Composed by Joni Greene

Published by Murphy Music Press, LLC
Difficulty Grade: 3
 Introduction
Unit Goals:
• By the end of the unit, students will connect to the music emotionally.
• By the end of the unit, students will play The Dawnland with musicality.
• By the end of the unit, students will learn new playing techniques.
• By the end of the unit, students will increase their breathing capacity and control.

Unit Objectives:
• By the end of this unit, students will describe the purpose of this piece with verbalized emotion.
• By the end of this unit, students will connect The Dawnland to their own lives with physical context.
• By the end of this unit, students will label the arrival point of each phrase or section of the music
and their role within that phrase with correct terminology. (Melody, countermelody, harmony)
• By the end of this unit, students will apply breathing gym techniques to their own playing with
correct breath support and speed.
• By the end of this unit, students will describe multiple purposes and characteristics of Native
American music with correct terminology and respect.

National Standards Addressed:

• MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of
music are manipulated inform the response to music.
• MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical
works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the
setting of the text, and personal research.
• MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements
for specific purposes that reflect characteristic(s) of music from a variety of historical periods
studied in rehearsal.
• MU:Cr3.1.E.Ia Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address identified
purposes.
• MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and arrangements –
individually or as an ensemble – that address identified purposes.
• MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional
devices employed and theoretical and structural aspects of musical works impact and inform
prepared or improvised performances.
• MU:Re7.1.E.Ia Apply criteria to select music for specified purposes, supporting choices by citing
characteristics found in the music and connections to interest, purpose, and context.
• MU:Re9.1.E.Ia Evaluate works and performances based on personally- or collaboratively-
developed criteria, including analysis of the structure and context.
 Song Analysis
Composer
Joni Greene has written works for band, choir, orchestra, chamber ensemble, and chamber opera.
She has placed several times in the Frank Ticheli Composition Contest. She has gotten a BM and MM from
Indiana University. She currently lives in Austin, Texas with her husband and two sons.

Composition
Published 2017. 6 minutes long. Commissioned by director Michael Kasper for the five middle
school bands in his district. To create the work, Greene spent a lot of time working with the students to
decide what kind of music they wanted and what story they wanted to tell. The piece depicts the
Wabanaki and their lands and lives. The piece opens with the rustling of the wind and the melody is based
off of actual Wabanaki flute music.

Historical/Cultural Perspective
The piece depicts the Wabanaki who are a group of Native American Nations of the north-east,
mainly Maine. Their name means “people from the land where the sun rises” or “of the Dawnland” which is
where the piece gets its name. “The Wabanaki had (and still do) a deep relationship with the land and
animals of their homeland, which they believed were all related.” Today, the four tribes that make up the
Wabanaki are the Maliseet, Micmac, Penobscot and Passamaquoddy.

Melody
The piece is in concert Eb Major and the melody centers around the associated pentatonic scale. It
is first presented as a flute solo. (M. 8) The melody is often in the flutes and saxophones but does move
throughout almost all the instruments. The main melody is often changed and expanded upon with different
variations. There are flute and saxophone solos (M. 4,8, 107-end) that will require confident high-level
players.

Harmony
The piece is in concert Eb Major and within the harmony, typically focuses on the pentatonic scale,
though it does expand upon that at times. During the B section (M. 22-72) the harmony is a chanting motif
present in all parts, but especially the brass and lower voices. It is especially important that the first note
of this motif is stressed in order to achieve the chanting style.

Rhythm
Several tempo changes occur where special attention may be necessary to perform them smoothly.
(M. 8, 22, 69, 72, 107). There is a section where correct placement and passing of 16th notes around the
band will require practice (M. 76-80). Within the B section (M. 22-72) there is a chanting motif present in
all parts, but especially the brass and lower voices. It is especially important that the first note of this motif
is stressed in order to achieve the chanting style.

Timbre
There are many sections within this piece where different motifs are supposed to portray specific
characters and ideas. The key clicks are the wind. The bell taps are a part of the rustling wind. The flute
and saxophones represent the voice of the Wabanaki. Extended techniques and unusual percussion mimic
sounds of nature which lends itself to the piece painting a very deliberate and noticeable picture of
nature. This song also has sections where the band is supposed to sound very sweet and calm (M. 1-22 and
107-end) and others where they are supposed to sound very energetic (M. 22-107). The music calls for
students to switch between these characters very quickly and doing this will require special attention.
Texture
Sparse sections (M. 1-22 and 107-end) are supposed to represent simple landscapes and sections
with many instruments (M. 22-106) are supposed to represent mountains and ocean waves. There is a
section with repeated 8th notes and percussion (M. 22-72) that is supposed to represent a tribal drum
circle. It is important that all these characters are successfully portrayed while the band also creates it’s
own interpretation of the piece.

Technical Considerations
There are multiple extended techniques present in the piece that students may not be familiar with.
One is key clicks where students blow air into the horns without making sounds and finger random notes. A
second is Bell Taps where students tap on the bells of their horns. A third occurs in the vibraphone part
where the student has to bow on the side of the bars with a bass bow. Percussion requires a log drum
which may be unfamiliar to students and require special instruction.

Form

Section: Measure Numbers: Musical Considerations:

Intro 1-8 Key clicks, bell taps, flute solo to introduce the main

melody

A 8-22 Focuses on the melody and paints the picture of expansive

nature

B 22-72 Tribal drum circle section.

A’ 72-107 Tribal drum circle interjected with the themes from the A

section. Correct placement and passing of the 16th notes will

require special attention.

Outro 107-115 Closes with the wind motif and a flute and sax duet that

references the intro.

 Concept Lessons
Lesson 1 (Historical/Contextual)

Objectives:
Students will describe multiple purposes and characteristics of Native American music with correct
terminology and respect.
Standards Addressed:
MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of
music are manipulated inform the response to music.
MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts, (when
appropriate) the setting of the text, and personal research.
Materials:
Electronic devices with internet access for students to research on
Lesson Sequence:
Students will be given 5-10 minutes to research this piece and native American music. They may do
so individually or in small groups. They will then participate in a class discussion (Socratic style)
about what they found and what this piece may mean within a cultural context. The teacher will fill
in holes, make corrections, and ask guiding questions as needed
Assessment:
Assessment 1 as described below.
 Lesson 2 (Arts Integration: Dance)

Objectives:
Students will express the purpose of this piece through emotion and movement.
Standards Addressed:
MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements
for specific purposes that reflect characteristic(s) of music from a variety of historical periods
studied in rehearsal.
MU:Cr3.1.E.Ia Evaluate and refine draft melodies, rhythmic passages, arrangements, and
improvisations based on established criteria, including the extent to which they address identified
purposes.
MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and arrangements –
individually or as an ensemble – that address identified purposes.
Materials:
Recording of The Dawnland
Speakers
Any desired props
Lesson Sequence:

• Begin by having students listen to a recording of The Dawnland

• Have students listen again, this time directing them to identify specific emotions that they
hear being expressed in the piece. Have students then share what they identified with the
class
• Have students form groups of 4 or 5 and have them plan movements along to the
recording that they feel express the emotions of the piece.
• Then have them perform these movements and reflect on and edit them
• Have students split into the left and right sides of the rooms. Have the left side perform
and then the right side provide feedback. Then do this again and have the two sides of
the room switch rolls.
• Have students take two minutes to change any movements they need to based on their
peers feedback.
• Then, have each group perform their final movements for the rest of the class.
Assessment:
Assessment 2 as described below.
 Lesson 3 (Technology Integration)
Objectives:
Students will apply breathing gym techniques to their own playing with correct breath support and
speed at least 80% of the time.
Standards Addressed:
MU:Cr3.2.E.Ia Share personally-developed melodies, rhythmic passages, and arrangements –
individually or as an ensemble – that address identified purposes.
MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional
devices employed and theoretical and structural aspects of musical works impact and inform
prepared or improvised performances.
Materials:
Electronic devices with internet access and video recording capabilities
Lesson Sequence:

• The teacher will lead students through a variety of breathing gym exercises and describe their
purposes. An example of this can be found in Warm Up 3 described below.
• Students will then be given 15 minutes to research and silently try other breathing gym techniques.
The teacher will move throughout the classroom to supervise and help as needed
• When time is up, the teacher will then call together the class to have volunteers share what they
found.
• Students will then be given 10 minutes to record a video of their favorite breathing gym exercise
and two exercises related to The Dawnland to be used during group warm-ups. When students
are done recording these videos, they will be turned in online
Assessment:
Assessment 3 as described below.
 Lesson 4
Objectives:
Students will label the arrival point of each phrase or section of the music and their role within that
phrase with correct terminology (Melody, countermelody, harmony) at least 80% of the time.
Standards Addressed:
MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional
devices employed and theoretical and structural aspects of musical works impact and inform
prepared or improvised performances.
MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of
music are manipulated inform the response to music.
Materials:
Pencils
Copies of student parts
Recording of The Dawnland
Lesson Sequence:

• The teacher will begin by distributing copies of parts to each student. Each student should receive
a copy of the part that they are playing for the performance. Students may help with distribution
if you wish.
• Let students choose between working either individually or together with someone next to them
who is on the same part. If students work in partners they still must annotate their own paper.
• Play the recording of The Dawnland so that students may hear it while they work.
• Students will then be given two run throughs of the song to annotate their parts with arrows to
mark the arrival point of each phrase, brackets to designate each phrase, and whether they are
melody, counter melody, or harmony. Students may also add additional markings as they desire.
Assessment:
Assessment 4 as described below.
 Lesson 5
Objectives:
At least 80% of students will connect The Dawnland to their own lives with physical context.
Standards Addressed:
MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical
works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the
setting of the text, and personal research.
Materials:
Paper or electronic device with typing capabilities
Writing utensils
White board
Lesson Sequence:

• This lesson can be done as a bell ringer, exit ticket, or in-class activity
• Begin by writing that day’s prompt on the white board and have students take out their journals or
a piece of paper
• Provide students with at least 5 minutes of writing time (more if it’s a more complicated prompt)
and have them answer the prompt
• Then collect their answers. If students created electronic copies, have them send the file through
Canvas or to your school email.
Assessment:
Assessment 5 as described below.
 Assessments
Assessment 1
Objective to Assess:
Students will describe multiple purposes and characteristics of Native American music with correct
terminology and respect.
Procedure:
To be done after students have participated in the class discussion as described in Lesson 1 above.
The teacher will fill out the following rubric for each student. If a student does not earn the highest
score they could, feedback on how they can do better and why they received the score they did
will be written in at the bottom of the rubric.
 Assessment 2
Objective to Assess:
Students will express the purpose of this piece through emotion and movement.
Procedure:
To be done after students have participated in the activity described in Lesson 2 above. The
teacher will fill out the following rubric for each student. If a student does not earn the highest
score they could, feedback on how they can do better and why they received the score they did
will be written in at the bottom of the rubric.
 Assessment 3
Objective to Assess:
Students will apply breathing gym techniques to their own playing with correct breath support and
speed at least 80% of the time.
Procedure:

• This assessment is to be performed once students have turned in their completed videos
• Use the following checklist to make sure that students have done all required tasks
• Because these videos will be played as a part of warm ups, if a student has not completed as
required tasks, allow them an opportunity to try again so that their videos can be used.

Assessment 4
Objective to Assess:
Students will label the arrival point of each phrase or section of the music and their role within that
phrase with correct terminology (Melody, countermelody, harmony) at least 80% of the time.
Procedure:

• Collect all students’ annotated parts.

• Check to make sure students have annotated their parts according to the following guide:
o Arrows to mark the arrival point of each phrase
o Brackets to designate each phrase
o Whether they are melody, counter melody, or harmony for each phrase
 • An electronic score can be found at https://murphymusicpress.com/products/CB3-523
• If any corrections are needed to a student’s annotations, attach a separate piece of paper
containing these to the students’ part
• After grading is finished, return the parts to the students so that they may continue to reference
them

Assessment 5
Objective to Assess:
At least 80% of students will connect The Dawnland to their own lives with physical context.
Procedure:

• Collect student responses to the journal prompts (unless it’s a highly personal topic)
• Grade student responses according to the rubric below
• Provide feedback and scoring explanations with students. If students provide personal
connections/information then make sure you provide personable/relatable responses that will help
build a connection with your students
 Warm-Up Strategies
Strategy 1 (Breathing Gym)
Objective: Students will execute given breathing techniques with 80% accuracy.
Materials:
Instruments
Student Breathing Gym Videos
Learning Sequence:
Introduction:
Begin by picking a student of the day. Give that student two minutes to share anything PG
rated they want to about themselves. If the student doesn’t feel comfortable talking in
front of the class you can share basic information about them such as what instrument they
play or how long they’ve been in the program.
Activity:
Play the student’s breathing gym video from Lesson 3. Participate along with students
while standing at the podium or walking around the classroom.
Discovery:
Ask students to identify how the student of the day’s chosen strategies would apply to The
Dawnland. Provide guiding questions or corrections as needed
Transition:
Apply the breathing technique directly to the piece: Ex: “Yes, you’re correct, that strategy
should help with measure 17. Let’s play that section now and keep that breathing strategy
in mind while we do so”

Strategy 2 (Passing Notes)

Objective: Students will play passing notes at the fastest speed they can with 80% accuracy
Materials:
Instruments
Learning Sequence:
Introduction:
Have students identify what notes are in the Eb pentatonic scale (Eb, F, G, Ab, Bb). Have
the whole group play through that scale on quarter notes
Activity:
Begin by having two volunteers come to the front of the class. Have one volunteer play up
the pentatonic scale and then the other student do the same. Then have them do it back
and forth as fast as they can.
 Then explain to the students that this is what we will be doing as a whole class. One
student will play the scale and then pass it on to the person in the seat next to them and
eventually it will reach around the whole class.
Put on a metronome while students do this so that they are all playing at the same tempo.
Gradually increase the tempo as students become more proficient.
Discovery:
Once students are comfortable with the playing technique of the game, have them focus
on making the transition from one person to the next smooth by matching the person
before them’s tone, dynamics and speed.
Then ask students if there are any places in The Dawnland where this can be applied.
Transition:
There is a section in The Dawnland where students will be passing notes around the band.
Go to this section of the music (Students should have identified it in the previous step) and
have students focus on making transitions seamless like they did in the game.

Strategy 3 (Ball Throwing)

Objective: Students will pass the ball as fast as they can without dropping it
Materials:
A beach ball
A stopwatch
Learning Sequence:
Introduction:
Begin by making sure instruments are out of the way. Either do this game before students
get their instruments out or have a designated place to put instruments on the other side of
the room.
Have a student volunteer to begin passing the ball. Tell the students these two rules:
“Everyone must catch the ball once. Everyone must pass the ball once.” Do not elaborate,
let them interpret these rules in their own way
Activity:
Once they have completed the first round, have them pass the ball to the same people
they did before. This time encourage them to go faster and time them on the stopwatch.
Continue to repeat passing the ball in the same pattern only ever saying “Do you think we
can go faster? Or is this the fastest possible?” and telling them their time.
Students should eventually take over leading the activity, providing ideas for how to go
faster. They will also be the ones to decide when they have gone as fast as they can. If
the students are very determined to continue for a long time, you may have to eventually
stop them.
Discovery:
 Have students reflect on the activity. Were they able to go as fast as they wanted? Who
ended up leading the activity? What helped them go faster?
Transition:
Ask the students how this applies to the piece. Eventually they should connect it to a
specific part of the piece, probably the section where they have lots of notes passing
around the band. Go to that section of the piece and have students keep the game in
mind.

Strategy 4 (Journal Entries)

Objective: At least 80% of students will connect The Dawnland to their own lives with physical context.
Materials:
Paper or electronic device with typing capabilities
Writing utensils
White board
Learning Sequence:
Introduction:
Begin by writing that day’s prompt on the white board and have students take out their
journals or a piece of paper. The prompt should be something that encourages students to
think about home, the meaning of music, or emotions.
Activity:
This process is quite similar to Lesson 5 above but has been modified to be used as an
entry activity. Provide students with at least 5 minutes of writing time (more if it’s a more
complicated prompt) and have them answer the prompt. Then collect their answers. If
students created electronic copies, have them send the file through Canvas or to your
school email.
Discovery:
Have students discuss their thoughts as a class. Then ask them how this connects to the piece
and what strategies they could use to show emotions while playing.
Transition:
Have students take out their music and go to the section being rehearsed that day.
Encourage them to use what they wrote in their journal entries to add emotion to the piece
in whatever way works for them.

Strategy 5 (Long Tones)

Objective: Students will play with supported air at least 80% of the time.
Materials:
Instruments
Learning Sequence:
 Introduction:
Have students play a quick game. Have them hold out a single note (concert Bb works)
and see which student can hold it out the longest without having to stop to breathe
Activity:
Ask students why they believe the student who won was able to do so. Run through one or
two breathing gym techniques that focus on long notes. Then have students play the game
again, this time focusing on their own playing and how they can better support their air
instead of focusing on who is winning.
Discovery:
Ask students if they noticed any changes in how they sounded when they used more
supported air. Then ask them how and where this could apply to the piece.
Transition:
Have students play at any section of The Dawnland that has longer sustained notes (there
are lots) and have them focus on using supported sound.

Resources
Glossary
Breathing Gym – a specific collection of curriculum and videos designed to help students use air correctly
while playing their instruments or singing.
Long Tones – a technique of long sustained notes where students are directed to focus on air support, tone
quality, and endurance.
Musicality – playing a piece with emotion and intent. Making music instead of noise
Melody – The main line in a piece of music. Often the most recognizable or most important
Countermelody – A secondary line that compliments the melody
Harmony – Supporting lines of music that help to fill out the sound of an ensemble and support the melody

Suggested Listening
• Wabanaki drum songs
o “Freedom Song” https://www.youtube.com/watch?v=NhVoJWl0q_0
o “White Sky” https://www.youtube.com/watch?v=goNmiTwWLH8
• “Cameron’s Dream” -Joni Greene https://www.jonigreene.net/#!/works/1
• “in the stillness” -Joni Greene https://www.jonigreene.net/#!/works/22

Research Resources
• Greene, Joni A. Joni Greene | Composer, www.jonigreene.net/#!/biography
• “About the Wabanaki Nations.” Abbe Museum, www.abbemuseum.org/about-the-wabanaki-
nations