Caccia and Chorale (1975)

J. Clifton Williams

Caccia and Chorale (1975)

J. Clifton Williams
Table of Contents

Basic Information.3 Program Notes.4 Historical Information .5 Formal Analysis7 Errata...8 Performance Notes.10 Glossary of Terms...11 Major Skills or Concepts.12 Objectives for Students...13 Strategies for Students and the Teacher....13 Worksheet/Quiz One.14 Worksheet/Quiz Two.15 Listening Worksheet....16 Playing Test Guidelines....17 Listening Quiz.....18 Practice Guide.19 Evaluation...22 Resources23

Basic Information
Caccia and Chorale
J. Clifton Williams Publisher: C. L. Barnhouse Company Grade: 4 Teaching Music Series; 5 publisher Style: Within the confines of the caccia, a marcato and bravura style should be used. In the chorale, a legato and expressive style is most appropriate. Key: No key signature is listed throughout the piece, but tonal centers (in chronological order) in the caccia include E-flat Major, B-flat minor, F minor, C minor, G-flat Major (melody in B-flat minor), A Major (melody in C-sharp minor), B-flat, C Major, B-flat Major, and F Major. The entirety of the chorale is in D-flat Major. Meter: In the caccia, Williams uses 3/2, 2/2, 6/4, and 9/4. The chorale utilizes only 4/4. Tempo: A variety of tempos occur in the caccia including Allegro Bravura half = c.126, dotted half = c.108, and Maestoso (no metronome marking). The chorale is set to quarter = c. 60. Performance time: c. 6:31 Instrumentation: Piccolo Flute I-II-III Oboe I-II English Horn Bassoon I-II E-flat Soprano Clarinet B-flat Soprano Clarinet I-II-III E-flat Alto Clarinet B-flat Bass Clarinet E-flat Contrabass Clarinet B-flat Contrabass Clarinet E-flat Alto Saxophone I-II B-flat Tenor Saxophone E-flat Baritone Saxophone Score type: full, transposed Range concerns: Piccolo high A-flat, English Horn high D-flat, Alto and Bass Clarinets and all Saxophones high E-flat, Trumpet I high C, all Trombones and Baritone high F-sharp, Trombone III low F, Baritone and Tuba low G-flat Additional requirements: Multiple meters simultaneously (duple against triple feel) 3 B-flat Trumpet I-II-III Horn in F I-II-III-IV Trombone I-II-III Baritone Tuba String Bass Timpani Percussion: Bass Drum Bells Chimes Cymbals Snare Drum Triangle

Program Notes
J. Clifton Williams (1923-1976) was a successful composer of works for wind band in addition to solo and chamber works. He studied both composition and horn at Louisiana Tech University, Louisiana State University, and the Eastman School of Music where he earned his Master of Music degree and studied composition under Bernard Rogers and Howard Hanson and horn under Arkady Yegudkin. Williams also served four years (1942-1946) in the Army Air Corps Band as a horn player and drum major and composed many of his works during this time. Following his education, Williams taught composition at the University of Texas at Austin between 1949 and 1966 years before accepting a position as chairman of the theory and composition department at the University of Miami (Florida). He also performed in the San Antonio and Austin Symphonies as a horn player and frequently guest conducted. Williams is the first winner of the American Bandmasters Association Ostwald Award in 1956 with his notable work Fanfare and Allegro (1956). Composed at the end of Williams life, Caccia and Chorale (1975) is a two-part work commissioned by his good friend and Director of Bands at the University of Wisconsin (Stevens Point), Donald E. Green. Just before Williams began writing the work, he was diagnosed with cancer. Afraid that he wouldnt survive surgery to remove the cancer, he composed only a caccia, an Italian term meaning hunt or chase. It was his motive to expose the materialism of the world, and he uses a driving snare drum rhythm throughout much of the section to represent this pursuit. After surviving the operation, he composed the chorale as not only a prayer of thanks, but it is also a political message to urge humankind to return to religious or ethical behavior. It is a simple, but gorgeous representation of humankind, signified by a heartbeat-like motif in the low winds and percussion and luscious dissonances and harmonies throughout. Williams passed away not long after the works completion, but it has withstood the test of time if for no other reason than its emotional connections with audiences. 4

Historical Information
Williams was born in Traskwood, Arkansas in 1923 where he lived until he was a child. The family moved to Malvern, but during the Great Depression, his father lost his job leading to his parents divorce. Luckily, he and his sisters were able to continue their schooling. He began to play piano and mellophone, and after moving again to Little Rock, he became well-known for his abilities in horn playing, composing, and even cartoon drawing. In high school, he was a part of the Little Rock High School Band and Orchestra, playing first horn for these notable ensembles, and was voted the most artistic, talented, and versatile student of his 600-member high school class. Following his high school experience, he studied at Louisiana Tech University for a year before joining the Army Air Corps (now United States Air Force) playing horn, composing, and acting as drum major for the marching band. After the war, he enrolled at Louisiana State University and studied composition while playing his horn in several ensembles there. Just after graduating, he married Maxine Friar Bardwell and adopted her daughters from another marriage. He then continued his studies at the Eastman School of Music pursuing his Masters degree studying composition from Bernard Rogers and Howard Hanson and horn from Arkady Yegudkin. After his studies concluded, he was hired onto the composition faculty at the University of Texas at Austin. Here, he taught notable composers including Francis McBeth and John Barnes Chance. After receiving the first ever ABA Ostwald Award in 1956 for his first work for wind band, Fanfare and Allegro, he continued to compose works for wind band and became a prominent composer of contemporary wind band literature. In 1959, he decided to return to Eastman to pursue his doctorate, but Howard Hanson told him that he was not doctoral material, so he gave up. Following some political issues in the UT Austin, he accepted the position as chairman of the theory and composition department at the Univeristy of Miami (Florida), where he stayed until his untimely death in 1976. Despite his failing health from 1969 until he passed away, Williams was 5

very active in teaching, guest-conducting, and organizing touring honor bands and choirs in addition to serving as Province Governor in Provence 13 of Phi Mu Alpha Sinfonia. Caccia and Chorale was composed at a time in history when music was taking a turn for the strange, especially outside of the wind band world. Composers were experimenting with all sorts of extended techniques, new instruments, and electrics. We were coming into a new period of music minimalism. While Williams music didnt embrace these very new sounds necessarily, his music had a sort of freshness, including his Caccia and Chorale. Polytonality is used so effectively in the piece that it doesnt really sound dated, even having been written over thirty-five years ago. The time in Williams life when he was commissioned to write this piece was difficult. He struggled with his health for years before he was even diagnosed with cancer. After he was commissioned by Donald E. Green, his friend and colleague, he learned of his cancer and intended only to compose a caccia, because he didnt think hed survive the surgery to remove the cancer. In praise for what seemed like a successful surgery, he then composed the chorale as a supplement to the caccia. In this chorale, he pulled out all of the emotional stops, so to speak, by writing rich melodic lines and dissonances which have great resolution. He included an ostinato in the low parts which sounds like a heartbeat and also wrote for a single clarinet part to carryover a cutoff just before the final cadence perhaps to signify solidarity. He unfortunately passed away not too long after the completion of the piece, which in my mind is a testament to the real life struggles that we deal with on a daily basis. In history, the ten years prior to this piece included the assassination of Martin Luther King, Jr., the landing of Apollo 11 on the moon, and of course the Watergate scandal. Additionally, America was just getting over the Vietnam War, for which many people wrote compositions with political undertones. My research doesnt suggest a direct relationship, but I think that some sort of relationship is obvious. War is a time of unrest for humanity when people revert back to what I consider primitive thoughts and actions, what Williams might consider his materialism and unethical 6

or sacrilegious behavior. Williams contemporaries in the field include his students Francis McBeth and John Barnes Chance, but also Ron Nelson, Leslie Bassett, Karel Husa, John Corigliano, Fisher Tull, H. Robert Reynolds, Vincent Persichetti, Norman Dello Joio, Warren Benson, Ingolf Dahl, Alan Hovhaness, Vittorio Giannini, Howard Hanson, Robert Jager, and many other well-known composers of wind band literature. Howard Hanson was his teacher and as mentioned, Francis McBeth and John Barnes Chance were his students. Perhaps it is this reason that their music has similar qualities. Likely the best example of the similarities is the piece Kaddish by McBeth, which was written in memoriam of Williams. Featured in the piece is the heartbeat ostinato from Caccia and Chorale used just as effectively and emotionally.

Formal Analysis
Caccia
A mm. 1-94 mm. 1-20 (Fanfare) mm. 21-44 (Theme I) mm.45-64 (Fanfare) E-flat Major (against F Major); f-ff dynamic; medium texture; half note = 126; articulate block chords in brass with running passages in woodwinds and Baritone B-flat Dorian; f dynamic; thinner texture gradually increasing to next section; fanfare-like melody in Horn, counter melody in Tenor Sax. and Baritone, driving snare throughout As before, E-flat Major (against F Major); f-ff dynamic; medium texture increasing to next section; articulate block chords in brass with running passages in woodwinds and Baritone, Timpani solo into [D] As before, but F Dorian; f dynamic; thinner texture gradually increasing to next section; fanfare-like melody in Trumpet and Trombone, counter melody in English Horn, Alto and Tenor Sax., and Baritone

mm.65-94 (II)

B mm. 95-140 mm. 95-118 (Theme II)

G-flat Major to A Major; f dynamic; thicker texture; dotted half = 108; melody in English Horn, Alto and Tenor Sax., and Horn in B-flat minor then moving to Tenor Sax., Trumpet, and Baritone in C-sharp minor mm. 119-140 (Transition) Constantly changing tonal center; ff dynamic with crescendos from p and mp; thicker texture; very articulate, modified fanfare material 7

C mm. 141-164 mm.141-164 (FanfareI)

C Major, B-flat Major, and F Major; ff decrescendo to mf; tempo is marked Maestoso (more of a style marking); thick texture; low woodwinds, saxophones, and brass have augmented and connected iteration of the fanfare theme while upper woodwinds and bells on a concert C are playing the Morse code DEG (initials of Donald E. Green), Chimes solo at the end

Chorale

A mm. 165-172 mm. 165-172 (Theme I)

D-flat Major (and Lydian); ff dynamic; quarter note = 60; medium texture, only brass and percussion; slow movement harmonically, just broad chords G-flat Major and C-flat Major; p, mf, pp crescendo to ff (next section); very thin texture, increasing as you move forward in the music; solo English Horn and Horn, E-flat clarinet part optional until [O], English Horn carries over after band cuts off before [O], heartbeat motif introduced in low clarinets, Bari Sax., Tuba, String Bass, Timpani, and Bass Drum D-flat Major (and Lydian); ff dynamic; medium then thick texture; other than minute differences (articulation), Williams essentially copy/pasted the first iteration of the theme and added woodwind flourishes and the heartbeat motif D-flat Major; p and pp dynamic, swell on last note; texture is moderate; Clarinet I holds through rest when band cuts off (like E.H. earlier)

B mm. 173-189 mm. 173-189 (II)

A mm. 190-197 mm. 190-197 (III)

Coda mm. 198-202 mm. 198-202

Errata
Piccolo m. 52 m. 153 Flute I-II-III m. 153 Oboe I-II m. 153 English Horn m. 54 G should be natural Rhythm should be identical to m. 152 Rhythm should be identical to m. 152 Rhythm should be identical to m. 152 F should be an E 8

m. 153 Bassoon I-II m. 14 m. 21 m. 87 E-flat Clarinet m. 153 B-flat Clarinet I m. 28 m. 95 m. 153 B-flat Clarinet II m. 153 B-flat Clarinet III m. 124 m. 153

Rhythm should be identical to m. 152 A should be natural Downbeat should be marked forte Half note should have an accent Rhythm should be identical to m. 152 Trill should be to B-flat All Es should be flat Rhythm should be identical to m. 152 Rhythm should be identical to m. 152 F should be natural Rhythm should be identical to m. 152

Alto, Bass, E-flat and B-flat Contrabass Clarinets m. 87 Half note should have an accent Trumpet I m. 161 Trumpet II-III m. 6 Trombone I m. 2 Trombone II m. 2 m. 134 m. 144 Trombone III m. 2 m. 41 Cymbals m. 131 Bells mm. 147-158 Downbeat should be marked mezzo forte First quarter note should be marked staccato First quarter note should be marked staccato First quarter note should be marked staccato G should be natural Last half note should be a D First quarter note should be marked staccato Es should be marked natural Dotted whole should be tied to next bar Articulation should be identical to m. 146 9

Performance Notes
First off, dont take the caccia any faster than your Snare Drum player can handle after having practiced the part. Be very attentive to note accuracy in any and all of the woodwind runs in the caccia slow practice! Modeling rhythm will help brass in the beginning and like sections. Bass Drum has a prominent part throughout most of the piece including many unmarked little solos highlight it! Throughout the louder sections of the piece, dont allow the brass to try to outplay each other, especially in the caccia. Many spots, the trombone part doesnt include the slurs that the other low brass parts do, so consider a legato articulation for them (e.g. m. 129 and m. 137). At letter [K], be very careful with the two against three created in the winds and Timpani. Keep in mind that the eighth note is not consistent throughout. At letter [L], the Morse code parts will have a tendency to misplay the last three notes. Dont give up hope on having them play the correct rhythm! At the very least, make sure that the last eighth of each measure is clipped, because if they play it longer, it will sound like the Morse code letter O instead of G (long-long-long rather than long-long-short). You never know who will know Morse code in your audience. Judiciously mark breaths in for everyone else at letter L et al. Students will play better together this way. In the chorale, make sure that the E-flat against D is in tune. It occurs frequently. At letter [N], make sure there are an equal number of players on each part, as written in the score. The optional E-flat Clarinet line between [N] and [O] only really provides a slightly different color. Perhaps try it both ways, but it is certainly not essential. On the fermata before [O] (and the one just before the end of the piece), dont rush this! Let your performance hall resonate a little before rushing into the next section. At m. 189, make sure the heartbeat enters at niente dont mess around with pianissimo. This is significantly more effective this way. In m. 192, the Snare Drum is marked muffled. It would potentially be appropriate to place a piece of folded suede on the drum head to get this effect. In the last measure, the swell should be crescendo fast, decrescendo very 10

slowly. Youll want to gauge your cutoff in your flutes and tubas as they will be doing the most work to sustain. In terms of covering parts in this piece, I believe that English Horn, E-flat Clarinet, Alto Clarinet, E-flat and B-flat Contrabass Clarinets, and String Bass are essentially optional parts. The English Horn solo is cued in the Oboe part, so you dont need one per se. The other parts add color and some octave differences, but are certainly not imperative to a good performance of this piece.

Glossary of Terms
8va: play one octave higher

Adagio: slow, literally at ease Allegro: fast, literally cheerful Attacca: continue immediately with no pause Bravura: skill or bravery Caccia: hunt or chase Cantabile: songlike
Chorale: the congregational song or hymn of the German Protestant church

Cresc.: crescendo, increasing loudness Legato: played smoothly with no separation between successive notes Maestoso: majestic Marcato: marked, stressed, or emphasized Poco: a little Quasi: like or as Rall.: rallentando, meaning slowing down
Smear: sliding between notes hitting all pitches in between

11

Major Skills or Concepts

As a teaching tool, this piece isnt exactly a gold mine, but there are some key differences from other pieces that arent an everyday occurrence. First off, the piece doesnt often land on a major or minor chord at a cadence. Rather, it is polytonal throughout much of the piece, particularly the caccia. Even the opening chord is E-flat Major in the lows against F Major in the highs. For tuning purposes, students need to be able to identify these dissonances, but understand that there is consonance between their part and several other parts. Another concept students must understand is the occurrence of multiple meters simultaneously. We see 6/4 against 2/2 at letter [K], 9/4 against 3/2 at letter [L], and 4/4 against 12/8 at m. 189. In any of these sections, but especially at letter [K], students must be able to understand the big beats versus their subdivision. The key to playing these successfully is subdividing and making sure that all of the notes are even. Perhaps a less imperative concept, but still one of note, is the art of ostinato. Williams uses ostinato patterns liberally throughout the piece, the first of which is at m. 21 in the bass voices of the band. While these arent difficult to play, students arent always going to know that their part is less important than a melodic line, because ostinatos can be just as active as or more than the melodic material. Identifying what an ostinato is and its relation to the rest of the music can be very beneficial to the students.

12

Objectives for Students

The ensemble will be able to play with rhythmic accuracy and intensity throughout the caccia, but be able to play with warm, balanced, and in tune sounds in the chorale. Students will also be able to play with a cohesive sound by being able to identify melodic lines versus harmonic and bass lines. Students will be able to play in multiple meters at one time. They will also be able to identify major, minor, and modal scales and major, minor, and poly-chords.

Strategies for Students and the Teacher

Throughout the learning process, the students will be required to complete worksheets, written quizzes, playing tests, and listening quizzes to supplement the music they will be performing. Worksheets will include identifying modes (Ionian, Dorian and Lydian), major and minor triads, meter exercises, key terms, and listening-related short answer. Written quizzes on theory follow a similar format inclusive of extra credit opportunities and allow me evaluation on theoretical knowledge applicable to the literature being performed. Playing tests will be on technical passages to encourage building of facility and allow me to evaluate how students are practicing outside of class. Listening quizzes will be used to develop the ear to hear the difference between bright and dark sounds, good and bad tone quality, good and bad balance, and melodic and harmonic lines. Also, students will be able to associate terms discussed in class with listening examples. To realize the objectives, I need to be able to listen thoughtfully to students when they are playing. I also need to be able to model what I want from students when I want it. Saying what I want isnt always going to do the trick. I will also need to plan the worksheets, written quizzes, playing tests, and listening quizzes into the calendar effectively so that students are learning appropriate material at appropriate times.

13

Worksheet/Quiz One
Name _______________________ Class __________________ Date _______________ Identify the mode of each scale. (6 pts.)

1. ___________________

2. ____________________

3. _____________________

Identify the following chords. Include letter name and quality. (10 pts.) example: Eb M

4. _______ 5. ______ 6. ______ 7. ______ 8. _______ Draw a line through the big beat of each example. (10 pts.)

Define the following terms. (10 pts.) adagio: ________________________________________________________________________ allegro: ________________________________________________________________________ caccia: _________________________________________________________________________ chorale: _______________________________________________________________________ cantabile: _______________________________________________________________________

Extra Credit:
Name the altered scale degrees (numbers) in Dorian and Lydian (6 pts.). Dorian:______________________________________________________________________ Lydian:________________________________________________________________________ 14

Worksheet/Quiz Two
Name _______________________ Class __________________ Date _______________ Identify the mode of each scale (10 pts.).

1. ________________________________

2. _______________________________

3. ________________________________

4. _________________________________

5. _________________________________ Identify the following chords. Include letter name and quality (14 pts.). example: Db M

6. _____ 7. _____ 8. ______ 9. ______ 10. _____ 11. _____ 12. _____ Define the following terms. (8 pts.) attacca: ________________________________________________________________________ bravura: _______________________________________________________________________ maestoso: _______________________________________________________________________ marcato: _______________________________________________________________________ Extra Credit List the modes we havent studied in class, other than Ionian, Dorian, and Lydian (8 pts.). 15

Listening Worksheet
Name _______________________ Class __________________ Date _______________

Caccia and Chorale Clifton Williams

http://www.youtube.com/watch?v=pbVyR9sDO34 The Earle of Oxfords March trans. Gordon Jacob http://www.youtube.com/watch?v=EXt-TF5YWcg Pageant Vincent Persichetti http://www.youtube.com/watch?v=nTCvsdfb-Ks Fanfare and Allegro Clifton Williams http://www.youtube.com/watch?v=eae5JAwi8fI Kaddish Francis McBeth http://www.youtube.com/watch?v=_z_g40pfLxk In the Caccia and Chorale, what did you enjoy about the sound of the band? What did you dislike? Use terms discussed in class such as blend, balance, articulation, etc. (8 pts.)

In the Jacob, describe what you heard coming from your section. Was it prominent? Why? (8 pts.)

In the Persichetti, listen to the other sections of the band. What do you hear? Use terms discussed in class such as intonation, timbre, bright, etc. (8 pts.)

Pick one of the other songs listed above and discuss melody versus harmony. What instruments do you hear have each of those? List specific times in the video as reference material. (8 pts.)

For more information on these pieces, see www.windrep.org or you may copy pages from my Teaching Music through Performance in Band series. You will need to know the title, composer, year, and related terms for the quiz! 16

Playing Test Guidelines

All students must be prepared to play excerpts from the literature in class. Students will be asked to play alone and will be given a letter grade based on their performance. Students must remember to practice these parts ahead of time. They should be familiar enough with the parts by now from band rehearsal and reference recordings. Those students receiving below a C will be required to keep a practice log of at least five hours per week to be signed by their parent/guardian until the end of District Band Festival. Piccolo/Flute/Oboe/English Horn mm. 4-16 and 36-44 B-flat Clarinet mm. 3-16 and 119-132 Alto Sax. mm. 3-16 and 131-140 Bassoon/Alto and Bass Clarinet/Tenor and Bari Sax. mm. 3-16 and 127-140 Trumpet mm. 1-16 and 77-94 Horn mm. 25-44 and 97-107 Trombones/Baritones mm. 1-16 and 67-86 Tuba mm. 1-16 and 118-131 Timpani mm. 87-94 and 130-141 Snare and Bass Drum mm. 37-44 and 192-197 Cymbals mm. 119-141 Bells and Chimes mm. 141-144 (bells) and 190-197 (chimes)

17

Listening Quiz
The pieces on this exam either are pieces we are currently performing, or directly relate to those pieces. Identify the piece played, its composer, year composed, and use two terms to describe the piece and performance. Title, composer, and terms are worth two points. Year is one point. (35 pts.)

Available terms: Bright Dark Major Minor Legato Marcato

Balanced Polytonal Maestoso

Blended Good tone Cantabile

Melodic Poor tone Allegro

Harmonic Chorale Adagio

Piece One: _________________________ Composer: ___________________ Year: _______ Terms: _____________________________ Piece Two: _________________________ Composer: ___________________ Year: _______ Terms: _____________________________ Piece Three: ________________________ Composer: ___________________ Year: _______ Terms: _____________________________ Piece Four: _________________________ Composer: ___________________ Year: _______ Terms: _____________________________ Piece Five: _________________________ Composer: ___________________ Year: _______ Terms: _____________________________

18

Practice Guide
Playing Tests
Each student is required to perform a playing test, so it is prudent for each of you to work through the sections assigned to your instrument group. Refer to the Playing Test Guidelines for your assignments. When preparing for your test, remember to start slowly. I would rather hear accurate playing under tempo than sloppiness up to tempo. If you are struggling with rhythm, dont be afraid to write in the counts or beats or sing the rhythm to yourself. If its a difficult passage for fingers, slow practice with a metronome is the only way to start. I guarantee that a metronome will be your best friend if you use it diligently or worst enemy if I turn it on for your playing test and you havent practiced with one. If you have any questions, talk to me or one of your peers. I want everyone to be successful, and I am willing to take extra time to meet with anyone who asks for help.

Rhythm

For each rhythmic example, write in the counts, practice clapping, singing, and then playing (a single note in a comfortable range). Be prepared to apply the rhythmic example in scale warm-ups in class (articulation included). In these examples, the half note gets the beat at approximately 132 beats per minute, so there are three large beats in each measure. Your shortest rhythms will be from the e & a division.

Scales

The scales on the following pages will be used in warm-ups throughout the District Festival period. You are responsible to know these, preferably from memory for rehearsal efficiency. We will use them in a chorale format, and the rhythms above may be applied. Each scale is indicated in concert pitch in the top left corner. The first two measures of each scale exercise apply ONLY to the nontransposing instruments (Piccolo, Flute, Oboe, Bassoon, Trombone, Baritone, Tuba, Mallet Percussion), mm.3-4 apply ONLY to the B-flat instruments (Clarinet, Bass Clarinet, B-flat Contrabass Clarinet, Tenor Sax., Trumpet), mm. 5-6 apply ONLY to the E-flat instruments (E-flat Clarinet, Alto Clarinet, E-flat Contrabass Clarinet, Alto Sax., Bari. Sax.), and mm. 7-8 ONLY apply to F instruments (English Horn, Horn). If there are multiple octaves, practice the scale in the most comfortable range for you.

19

20

21

Evaluation
Included in my assignments section are written quizzes and playing tests testing theoretical knowledge, ability to make aural associations, and musical competency through performance. The written theory quizzes allow me to evaluate the students understanding of modes, chords, nonstandard meters, and terms all in relation to the literature. Playing tests lets me evaluate if a student is doing the necessary work outside of class to prepare this music. Some students will have to practice more than others, but isnt this the same in all core subjects? The listening quiz evaluates a students ability to memorize people and dates and critical thinking ability to associate terms learned in class with what they are hearing in a recording. Additionally, the practice guide serves as its own vessel of evaluation. I would very much apply what Im sending home with students in the classroom so students dont feel like they are mindlessly working toward some unknown goal. The scales and modes Id expect students to learn (or already know) when working on this piece would be used in warm-ups combined with the rhythmic excerpts from the opening of the work. This allows the band further association with the music they are playing by taking warm-up material from the music and allows me the chance to again evaluate if the students are practicing the material I send home with them. The grading criteria for the written quizzes are very self-explanatory. There are point totals on each of the sheets so that students have a concrete idea of what they need to do to get an A on the quiz. Playing tests are slightly more ambiguous. A work is most if not all correct notes, good tone and intonation, and proper dynamics and articulation. B work is a majority of the right notes, decent tone and intonation, and good dynamics and articulation. C work is half of the notes correct, average tone and intonation, and fair dynamics and articulation. D work is less than half of the notes correct, fair tone and intonation, and poor dynamics and articulation. E work is few notes correct, poor tone and intonation, and no dynamics and articulation. 22

Resources
Recordings Referenced
Caccia and Chorale, J. Clifton Williams. Performed by the Indiana University Wind Ensemble in 2009. http://www.youtube.com/watch?v=pbVyR9sDO34

Bibliography
Larry Blocher, Ray Cramer, Eugene Corporon, Tim Lautzenheiser, Edward S. Lisk, Richard Miles, Caccia and Chorale, in Teaching Music Through Performance in Band, Volume 1, (Chicago: GIA Publications, 1997), 225-228. Caccia and Chorale Clifton Williams, YouTube, accessed January 28, 2011, http://www.youtube.com/watch?v=pbVyR9sDO34 Caccia and Chorale Sheet Music, C. L. Barhouse Company, accessed February 18, 2011, http://barnhouse.com/product.php?id=012-1441-00 Ostwald Award, American Bandmasters Association, accessed February 22, 2011, http://americanbandmasters.org/award/ Don Michael Randel, ed., The Harvard Dictionary of Music, fourth edition, (Cambridge and London: The Belknap Press of Harvard University Press, 2003). Norman E. Smith, Williams, J. Clifton, in Program Notes for Band (Chicago: GIA Publications, 2002), 644-645. Teaching Music through Performance in Band, Volume 1, GIA Publications, Inc., accessed February 17, 2011, http://www.teachingmusic.org/bandvol1.cfm J. Clifton Williams, Caccia and Chorale (Oskaloosa: Barnhouse Music Publications, 1976).

Related Items
By the composer: Arioso (less difficult), Fanfare and Allegro (more difficult) Similar works: Chorale and Alleluia by Howard Hanson (similar level), Kaddish by Francis McBeth (less difficult), Pageant by Vincent Persichetti (less difficult)

23