Choice Assignment – Choice 1

1. One Wish (Unison) by Dave and Jean Perry – BriLee Music Publishing, $1.95/copy from JW
Pepper
This accompanied unison piece would be most suitable for a Level I choir, as it fulfils the
following curricular outcomes:
 VS I.3 – Properly formed vowels and consonants on the words: “peace”, “hope”, “wish”,
“perfect”, “give”, etc.
 VS I.4 – Focus on in tune unison singing with peers and piano.
 VS I.5 – Demonstrate accurate releases on: “sh”, “ce”, “ve”, “pe”.
 VS I.6 – Achieve blend and balance with the unison ensemble.
 VS I.7 – Lyrical piece demands an understanding and demonstration of musical phrasing.
 VS I.8 – Introduction to descant in addition to unison singing in the last few bars of the
piece.
 TS I.2-3 – Piece is in 4/4 time.
 TS I.2-5 – Piece features multiple anacruses.
VS I.3, VS I.5 and VS 1.7 would be the most challenging to the students because they would
have to be diligent about the formation of the mouth, watching the conductor and resisting the
natural urge to breathe.

2. Tic Tac (Unison/Two-Part) by Jim Papoulis – Boosey & Hawkes, Inc., $2.25/copy from JW
Pepper
This lively and rhythmic two-part piece includes piano as well as non-pitched percussion
accompaniment. Most suitable for a Level I ensemble, it fulfils the following curricular
outcomes:
 TS I.2-4 – The ability to recognize rhythmic percussion and spoken vocal line.
 TS I.2-5 – Demands an understanding of ties.
 TS I.6 – Ability to identify various dynamic markings.
 VS I.3 – Properly formed vowels on “ooo” vowel.
 VS I.5 – Spoken vocal line requires accurate attacks.
VS I.5 is greatest challenge presented by this piece because the attacks require precision and
forward placement.

3. Shiru (Two-Part) by Allan E. Naplan – Boosey & Hawkes, Inc., $2.15/copy from JW Pepper
This accompanied two-part piece features exciting rhythmic passages and dynamic variation that
contribute to its dance-like feeling. This selection s the following curricular outcomes:
 VS II.1 – This two-part piece features harmonies and independent lines.
 TS II.4 – Inclusion of numerous repeated sections, each communicated with repeat signs.
 TS II.9 – Students would identify the organization and placement of sharp to decipher the
key signature.
VS II.1 would be particularly challenging for students because the two lines are often very
independent from one another in text, notes and rhythm.
4. Birdsong (SA) by Paul Read – Boosey & Hawkes, Inc., $2.25/copy from JW Pepper
This two-part musical selection is primarily lyrical with interspersed energetic sections. It is
suitable for a Level II choir based on its fulfilment of the following curricular outcomes:
 VS II.1 – Begins in unison and proceeds to split in two-parts.
 VS II.2 – Students would expand their flexibility, as they are required to sing higher
notes on weak beats.
 TS II.2 – The score begins in unison and splits into SA, therefore requiring the students’
understanding of a score and ability to find as well as follow their part.
 TS II.9 – The piece modulates from Eb major to C major, requiring the students to
identify the key signatures based on the organization of flats.
The greatest challenge in this piece of music is the range of the anacruses and ensuring that the
weak beats do not stand out.

5. She Sings… (Three-Part Mixed) by Amy Feldan Bernon – Heritage Music Press, $1.95/copy
from JW Pepper
The three-part accompanied version of this lyrical musical selection is most suitable for a Level
III choir based on its fulfilment of the following outcomes:
 VS III.1 – Three-part piece.
 AS III.2 – Sing particular ascending intervals within a musical line.
 IS I.1-3 – Understand and demonstrate intensity and subsequent release on dissonance.
AS III.2 will present a challenge to the students as they will have to accurately sing wide
intervals and demonstrate the ability to delicately sing the higher note.

6. If Music Be the Food of Love (SATB) by David C. Dickau – Colla Voce Music, Inc.,
$1.90/copy from JW Pepper
This four-part accompanied selection is lyrical in nature and is most suitable for a Level IV
ensemble based on its fulfilment of the following curricular outcomes:
 VS I.2 – Long lyrical lines require proper breath control in order to successfully sustain
the line.
 VS I.5 – “If music be the food of love” requires the proper release of “c”, “d’, and “ve”.
 VS I.6 – Parts often arrive on a sustained note together, demanding an understanding and
execution of balance and blend.
 VS IV.2 – Properly execute diphthongs on the words “sound”, “cloy”, and “joy”.
VS IV.2 will pose a challenge to the students as they must ensure that they are sustaining the
vowel and closing to the diphthong at the last moment all together.

7. And So It Goes by Billy Joel, arr. Bob Chilcott (SATB) – Hal Leonard Corporation,
$2.15/copy from JW Pepper
This a capella SATB selection is relatively lyrical in nature and is most suited for a Level V
ensemble because of its fulfilment of the following curricular outcomes:
 AS V.3 – The students will be able to identify seventh chords in the piece.
 VS I.3 – Students will have a uniformed “ooo” vowel.
 VS I.6 – When the other parts are accompanying the melody line, they must understand
and execute balance and blend.
VS I.3 will pose a challenge to the ensemble because they will have to uniform and place their
“ooo” vowels appropriately to create a consistent sound.

8. Omnia Sol by Z. Randall Stroope (SATB) – Heritage Music Press, $2.10/copy from JW
Pepper
This accompanied four-part piece is powerful as well as lyrical and is best suited for a Level V
ensemble based on the following curricular outcomes:
 TS V.1 – The students will be able to recognize when and how the piece is cadencing.
 VS I.2 – Proper breath control is required to sustain dynamics through the varying range
of subsequent lines.
 VS I.6 – An awareness of balance, blend and texture is essential when sopranos are
singing higher in their range while the other parts are resolving the chord.
VS I.2 would pose the greatest challenge to students as they are required to maintain a forte
dynamic through an octave drop in range.

9. Earth Song by Frank Ticheli (SATB) – Hinshaw Music, Inc., $2.15/copy from JW Pepper
This a capella four-part piece is lyrical and dissonant in nature. It is best suited for a Level VI
ensemble based on its fulfilment of the following curricular outcomes:
 VS I.2 – Proper breath control is essential to execute the one bar/two bar crescendos and
subsequent diminuendos.
 IS I.1-3 – An understanding of intensity and release is required to appropriately
demonstrate dissonance.
 AS VI.1 – Students will be able to listen for and decipher the triads within the selection.
VS I.2 will be challenging for the students as they will have to quickly and accurately
demonstrate a crescendo and diminuendo.

10. J’entends le Moulin arr. Donald Patriquin (SATB) – Earthsongs, $2.30/copy from JW Pepper
This accompanied SATB selection is varying in rhythmic and lyrical texture. It is best suited for
a Level VI choir as it focuses on the following curricular outcomes:
 VS I.5 – The rhythmic vocal line requires accurate attacks and releases.
 IS I.1-1 – Students will demonstrate dynamics and varied articulation devices as the
music varies the same musical line by using sustained lyrical lines, accents and staccato.
 TS VI.2 – Students will have opportunities to recognize cadences within the texture of
the piece.
The students will be challenged with unifying and accurately placing the attacks and releases of
the rhythmic vocal line to communicate the rhythm and persistency.
Choice Assignment – Choice 3
Alberta Program of Studies
– Level I
Aural Skills:
 Understand and
recognize ♯,♭and ♮
 Recognize keys of A-
flat, E-flat, B-flat and
F flat, F and A-flat
Technical/Theoretical Skills:
 Demonstrate proper
instrument assembly,
maintenance and care
 Demonstrate proper
playing position
 Embouchure and
breath support
Essential Elements 2000 Standard of Excellence
Comprehensive Band Comprehensive Band
Method – Book 1 Method – Book 1
 Defines ♯,♭and ♮  Defines ♯,♭and ♮
 Scale and arpeggio  Scale and arpeggio
studies in B-flat, E- studies in B-flat, E-
flat, F and A-flat
 Pieces and exercises  Pieces and exercises
written in the key written in the key
signatures of B-flat, E- signatures of B-flat, E-
flat and F flat, Fand A-flat
 “Taking Care Of Your  “Putting Your
Instrument” – How to Instrument Together” –
care for instrument Describes assembly
prior to returning it to  “Caring For Your
its case Instrument” –
 “Taking Care Of Your Describes how to care
Instrument” – How to for instrument prior to
perform occasional returning it to its case
maintenance for some
brass instruments
 “Getting It Together” –
How to assemble the
instrument
 “Getting It Together” –  “Preparing to Play”
Step 4 and/or Step 5 and “Playing Your
describe playing Instrument” – Outline
position proper playing position
 Image demonstrates  Images demonstrate
playing position playing position
 “Breathing &  Very little description
Airstream” – Describes of breath support
how to inhale and  “Playing Your
release the air into the Instrument” –
instrument Describes formation of
 “Producing The embouchure
 Essential Tone” –
Describes how to
create the embouchure
Pitch:
 Recognize and  Defines staff, treble
understand staff, treble clef, bass clef, flat,
clef, bass clef, flat, natural, ledger line,
natural, ledger line, accidentals, and key
accidentals, key signatures
signatures  Also defines sharp
 Perform major scales  Scale and arpeggio
and arpeggios of: A- studies in B-flat, E-
flat, E-flat, B-flat and flat, F and A-flat
F within ranges  Flute range from E-flat
outlined in Level I 4 – C6
 Trumpet range from B-
flat 3 – D5
Ranges:
 Varied ranges for each  Flute range from E-flat
instrument 4 – C6, but neglects
 Ranges at least an the inclusion of B4 and
octave plus a fourth B5
and at most two  Trumpet range from
octaves plus a fifth A3 – D5, but neglects
 Flute range from E-flat the inclusion of C-
4 – C6 sharp 4 and C-sharp 5
 Trumpet range from  Ranges correspond
A3 – F5 with the majority of
the Alberta curriculum
Dynamics:
 Recognize and  Defines p, mf, f
understand pp, p, mp,  Includes exercises with
mf, f, ff p, mf, f
 Does not include pp,
mp or ff
 Uses charts and
descriptions to define
staff, treble clef, bass
clef, flat, accidentals
and key signature
 Also defines sharp
 Does not describe
ledger line
 Scale and arpeggio
studies in B-flat, E-
flat, F and A-flat
 Flute range from E-flat
4 to C7.
 Trumpet range from B-
flat 3 – D5
 Flute range from E-flat
4 to C7, but neglects
the inclusion of E4, F-
sharp 4, B4, C-sharp 5
and B6
 Trumpet range from B-
flat 3 – D5, but
neglects the inclusion
of C-sharp 4, E-flat 4,
A-flat 4 and C-sharp 5
 Ranges correspond
with the majority of
the Alberta Curriculum
 Defines p, mp, mf and
f
 Includes exercises with
p, mp, mf and f
 Does not include pp
and ff
  Perform crescendo and  Defines crescendo and
decrescendos within decrescendo
two contrasting  Includes exercises with
dynamics crescendos and
decrescendos from f to
p and p to f
Duration:
 Recognize and  Includes definitions
interpret whole notes, and exercises for
half notes, dotted half whole notes, half
notes, quarter notes, notes, dotted half
dotted quarter notes, notes, quarter notes,
eighth notes and their dotted quarter notes
corresponding rests and eighth notes
 Play varying rhythmic  Includes definitions
patterns and exercises for
whole rests, half rests,
quarter rests and eighth
rests
 Does not include
definition or exercises
with dotted rests
 Inclusion of varying
rhythmic patterns
 Recognize and  Defines time signature
interpret cut time,  Explains and includes
common time, 4/4, 3/4 4/4, 3/4, 2/4 and
and 2/4 common time
 Does not explain or
include cut time
 Recognize and  Defines and includes
interpret bar line, exercises with bar
measure, double bar, lines, measures, double
tie, fermata and bars, ties and fermatas
syncopation  Includes exercises with
syncopation but does
not include a definition
Articulation:
 Recognize and perform  Defines and includes
slurs exercises with slurs
 Perform tongue two,  Includes exercises with
 Defines crescendo and
decrescendo
 Includes exercises with
crescendos and
decrescendos from mp
to f and f to mp
 Includes definitions
and exercises for all
note values in the
curriculum
 Inclusion of varying
rhythmic patterns
 Explains and includes
4/4, 3/4, 2/4 and
common time
 Does not explain or
include cut time
 Defines and includes
exercises with bar
lines, measures, double
bars, ties and fermatas
 Includes exercises with
syncopation but does
not include a definition
 Defines and includes
exercises with slurs
 Includes exercises with
 slur two eighth note occasional tongue two,
patterns slur two eighth note
patterns
Technique – Percussion Only:
Mallet Instruments  Scales and arpeggios
 Perform A-flat, E-flat, for A-flat, E-flat, B-
B-flat and F flat and F
Snare Drum
 Develop single stroke,  Explains and includes
multiple bounce, flam exercises all
and paradiddle techniques in
curriculum
Timpani  Explains how to play a
 Tuning, single stroke single stroke roll
roll, legato and  Does not explain how
staccato strokes to tune timpani
 Does not include
legato and staccato
strokes in exercises
Bass Drum et al  Explains how to play
 Start and release sound bass drum, triangle,
on a variety of suspended cymbal,
instruments wood block, crash
cymbal, tambourine,
maracas, claves, sleigh
bells and cowbell
Terminology:
 Understanding and  Defines and includes
performance of D. S. al exercises for D.C. al
Fine, Fine, D. C. al Fine, Fine, 1st and 2nd
Fine, coda, 1st and 2nd endings and repeat
endings, extended signs
rests, divisi, repeat  Does not define or
signs include exercises for
D.S. al Fine, extended
rests, coda or divisi
tongue two, slur two
eighth note patterns
 Scales and arpeggios
for A-flat, E-flat, B-
flat and F
 Explains and includes
exercises all
techniques in
curriculum
 Explains how to play a
single stroke roll
 Explains how to tune a
timpani
 Does not include
legato and staccato
strokes in exercises
 Explains how to play
suspended cymbal,
triangle, wood block,
sleigh bells,
tambourine, claves,
maracas, temple blocks
and crash cymbals
 Does not explain how
to play bass drum
 Defines and includes
exercises for D.C. al
Fine, Fine, 1st and 2nd
endings and repeat
signs
 Does not define or
include exercises for
D.S. al Fine, extended
rests, coda or divisi
Interpretive Performance Skills:

 Understanding that a  Defines a musical  Does not define a

musical phrase is phrase as a “sentence” musical phrase
equivalent to a that should be played
sentence in one breath