670 Secondary Teacher and Student Guide

Teacher Guide
Cajun Folk Songs

Frank Tichelli
For High School Band

By Jayne Pierson
Unit Introduction
Title: Cajun Folk Songs
Composer: Frank Tichelli
Publisher: Manhattan Beach Music
Grade Level: 3.5
Learning Goals:
 Develop deeper understanding of Cajun music and culture
 Develop solo playing skills
 Take ownership of musical decisions
 Navigate mixed meter as an ensemble
 Students will learn and perform scales in dorian mode
Learning Objectives:
 Students will discuss the culture of Cajun people and how it relates to their music with 80%
participation.
 Students will identify Cajun music through listening and a worksheet with 80% of students
passing.
 Students will sight read Cajun Folk Songs after listening to the piece with 100% participation.
 Students will identify Dorian mode visually and aurally with 80% accuracy.
 Students will perform Dorian mode scales with 80% accuracy.
 Students will identify mode of Cajun Songs with 80% participation.
 Students will navigate between mixed meter with proper vertical alignment through clapping
and playing 80% of the time.
 Students will observe articulation in mixed meter with 80% accuracy.
 Students will find a piece of Cajun artwork they feel best represents Tichelli’s Cajun Folk Songs
with 90% participation.
 Students will identify how the piece of artwork relates to the song with 90% participation.
 Students will create a story based on their artwork and compositional techniques used in Cajun
Folk Songs with 90% participation.
 Students will improvise the solo in Cajun Folk Songs in correct meter and key with 80% accuracy.
 Students will critique their own performance of Cajun Folk Songs based on phrasing, vertical
alignment, and tuning through class discussion and checklist with 80% participation.
Standards Addressed:
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Unit Study: Cajun Folk Songs by Frank Tichelli
Unit 1: Composer
Frank Ticheli was born on January 21, 1958 in Monroe, Louisiana. He is a composer of orchestral,
chamber, choral, and concert band works. Previously he served as Assistant Professor of Music at Trinity
University in San Antonio, Texas. From the years of 1991 to 1998, he was the resident composer for the
Pacific Symphony. He is currently a composition professor at the University of Southern California.
He was the only member of his immediate family to further his music education. He had a very
musical grandfather who played saxophone in a jazz band. He also had cousins who were founding
members of the group Dukes of Dixieland. To further his own education, Ticheli received bachelor’s
degrees in both music education and theory/composition from Southern Methodist University. He then
went on the University of Michigan to obtain both a masters and doctorate in composition.
His works have become standard in the concert band repertoire throughout the United States and
Europe. He has appeared as a guest conductor in Carnegie Hall and many different cities around the world.
His works have won numerous awards including the 2006 National Band Association/William D. Revelli
Memorial Band Composition Contest, and the first-prize award in the Delius Composition Contest (2000).
Other works include, Vesuvius, An American Elegy, An American Dream (For Solo Soprano), Earth Song,
and Out of the Blue.
Unit 2: Composition
This piece is written in two movements commissioned by Murchison Middle School Band of
Austin, Texas. This piece is scored for flutes 1-2, Oboe 1-2, Bassoon 1-2, Clarinet 1-3, Alto Clarinet, Bass
Clarinet, E-flat Contrabass Clarinet, E-flat Contra-alto Clarinet, B-flat Contrabass Clarinet, Alto Saxophone
1-2, Baritone Saxophone, Trumpet 1-3, Horn 1-2, Trombone 1-3, Euphonium (TC and BC), Xylophone,
Marimba, Suspended Cymbal, sand blocks and cabasa, Medium-Large Triangle, Castanets, Tambourine,
Tom-Toms, and Bass Drum. It was written in 1991 and runs approximately 6:15. It is based on two folk
songs put together by John and Allan Lomax. “La Belle et le Capitaine,” and “Belle” respectively. The first
movement tells the story of a girl who dies to avoid being seduced by a captain. The second movement is
about a man who goes to Texas and is forced to return to Louisiana once he hears of his girl’s illness. Once
he returns he attempts to pawn his horse to save her life, but he is too late. The music for these
movements were collected from a 1934 phonograph recording.
The lyrics for the original recording in French and English translation:
La Belle et le Capitaine
Le plus jeune des trois,

L'a pris par sa main blanche—
"Montez, montez, la belle,
Dessur mon cheval gris;
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On logit chez mon père, Je vous amenerrai."
Quand-e la belle'-z-entend,
Elle s'est mite à pleurèze,--
"Soupez, soupez, la belle,
Prenez, oui, z-appétit,
Auprès du capitaine Vo' passerez la nuit."
Quand-e-la bell'-z-etend
La belle est tombée morte,--
"Sonnez, sonnez, les cloches,
Tambours, violons, marchez,
M'amillionette est morte
J'en ai le c&156;ur dolent."
"Et où l'enterreront-ils?"
"Dedans l'jardin d' son père,
Sous les trois feulles de lys;
Nous prierons Dieu, chers frères,
Qu'elle aille en Paradis."
Au bout-e de trois jours

La bell' frappe à la porte,
"Ouvrez, ouvrez, la porte,
Cher père et bien-aimé,
J'ai fait la mort trois jours
Pour sauver mon honneur."
Translation
1) The youngest of all three took her white hand and said, "Fair damsel, mount my gray horse and I will
take you to the house of my father where we will stay together."
2) When the damsel heard these words, she began to weep, and he said, "Eat, fair damsel, be of good
cheer, for this night you will stay with a fine captain."
3) When the damsel heard these words, she fell to the ground like one dead, and he said, "Ring the bells,
play drums and violins; my little sweetheart is dead and I have a doleful heart."
4) And they said, "Where shall she be buried?" "In the garden of her father beneath the three leaves of
the lyly. We pray to God, dear brothers, that she may fly to Paradise."
5) When three days had passed, the damsel knocked on the door of her father's house and said, "Open
the door, dear and beloved father, for three days ago I chose death to save my honor."
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Belle
Mais si j' une belle ici, Belle,

C'est par rapport à to, Belle,
C'est par rapport à toi, Belle.
J'ai pris ce char ici, Belle

Pour m'en aller au Texas, Belle,
Pour m'en aller au Texas, Belle.
Y avait just' trois jour, Bel-

Le, que j'étais là-bas, Belle,
J'ai r'çu-z-une lettre de toi, Belle,
Que t'étais bien malade, Belle.
Que t'étais bien malade, Belle,

En danger de mourir, Belle,
J'ai pris ce char encore, Belle,
Pour m'en r'venir ici, Belle.
Quand j'arrivais à toi, Belle,

T'étais sans connaisance, Belle,
Je m'en ai r'tourné d'abord, Belle,
Je m'en ai r'tourné là-bas, Belle.
J'ai emporti-qué mon ch'val, Belle,

Pour te sauver la vie, Belle,
O si j'ai plus Henry, Belle,
C'est par t'avoir aimée, Belle.
S'abandonner c'est dur, Belle,

Mais s'oublier c'est long, Belle,
Mais s'oublier c'est long, Belle.
Translation
If I've a babe in town, Babe,

It's just when you're around, Babe,
It's just when you're around, Babe.
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I caught a long slow freight, Babe,
Bound out for Texas state, Babe,
Bound out for Texas state, Babe.
Three days I hung around, Babe,

That lonesome Texas town, Babe,
You wrote you's sick in bed, Babe,
Rags wrapped all round your head, Babe.
Said you was sick and low, Babe,

Said you was dyin' slow, Babe,
I hopped that long slow freight, Babe,
Bound for Lou's'ana state, Babe.
When I got off that train, Babe,

You couldn't call my name, Babe,
And I turned right around, Babe,
Then I was Texas bound, Babe.
My bronc' I had to sell, Babe,

So I could get you well, Babe,
Because between the two, Babe,
I'd always pick on you, Babe.
It's not so hard to go, Babe,

But to forget is slow, Babe,
But to forget is slow, Babe.
Unit 3: Historical Perspective
Cajuns depicted in this music are descendants of Acadians, which were French Colonists from
Nova Scotia. They were driven out by Britain and settled in Southern Louisiana and parts of Texas. During
this time (1755-1763) France and Great Britain were fighting over what is now Quebec. Acadians refused
to support the French but Great Britain was fearful of their alliances as well. Southern Louisiana was under
Spanish rule at the time and Acadians eventually settled there. These Acadians were poor Catholic
farmers. Acadians settled here between 1765-1785. France turned over this portion of Southern Louisiana
to the Spanish and they welcomed these settlers as they saw them as idea.
John and Allan Lomax (father-son) were important figures in recording much of the information
we have about early blues, Cajun, and New Orleans jazz. They traveled all over the country recording live
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music from the 1930s and 1940s. The music from this region became extremely Americanized which is
what prompted John and Allan to drive around these areas and record live performances of traditional
Cajun music. These recordings were for the Archive of Folk Music in the Library of Congress. They also
published many song books which are no longer in print.
Unit 4: Technical Considerations
Ticheli describes this piece as a grade 3 ½. Range is not an issue in this level, but this piece calls
for many soloists: flute, oboe, clarinet, saxophone, trumpet, horn, low brass, and percussion. Clarinets do
cross the break, but clarinet 3 does not cross the break often. The range of the trumpet gets a little high
(A5) so this could pose a problem for some students. Thankfully, more unique instruments like the E-flat
contra-alto clarinet and B-flat contrabass clarinet basically doubles the Tuba part. The second movement
has some tonality shifts. The first movement is basically in D Dorian while the second movement is in F
Major.
The first movement (D Dorian) has a free flowing melody starting in the saxophone. The main
melody moves freely around the band. This movement also changes effortlessly between 2/4 and 3/4
time signature. The second movement (F Major) is written in 5/4 but also touches 2/4, 3/4, and 4/4. This
second movement was originally written to be played slower, but Ticheli sped up the tempo when he
discovered it was more effective.
In both movements it is important to maintain tempo and use expressive dynamics. Melody is
written in unison and octaves so tuning and balance may also pose problems for some bands. Parts are
pretty individual so the responsibility remains mainly in the student’s preparation. They must be confident
in their parts as well as counting rests.
Unit 5: Stylistic Concerns
The first movement requires great musicality. The flowing melody and solo lines need wide
dynamic contrast to effectively portray the story. Articulated passages should not have a harsh tongue.
Young musicians tend to clip the ends of notes and phrases, so this is the perfect teaching opportunity for
students to expand phrases and use full valued notes. Orchestration is also extremely important to help
with color shifts. Students must be aware of their part and how it fits in the ensemble. In the second
movement, accents are extremely important along with dynamics. Articulations of the second movement
should be light, not clipped and heavy. This movement represents a dance.
Unit 6: Musical Elements
The soloist lines of the first movement require great musicianship and flow. Ticheli has noted that
he doesn’t start conducting until measure seven giving the soloist free reign of musicianship. The dynamic
swells in the first movement are also never done enough. He notes that they are very important. As an
educator of young developing musician, in the first movement it would be important to discuss where to
breath so they do not disrupt the line. Intonation will be important with all the unison and octave writing.
This is a good piece to use singing technique in rehearsal to feel the singing quality of the melody. Harmony
of this piece is based on D Dorian. This gives teachers a great opportunity to discuss all modes in relation
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to major scales. Many students are not exposed to modes until college. This gives students a better
understanding of all music.
The second movement represents a dance so it has varied textures and colors. Accents here are
important to help drive the uneven meter feel. After completion of this work Ticheli found that having the
second movement played faster makes more musical sense. It is noted that quarter note equals 152-160,
but Ticheli suggests to play this movement at 168. He also feels it is easier to conduct this movement as
6/8 2/4 bars. The music flows much better with this pattern style and faster tempo. Harmony of this
movement is F Major. The challenge rhythmically in this piece will be keeping a steady tempo. Teachers
must have students subdivide to the sixteenth note. For both movements, the teacher must always
encourage and establish good tone quality. This helps with intonation and balance problems as well.
Unit 7: Form and Structure
Movement 1:
Measures 1-16: Theme 1 Alto Sax Solo Section, Solo Clarinet accompaniment at m. 7. In D Dorian, Quarter
Note equals 63
Measures 17-38: Restatement of Melody and accompaniment without flute. Melody in Clarinet, Alto
saxophone, and trumpet.
Measures 39-49: Flute enters, Bottom drops out, development/transitional material/ fragmented melody
Measures 50-62: Final statement of melody in Oboe, Clarinet, Alto Sax, B-flat Trumpet, Trombone, and
Euphonium. Full band plays
Measures 62-74(end): Coda
Movement 2:
Measures 1-4: Introduction Sand blocks, Oboe, and Alto Saxophone Melodic Rhythm
Measures 5-11: Main Theme Introduced in Trumpet
Measures 12-21: 2nd Theme Introduced in Woodwinds, New percussion ostinato
Measures 22-27: Theme A restated in woodwinds, no percussion
Measures 28-30: Partial Theme B in Flute/Oboe
Measures 31-57 Theme A Develops, tonality and color
Measures 58-64: Theme B in flute oboe and xylophone
Measures 65-68: Theme A fragmented
Measures 69-73: Theme B fragmented
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Measures 74-81: Theme A fragmented and developed
Measures 82-87: Transition to new tempo
Measures 88-91: Quarter note equals 88 Transition Theme A in Tenor Saxophone
Measures 92-100: Theme A passed around, Trumpet, Flute, Alto Saxophone
Measures 101-103: Theme B Upper Voices
Measures 104-119: Theme A and B Together
Unit 8: Suggested Listening
Lomax,Alan:
Alan Lomax Collection Sampler. CD. Rounder Select Label. 1999.
Cajun and Creole Music, Volume 1 1934/1937. CD. Rounder Select Label. 1999. “Belle”
Cajun and Creole Music, Volume 2 1934/1937. CD. Rounder Select Label. 1999. “La Belle et le Capitaine”
Ticheli, Frank:
Cajun Folk Songs II. Manhattan Beach Music. 1997.
A Shaker Gift Song. Manhattan Beach Music. 2004.
Vesuvius. Manhattan Beach Music. 1999.
Unit 9: Additional References and Resources
Besse, Jody Anthony, "AN ANALYSIS AND AN HISTORICAL CONTEXTUALIZATION OF FRANK TICHELI’S
“CAJUN FOLK SONGS”" (2012). Dissertations. 518. http://aquila.usm.edu/dissertations/518
"Biography of Frank Ticheli." Frank Ticheli. Classic Cat, 2016. Web. 16 Mar. 2017.
"Cajun Folk Songs - Frank Ticheli." WynnLiterature. N.p., n.d. Web. 17 Mar. 2017.
Miles, Richard B., Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, and Edward
S. Lisk. Teaching Music Through Performance in Band. Vol. 1. Chicago: GIA Publications, 2013. Print.
“University of Southern California.” Frank Ticheli. USC Thornton School of Music. USC Thornton School of
Music, n.d. Web. 17 Mar. 2017
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Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Form Sax Solo Main Melody Solo Sax and C larinet
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality B Dorian B Dorian B Dorian
Harmonic
i v i
Motion
Orchestration Solo Sax Solo Sax and C larinet Solo Sax and C larinet
General
Somber/longing Yearning Somber/Longing
Character
Means for
Deep rich tone (Dark warm air) C larinet Solo C ounter melody C larinet Solo C ounter melody
Expression
Conducting Who needs more attention in shaping
Start conducting: give over to sax solo? C ueing C larinet,
Concerns phrases? Do they need my help?
Rehearsal Balance between Sax and C larinet, Musical Balance between Sax and C larinet,
Sax musical expression, first note
Consideration expression Musical expression
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17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38
Restatement of Main Melody and C ountermelody Restatement of C ountermelody
B Dorian B Dorian A Minor B Dorian
i v i
Melody: C L1, AS1, Tpt1 Melody: C L1, AS1, Tpt1
Melody: Ob1-2, C L1, AS1 Melody: C l1, Sax 1, Tpt1
C ounter Melody: TS, TBN1 C ounter Melody: TS, TBN1
C ounter Melody: C l2, TS, Tbn1, AS2 C ounter: LC L. LS, Tbn1, FH1
Background: Bsn1-2, LC L, BS,Tpt2, Hn1, Background: Bsn1-2, LC L, BS,Tpt2, Hn1,
Background: LC L, BS, FH1, Tuba Background: Bsn, Tuba
Tuba Tuba
Somber/ Longing Yearning/ Hopeful Hopeful, Desire Somber/Longing
C larinet, Trumpet, Sax Trio Melody C larinet, Trumpet, Sax Trio Melody Oboe, C larinet, Sax Trio Melody C larinet, Trumpet Sax Trio
Dynamic Swells, Making main melody C olor Shift, Oboe entrance, meter C olor shift, Dynamic Swells, Main
Dynamic Swells in different groups
musical change melody musical
Making sure trio is heard over Making sure trio is heard over
C olor Shift, tonal center shift, C olor Shift, tonal center shift,
accompaniment, Vertical Alignment in Half accompaniment, Vertical Alignment in Half
Vertical alignment, Tuning Vertical alignment, Tuning
note line, Tuning note line, Tuning
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39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74
Transitional Material/ Fragmented Melody Final Statement of Melody, New material Coda
Rit…
A Minor D Dorian Dorian Dorian
i i i i
Melody: Fl 1-2
Melody: Ob2, Cl2, AS2, TS, Tpt2, FH2, Tbn1, Euph
Halfnotes: LCL,Saxes, Tpt1, FH1, Melody: Fl1-2, AS1 Full Orchestration. New material in Upper voices
Counter: Fl1-2, Ob1, Cl1, Tpt1
Tbn1,Tuba Counter: CL1-3 Melody same as before
Background: Bsn, LCL. AS2, BS, Tpt3, FH1, Tbn2-3, Tuba
Counter: Cl1-2
Hopeful/Desire Hope/ Love Despair Heartbreak/Longing/ Grief
Flute Melody Flute/Sax Melody New Counter Melody in Upper voices New Material in Upper voices, Melody mainly in second parts
Meter Changes, Color Shift, Sax
Flute Entrance, Color Shift New Counter Melody, Meter Change, Musicality Syncopated gesture in new melody, Meter change, Dynamic shifts
Entrance,Dynamic Swells
Flute Tuning, Tuning of decresendo, Intonation, Vertical Alignment, Musical
Intonation, Vertical Alignment, New Counter Melody, Balance Dynamics, Balance, Vertical Alignment in syncopation, Intonation in extremes of dynamic range
Cut offs Expression
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
Introduction A B A
F Major F Major F Major F Major
I I I I
Ostinato: Sandblock, Ob1, Trumpet Solo Melody Melody: Fl1, Ob1-2, C l1 Melody: Fl1-2, Picc, Ob1-2, AS1-2
AS1 Sandblock Ostinato Perc 2 Perc2 Upper Winds
Sustained: Bsn, C l1, TS Sustained: Ob, C l2, AS, Tbn1 Sustain: C l3, TS (M15) m20 add C l3, TS
Dancelike Dancelike Lilting, Light, flowing Dancelike, light
Articulation in rhythmic
Ostinato and Trumpet Solo B Theme stated twice in upper voices Upperwinds restate A theme in entirety
ostinato
Mixed Meter C onducting vs. Staying light and in the same style in all
Mixed Meter C onducting, Entrances, C ut offs Meter C hange, entrances, Style
5/4 conducting dynamics
Matching style set earlier, keeping pulse
Establishing style used Vertical Alignment Sandblock and tumpet, C olor Shift, Entrances, New Percussion ostinato, Intonation, playing like
without percussion, intonation in upper
throughout whole piece Intonation of Held notes, C ut offs, Matching style chamber ensemble
range
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28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57
B Theme A Develops
F Major E-flat Major F Major E Minor F Major
I IV ii i V
Ostinato: Fl1-2, Tpt1-2 Melody: Upper winds
Melody: Fl, Ob, Cl1-alto, AS, TS, Tpt, Perc1 Full Band throughout: Melody Passed
Upper Winds/Perc2 Ostinato2: Ob1-2, Cl1-3 AS Ostinato
Background: Picc, Bsn, BCL, CBCL, BS, LB around Upper Voices-Low Voices
Melody: FH1-2, Tbn1-3, Euph LB, BS, LCL Sustain
Lilting, light, flowing Building Decaying, Saddens Tension rising, Conflict Tension and Conflict Rising
Upperwinds state B Transition, Melody in new voices(FH, Tbn Fragmented melody in upper winds, Hard hits for sustained Melody Fragmented More: Matching Upper
Full Melody different character/tone center
theme Euph) notes voices to lower voices
Meter Changes, in 3? Or 4? What works
Meter Changes, Meter Changes, Style Change Meter Changes, increase resistance in conducting Conducting different groups
best for ensemble
Switching seemlessly Articulation of sustained notes, vertical alignment of Entrances, Matching style, Tone, Full Value
Balance, Intonation with M2 intervals Balance/Intonation at ff, New mood,
between themes sustained, Balance, Full length quarter notes and sustains notes, Confidence
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58 59 60 61 62 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81
B A Theme Fragmented Theme B Fragmented Theme A Developed
c
B-Flat Major G-Flat Major F Minor A Major
IV I i I
Melody: AS, TS, FH
Melody: Fl, OB, Picc, C l3-alto
C ounter: C L1-3 Melody: Tpt1, Picc, Fl, Xylo
Background: Bsn, BC L, C BC L, AS, TS, BS, Tpt1-2, Full Band Melody in Upper winds, passed from upper brass
Interruption: Bsn, LC L, Tbn, Euph, Background: AS, TS, C L1-3
FH, Tbn
Tuba
Heavy C onfusion Soft, longing Full, Building, Tension
Upper Voices Melody with Low Voice Quarter note
Melodic Interruptions Melody Stated in Uper parts Dynamics: Huge C resendo
interruption
Meter C hanges Heavy Style, Entrances, Meter C hanges, Style consistency Measured out cresendo
Full Value notes, C onfident entrances, Matching Full Value, Matching style of Vertical Alignment/intonation in Run at 81, Matching melody passed around, full length
dynamics, style, and articulation different groups melody notes, cut offs, entrances, intonation as cresendoing
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82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119
Transition Theme A extended Theme A Theme B Theme A and B together
c c c c c c c c c
Rit.....
F Major F Major B-Flat major-F Major F Major A-flat Major F Major F Major
V I I-I I I I V I
Melody Tpt, Fl, AS
Melody: Oicc, Fl, Ob, Melody: AS, TS, FH2, Tbn1 Upper Winds Melody Ostinato: FH
Melody in TS, FH, Euph Melody Outline: Bsn, Euph, Tuba
Full Band: Mainly sustain/trill Cl1-2 Background: Fl, Ob, Bsn, LCL, BS, Tpt, AS,TS Ostinato Quarter Notes: Bsn, TS, BS, Tbn2-3, Euph,
Trill in upper winds Sustain: LCL, TS
Tpt Ostinato Tbn2-3, Euph, Tuba LB/Bsn Sustained Tuba
Percussion Ostinato
Transitional/ Moving
Mournful/despair Longing/ Missing New Beginnings Dancing/Flowing Dancelike/Flowing Transitional/Moving On
on
Tpt part keeps tempo
Dynamics: Full Decresendo Extended melody in mid range Melody passed from Tpt to Fl/AS Melody in 3 Upper Voice Melody Moving Quarter Notes
moving
Ritardando New style Return to Mixed Meter conducting style Steady Tempo Changing Meters, Cues, Cut offs Changing Meters Changing Meter, Style, 2vs3
Rit, intonation, Vertical alignment, Intonation, Color/Mood Shift, New Vertical Alignment:Melody-Outline, Intonation of sustained, cut Intonation of upper Intonation, Syncopation,
Melody written in 3, Syncopated Rhythms Full Value, Vert Alignment
cut offs tempo, Transition offs winds Style
17
120 121 122 123 124 125 126 127 128 129 130 131 132
C oda
c c c
Grand
Pause
F Major N/A F Major
I IV N/A I
Fl, Ob, Cl1-
Melody in all Upper Voices
2, AS, TS.
LB Sustained none All
Tpt1,3, FH,
Full Orchestration Perc1
Dancelike Building Intense Intense, Big
Tension in
Moving Eighth Notes in Melody and building chord FFF Full Band
space
Keep energy up all the way to end, Entrances Prep Energy, Prep
Intonation, Vertical
Vertical Alignment, Entrances, Energy, Full Value, Transition Alignment, Note
Length
Activity #1
Purpose:
The purpose of this activity is to explore Cajun culture and music. By the end of this lesson students will
identify Cajun music vs. Traditional American Folk Songs and can discuss history of Cajun people. This
will give students a deeper understanding of the piece Cajun Folk Songs.
Objectives:
Students will discuss the culture of Cajun people and how it relates to their music with 80%
participation.
Students will identify Cajun music through listening and a worksheet with 80% of students passing.
Students will sight read Cajun Folk Songs after listening to the piece with 100% participation.
Standards:
MU:Re7.1.E.8a Explain reasons for selecting music citing characteristics found in the music and
connections to interest, purpose, and context.
MU:Re7.2.E.8a Describe how understanding context and the way the elements of music are
manipulated inform the response to music.
MU:Re8.1.E.8a Identify and support interpretations of the expressive intent and meaning of musical
works, citing as evidence the treatment of the elements of music, contexts, and (when appropriate) the
setting of the text.
MU:Re9.1.E.8a Explain the influence of experiences, analysis, and context on interest in and evaluation
of music.
Materials:
https://music.amazon.com/recently/added?ref=dm_wcp_af_ex&ref_=dm_ws_typ_cp
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https://www.youtube.com/watch?v=l2cczk6aBjU&index=2&list=PLB5F310F1A50A7B3C
https://www.youtube.com/watch?v=uMqLBuNJn5E
https://www.youtube.com/watch?v=m6mfsb6eggM&list=PLMzl7S5Ov2C6Mtw1hgPl-IbEqBTNhV8hF
https://www.youtube.com/watch?v=OXqD1tMZKNs&list=PLMzl7S5Ov2C6Mtw1hgPl-
IbEqBTNhV8hF&index=2
https://www.youtube.com/watch?v=kUgsVjRn_zE&list=PLDjSyiwv-
uyFYVXcqZCyPoimayoZsNz2Q&index=11
https://www.youtube.com/watch?v=qSIj17xbAyk
https://www.youtube.com/watch?v=SXcHwicbyqc
Warm-up:
Have Lomax recordings playing as students walk in and get instruments.
Once students are set up, ask students if they know what type of music is playing.
Ask students what they know about Cajun culture and music, write answers on board.
Activity:
Pass out student packets and discuss history and culture.
Play each example provided and give students time to fill out worksheet.
Have students turn it in.
Play Lomax recordings and have students follow along to lyrics and translation in student packet.
Pass out Cajun Folk Songs.
Sight read movement 1 having all students play solos for first reading. Stop and restart as needed.
Before sight reading second movement have students clap rhythmic ostinato.
Teacher stops clapping once all students are clapping correctly.
Teacher starts conducting in 6/8 2/4 time to show how it fits
Students sight read movement 2 stopping and starting as necessary.
After sight reading, ask students to discuss comparisons and contrasts of Lomax recordings and Tichelli’s
arrangement of the two folk songs.
Assessment: Students turn in worksheet, worth 18 points. 1 point per correct labeling of genre, 2 points
per explanation. Answer Key later in packet
19
Activity 2
Purpose:
The purpose of this activity is for students to identify and play in Dorian Mode. This is very important to
the piece Cajun Folk Songs as the first, soloistic movement is in Dorian Mode. By working on this skill
now students will have fewer problems with intonation in future rehearsals.
Objectives:
Students will identify Dorian mode visually and aurally with 80% accuracy.
Students will perform Dorian mode scales with 80% accuracy.
Students will identify mode of Cajun Songs with 80% participation.
Standards:
MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how the setting and formal
characteristics of musical works contribute to understanding the context of the music in prepared or
improvised performances.
MU:Pr4.3.E.8a Demonstrate understanding and application of expressive qualities in a varied repertoire

of music through prepared and improvised performances.
MU:Pr6.1.E.8a Demonstrate attention to technical accuracy and expressive qualities in prepared and
improvised performances of a varied repertoire of music representing diverse cultures and styles.
Materials:
20
https://www.youtube.com/watch?v=r5EXKDlf44M&list=PLklNl3J9OuS6qdaklhAY31ZsTeDmgWAXk&inde
x=6
https://www.youtube.com/watch?v=krISuyGnjuI
https://www.youtube.com/watch?v=ixUpXB2zJ8M
Warm-Up:
Breathing: In four deep breaths, out four get all air out. Do this 4 times.
Quick break
In for 8 out for 8 smooth and legato deep breathing. Do this four times.
Break
In for 2 out for 2. 4 times
Have students take out scale exercises.
Have students play first 4 exercises smooth and legato.
T “Those scales didn’t sound like what we normally play. Can you identify the scales we played?”
Activity:
At piano show students difference between major, minor, and Dorian.
Draw each on board showing scale degrees raised/lowered.
Listen to each example on youtube.
Have students write Dorian at the top of their scale exercise.
21
Have students take out scale identification worksheet.
Work through first 4 together (first one is already done, do next 3)
Give students 10 minutes to finish worksheet, they are able to work in pairs if they choose.
Have students hand in worksheet does not matter if it is finished.
Take out Cajun Folk Songs.
Have students look at both movements and decide the key of both.
Have students write key at top of each movement.
Have students pull up movement 1 (Dorian movement) and rehearse with solos.
Assessment:
Students turn in Scale identification worksheet. It is graded not on the amount done but the amount
right. I did not want this to be a quiz so students worked in pairs, but they had a limited time to do the
worksheet so I am more concerned about their right answers. Answer Key later in packet
22
Activity 3
Purpose:
The purpose of this activity is to work on the mixed meter in movement 2. Students must be able to
navigate seamlessly between 6/8 and 2/4 while maintaining good vertical alignment. This activity should
help all students master this skill.
Objectives:
Students will navigate between mixed meter with proper vertical alignment through clapping and
playing 80% of the time.
Students will observe articulation in mixed meter with 80% accuracy.
Standards:
MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how the setting and formal
characteristics of musical works contribute to understanding the context of the music in prepared or
improvised performances.

MU:Pr5.3.E.8a Develop strategies to address technical challenges in a varied repertoire of music and
evaluate their success using feedback from ensemble peers and other sources to refine performances.
improvised performances of a varied repertoire of music representing diverse cultures and styles.
Materials:
Warm-Up:
Students pull out Rhythm Warm Up sheet.
Have all students clap first line.
23
Continue clapping until students have mastery of line.
Move to line two and continue clapping until students gain mastery of line two.
Split band into two groups and clap lines one and two at same time.
Continue until all students have mastery and switch lines.
Continue
Have all students clap line 3
Continue until mastery
Split band into 3 parts and have each group clap one line.
Once students have mastery, switch parts and continue.
After mastery once more switch parts for last time and continue.
Activity
Have students play line A on concert Bb or F.
Students find part in song where they play line b. If they do not play it in the song have those students
play line b on Concert Bb or F.
Now have students who do NOT have line B in Cajun Folk Songs play line A on Concert Bb or F while
other students play the part.
Now have students find line C in the song and play together. If they do not have that part they can
choose line A or B on Concert Bb or F.
Finally have all students play their part from Cajun Folk Songs.
Assessment:
I use a Self-Assessment for to get a better understanding of a student’s perception of their mastery of
rhythmic concept.
24
Activity 4
Purpose:
This activity is used to help students understand musicality in Cajun Folk Songs. I am using Arts
Integration to help students come up with their own story based on the music.
Objective:
Students will find a piece of Cajun artwork they feel best represents Tichelli’s Cajun Folk Songs with 90%
participation.
Students will identify how the piece of artwork relates to the song with 90% participation.
Students will create a story based on their artwork and compositional techniques used in Cajun Folk
Songs with 90% participation.
Standards:
MU:Re7.1.E.8a Explain reasons for selecting music citing characteristics found in the music and
connections to interest, purpose, and context.
MU:Cn11.0.T.8a Demonstrate understanding of relationships between music and the other arts, other
disciplines, varied contexts, and daily life.
MU:Re9.1.E.8a Explain the influence of experiences, analysis, and context on interest in and evaluation
of music.
Materials:
25
Warm-Up:
Listen to Lomax recordings following along with Translation in Student packet.
Discuss story told in the lyrics.
Ask students how they think the lyrics relate to the music.
Write some answers on the board.
Activity:
Have students split into groups of four.
Have students pull out story worksheet.
Students must look up Cajun folk art and create a story filling out worksheet.
When students are finished each group will share their picture and story with the band, then discuss
what in the music influenced their decisions for both the picture and the story.
Assessment:
Each group will be assessed through a rubric and a self-evaluation form.
26
Activity 5
Purpose:
The purpose of this activity is for students to use the compositional aspects of Cajun music and the
technical skills learned to improvise their own solo in the first movement of Cajun Folk Songs. This
activity will help students learn play more musically with the written solo.
Objectives:
Students will improvise the solo in Cajun Folk Songs in correct meter and key with 80% accuracy.
Standards:
MU:Cr1.1.E.8a Compose and improvise ideas for melodies and rhythmic passages based on
characteristic(s) of music or text(s) studied in rehearsal.
MU:Cr3.2.E.8a Share personally developed melodies and rhythmic passages – individually or as an

ensemble – that demonstrate understanding of characteristics of music or texts studied in rehearsal.

improvised performances of a varied repertoire of music representing diverse cultures and styles
MU:Pr6.1.E.5b Demonstrate an understanding of the context of the music through prepared and
improvised performances
Materials:
Warm-Up:
Students pull out Cajun Folk Songs Sax Solo.
All students play through solo.
27
Discuss how to make the solo more musical.
Repeat solo adding student ideas to the solo.
Activity
Once students are satisfied with musicality, help students figure out chord analysis of solo.
Have students write chords underneath each measure.
Draw chords on board.
Have students improvise in 2/4 using chord tones on board in half notes while I play roots on piano.
Repeat exercise but add passing tones. I play roots on piano still.
Repeat exercise letting students use varied rhythms of their choice along with notes. I play chords on
piano.
Have students look at their written solo.
Parameters of improvisation: Students will play the first measure as written, improvise solo until first ¾
measure and play what is written to the end.
Improvise again as group adding dynamics and articulation.
Let students improvise solo or in small groups depending on volunteers while the rest of the band plays
root chords.
If this goes well, let students also improvise solo after first ¾ bar to the last ¾ bar.
Assessment:
Student participation checklist
28
Cajun Music Listening Worksheet
Answer Key: Rationale answers may vary
Directions: Listen to each example being played. Determine whether you believe the song is authentic
Cajun music or traditional American folk songs (other) and circle it. Underneath each write a couple
sentences as to why you believe it to be that way.
1. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
2. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
3. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
4. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
5. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
29
Scale Identification Answer Key
Directions: Using your scale exercises write the scale name and related major key by the
corresponding rehearsal letter. The first scale is done for you.
A. Scale: C Dorian Major Key: Bb Major
B. Scale: Db/C# Dorian Major Key: B Major
C. Scale: F Dorian Major Key: Eb Major
D. Scale: Ab Dorian Major Key: Gb Major
E. Scale: F# Dorian Major Key: E Major
F. Scale: Bb Dorian Major Key: Ab Major
G. Scale: Eb Dorian Major Key: Db Major
H. Scale: A Dorian Major Key: G Major
I. Scale: G Dorian Major Key: F Major
J. Scale: D Dorian Major Key: C Major
K. Scale: B Dorian Major Key: A Major
L. Scale: E Dorian Major Key: D Major
30
31
Cajun Folk Story
Answer Key: All Answers will vary
Group Names:________________________________________________
Part I:
Directions: Using a search engine find a picture of a Cajun painting you feel best represents one of the
movements in Cajun Folk Song. Insert the picture below and then describe why you feel the picture is
appropriate for the movement.
Movement chosen:_____
Insert Picture Here:
Explain why you feel the picture best represents the movement you
chose:________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
32
Part II
Directions:
You are creating a story. The picture you chose in part I is now the illustration on the cover of you story.
Using both the picture and movement for inspiration create a story that follows the music.
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
33
Glossary
Acadians: French Colonists from Nova Scotia Canada driven out by British settlers in 1755
Cajuns: Descendants of Acadians located in Louisiana
Creole: A person of mixed European and African or Caribbean ancestry
Dorian Mode: A modal scale starting and ending on the second scale degree of related major scale
G. P. (Grand Pause): A place of rest in music out of time, used to add dramatic effect.
Improvisation: Playing a made up melody in the moment that has been created without prior work
Lomax Recordings: Allan and John Lomax wanted to preserve Cajun music so they recorded authentic
Cajun music in the 1930s
Mixed Meter: Meter containing both compound and simple meter
Modes: Scales starting on different scale degrees of related major scales.
Ostinato: A rhythmic pattern being repeated throughout the piece
Phonograph: musical device that plays records
Strophic Form: Form where different words are played to the same music (verses and chorus)
Tempo I: Return to first tempo of piece
Theme: Musical phrase/idea
Theme A: The first theme presented in a piece
Theme B: The second theme presented in a piece
Zydeco: Creole music fusing blues and music of indigenous Louisiana people
5/4 time: 5 quarter notes per measure: this can be felt in 3+2 or 2+3 (mixed meter)
34
Student Guide
Cajun Folk Songs

By Frank Tichelli
Manhattan Beach Publishing
Grade 3.5
35
Unit Goals:
 Develop deeper understanding of Cajun music and culture

 Develop solo playing skills
 Take ownership of musical decisions
 Navigate mixed meter as an ensemble
 Students will learn and perform scales in dorian mode
Composer
Frank Ticheli was born on January 21, 1958 in Monroe, Louisiana. He is a composer of orchestral,
chamber, choral, and concert band works. Previously he served as Assistant Professor of Music at Trinity
University in San Antonio, Texas. From the years of 1991 to 1998, he was the resident composer for the
Pacific Symphony. He is currently a composition professor at the University of Southern California.
He was the only member of his immediate family to further his music education. He had a very
musical grandfather who played saxophone in a jazz band. He also had cousins who were founding
members of the group Dukes of Dixieland. To further his own education, Ticheli received bachelor’s
degrees in both music education and theory/composition from Southern Methodist University. He then
went on the University of Michigan to obtain both a masters and doctorate in composition.
His works have become standard in the concert band repertoire throughout the United States and
Europe. He has appeared as a guest conductor in Carnegie Hall and many different cities around the world.
His works have won numerous awards including the 2006 National Band Association/William D. Revelli
Memorial Band Composition Contest, and the first-prize award in the Delius Composition Contest (2000).
Other works include, Vesuvius, An American Elegy, An American Dream (For Solo Soprano), Earth Song,
and Out of the Blue.
Composition
This piece is written in two movements commissioned by Murchison Middle School Band of
Austin, Texas. This piece is scored for flutes 1-2, Oboe 1-2, Bassoon 1-2, Clarinet 1-3, Alto Clarinet, Bass
Clarinet, E-flat Contrabass Clarinet, E-flat Contra-alto Clarinet, B-flat Contrabass Clarinet, Alto Saxophone
1-2, Baritone Saxophone, Trumpet 1-3, Horn 1-2, Trombone 1-3, Euphonium (TC and BC), Xylophone,
Marimba, Suspended Cymbal, sand blocks and cabasa, Medium-Large Triangle, Castanets, Tambourine,
Tom-Toms, and Bass Drum. It was written in 1991 and runs approximately 6:15. It is based on two folk
songs put together by John and Allan Lomax. “La Belle et le Capitaine,” and “Belle” respectively. The first
movement tells the story of a girl who dies to avoid being seduced by a captain. The second movement is
about a man who goes to Texas and is forced to return to Louisiana once he hears of his girl’s illness. Once
he returns he attempts to pawn his horse to save her life, but he is too late. The music for these
movements were collected from a 1934 phonograph recording.
The lyrics for the original recording in French and English translation:
36


Translation
37
Belle







38
Translation






Historical Perspective
Cajuns depicted in this music are descendants of Acadians, which were French Colonists from
Nova Scotia. They were driven out by Britain and settled in Southern Louisiana and parts of Texas. During
this time (1755-1763) France and Great Britain were fighting over what is now Quebec. Acadians refused
to support the French but Great Britain was fearful of their alliances as well. Southern Louisiana was under
39
Spanish rule at the time and Acadians eventually settled there. These Acadians were poor Catholic
farmers. Acadians settled here between 1765-1785. France turned over this portion of Southern Louisiana
to the Spanish and they welcomed these settlers as they saw them as idea.
John and Allan Lomax (father-son) were important figures in recording much of the information
we have about early blues, Cajun, and New Orleans jazz. They traveled all over the country recording live
music from the 1930s and 1940s. The music from this region became extremely Americanized which is
what prompted John and Allan to drive around these areas and record live performances of traditional
Cajun music. These recordings were for the Archive of Folk Music in the Library of Congress. They also
published many song books which are no longer in print.
Technical Considerations
Ticheli describes this piece as a grade 3 ½. Range is not an issue in this level, but this piece calls
for many soloists: flute, oboe, clarinet, saxophone, trumpet, horn, low brass, and percussion. Clarinets do
cross the break, but clarinet 3 does not cross the break often. The range of the trumpet gets a little high
(A5) so this could pose a problem for some students. Thankfully, more unique instruments like the E-flat
contra-alto clarinet and B-flat contrabass clarinet basically doubles the Tuba part. The second movement
has some tonality shifts. The first movement is basically in D Dorian while the second movement is in F
Major.
The first movement (D Dorian) has a free flowing melody starting in the saxophone. The main
melody moves freely around the band. This movement also changes effortlessly between 2/4 and 3/4
time signature. The second movement (F Major) is written in 5/4 but also touches 2/4, 3/4, and 4/4. This
second movement was originally written to be played slower, but Ticheli sped up the tempo when he
discovered it was more effective.
In both movements it is important to maintain tempo and use expressive dynamics. Melody is
written in unison and octaves so tuning and balance may also pose problems for some bands. Parts are
pretty individual so the responsibility remains mainly in the student’s preparation. They must be confident
in their parts as well as counting rests.
Stylistic Concerns
The first movement requires great musicality. The flowing melody and solo lines need wide
dynamic contrast to effectively portray the story. Articulated passages should not have a harsh tongue.
Young musicians tend to clip the ends of notes and phrases, so this is the perfect teaching opportunity for
students to expand phrases and use full valued notes. Orchestration is also extremely important to help
with color shifts. Students must be aware of their part and how it fits in the ensemble. In the second
movement, accents are extremely important along with dynamics. Articulations of the second movement
should be light, not clipped and heavy. This movement represents a dance.
Musical Elements
The soloist lines of the first movement require great musicianship and flow. Ticheli has noted that
he doesn’t start conducting until measure seven giving the soloist free reign of musicianship. The dynamic
40
swells in the first movement are also never done enough. He notes that they are very important. As an
educator of young developing musician, in the first movement it would be important to discuss where to
breath so they do not disrupt the line. Intonation will be important with all the unison and octave writing.
This is a good piece to use singing technique in rehearsal to feel the singing quality of the melody. Harmony
of this piece is based on D Dorian. This gives teachers a great opportunity to discuss all modes in relation
to major scales. Many students are not exposed to modes until college. This gives students a better
understanding of all music.
The second movement represents a dance so it has varied textures and colors. Accents here are
important to help drive the uneven meter feel. After completion of this work Ticheli found that having the
second movement played faster makes more musical sense. It is noted that quarter note equals 152-160,
but Ticheli suggests to play this movement at 168. He also feels it is easier to conduct this movement as
6/8 2/4 bars. The music flows much better with this pattern style and faster tempo. Harmony of this
movement is F Major. The challenge rhythmically in this piece will be keeping a steady tempo. Teachers
must have students subdivide to the sixteenth note. For both movements, the teacher must always
encourage and establish good tone quality. This helps with intonation and balance problems as well.
Form and Structure
Movement 1:
Measures 1-16: Theme 1 Alto Sax Solo Section, Solo Clarinet accompaniment at m. 7. In D Dorian, Quarter
Note equals 63
Measures 17-38: Restatement of Melody and accompaniment without flute. Melody in Clarinet, Alto
saxophone, and trumpet.
Measures 39-49: Flute enters, Bottom drops out, development/transitional material/ fragmented melody
Measures 50-62: Final statement of melody in Oboe, Clarinet, Alto Sax, B-flat Trumpet, Trombone, and
Euphonium. Full band plays
Movement 2:
Measures 1-4: Introduction Sand blocks, Oboe, and Alto Saxophone Melodic Rhythm
Measures 5-11: Main Theme Introduced in Trumpet
Measures 12-21: 2nd Theme Introduced in Woodwinds, New percussion ostinato
Measures 22-27: Theme A restated in woodwinds, no percussion
Measures 28-30: Partial Theme B in Flute/Oboe
Measures 31-57 Theme A Develops, tonality and color
41
Measures 58-64: Theme B in flute oboe and xylophone
Measures 65-68: Theme A fragmented
Measures 69-73: Theme B fragmented
Measures 74-81: Theme A fragmented and developed
Measures 82-87: Transition to new tempo
Measures 88-91: Quarter note equals 88 Transition Theme A in Tenor Saxophone
Measures 92-100: Theme A passed around, Trumpet, Flute, Alto Saxophone
Measures 101-103: Theme B Upper Voices
Measures 104-119: Theme A and B Together
Suggested Listening
Lomax,Alan:
Alan Lomax Collection Sampler. CD. Rounder Select Label. 1999.
Cajun and Creole Music, Volume 1 1934/1937. CD. Rounder Select Label. 1999. “Belle”
Cajun and Creole Music, Volume 2 1934/1937. CD. Rounder Select Label. 1999. “La Belle et le Capitaine”
Ticheli, Frank:
Cajun Folk Songs II. Manhattan Beach Music. 1997.
A Shaker Gift Song. Manhattan Beach Music. 2004.
Vesuvius. Manhattan Beach Music. 1999.
42
Warm-Up 1
Listen and discuss type of music
Warm-Up 2
43
Warm-up 3
Warm-Up 4

44

Translation
Belle

45





Translation

46




Discuss story
Warm-up 5
47
Practice Guide
1. Breathing Exercises
a. Inhale for 4 beats out for 4 beat at 75 bpm. Do for 8, 2, and 1 beat
b. Inhale for 4 beats, hold for 4 beats, sip 4 beats, hold 4 beats exhale as long as possible
c. Inhale 8, 16, 24, sizzle out 8, 16, 24. Inhale fully and exhale all air
2. Long Tones:
a. Remington: Start on concert F. Hold each note of a chromatic scale for 8 beats returning
to F after each note.
b. Record yourself playing one note with good support for 8 beats. Focus solely on warm
tone. Do this in all ranges of instrument.
c. Sustain note for 8 counts crescendo to the loudest you can with good tone for 4
decrescendo for 4 to softest you can focusing on good tone in all dynamic ranges
3. Scales:
a. Use scale warm up provided and play each scale at varying tempos and rhythms, extend
2-3 octaves if possible. (Swing, 16th notes, straight 8ths, dotted rhythms, in 6/8 time,
etc.)
b. Use each line of rhythmic warm up playing each note of a scale for an entire measure
using different articulation for each time through (legato, staccato, accented, marcato)
4. Woodwinds work on mm 80-84 in movement 2 and 120- the end.
5. Brass work on articulation throughout movement 2
6. Always use a metronome!!!!
7. Record and submit the following (due dates will be discussed in class)
a. Any and all solos
b. Upper WW Record one time you have the melody in movement 1 playing as musically as
possible and 61-67 and movement 2 80-85 and 120-end
c. Lower WW movement 1 34-40 focusing on good tone during the decrescendo, and 56-
end focusing on tone and intonation. Movement 2 74-88 focus on intonation and even
crescendo.
d. High Brass 50-end (this can be sent in two separate recordings) focus on dynamics and
style. Movement 2 101-110 focus on beat and articulation, 126- end focus on dynamics
e. Low brass movement 1 54-end (can be cut into two recordings) focus on dynamics and
articulation. Movement 2 31-37 (all but tuba) Tuba 54-58, All 96-103, 120-126
intonation at ff, Tbone 1 126-end.
48
Cajun Music Listening Worksheet
Directions: Listen to each example being played. Determine whether you believe the song is authentic
Cajun music or traditional American folk songs (other) and circle it. Underneath each write a couple
sentences as to why you believe it to be that way.
1. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
2. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
3. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
4. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
5. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6. Cajun Other
Why:__________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
49
Scale Identification Answer Key
Directions: Using your scale exercises write the scale name and related major key by the
corresponding rehearsal letter. The first scale is done for you.
A. Scale: C Dorian Major Key: Bb Major
B. Scale: Major Key:
C. Scale: Major Key:
D. Scale: Major Key:
E. Scale: Major Key:
F. Scale: Major Key:
G. Scale: Major Key:
H. Scale: Major Key:
I. Scale: Major Key:
J. Scale: Major Key:
K. Scale: Major Key:
L. Scale: Major Key:
50
Cajun Folk Story
Group Names:________________________________________________
Part I:
Directions: Using a search engine find a picture of a Cajun painting you feel best represents one of the
movements in Cajun Folk Song. Insert the picture below and then describe why you feel the picture is
appropriate for the movement.
Movement chosen:_____
Insert Picture Here:
Explain why you feel the picture best represents the movement you
chose:________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
51
Part II
Directions:
You are creating a story. The picture you chose in part I is now the illustration on the cover of you story.
Using both the picture and movement for inspiration create a story that follows the music.
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
52
53
Glossary
Acadians: French Colonists from Nova Scotia Canada driven out by British settlers in 1755
Cajuns: Descendants of Acadians located in Louisiana
Creole: A person of mixed European and African or Caribbean ancestry
Dorian Mode: A modal scale starting and ending on the second scale degree of related major scale
G. P. (Grand Pause): A place of rest in music out of time, used to add dramatic effect.
Improvisation: Playing a made up melody in the moment that has been created without prior work
Lomax Recordings: Allan and John Lomax wanted to preserve Cajun music so they recorded authentic
Cajun music in the 1930s
Mixed Meter: Meter containing both compound and simple meter
Modes: Scales starting on different scale degrees of related major scales.
Ostinato: A rhythmic pattern being repeated throughout the piece
Phonograph: musical device that plays records
Strophic Form: Form where different words are played to the same music (verses and chorus)
Tempo I: Return to first tempo of piece
Theme: Musical phrase/idea
Theme A: The first theme presented in a piece
Theme B: The second theme presented in a piece
Zydeco: Creole music fusing blues and music of indigenous Louisiana people
5/4 time: 5 quarter notes per measure: this can be felt in 3+2 or 2+3 (mixed meter)
54

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670 Secondary Teacher and Student Guide

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Teacher Guide

Cajun Folk Songs

For High School Band

Le plus jeune des trois,

Au bout-e de trois jours

Mais si j' une belle ici, Belle,

J'ai pris ce char ici, Belle

Y avait just' trois jour, Bel-

Que t'étais bien malade, Belle,

Quand j'arrivais à toi, Belle,

J'ai emporti-qué mon ch'val, Belle,

S'abandonner c'est dur, Belle,

If I've a babe in town, Babe,

Three days I hung around, Babe,

Said you was sick and low, Babe,

When I got off that train, Babe,

My bronc' I had to sell, Babe,

It's not so hard to go, Babe,

Unit 3: Historical Perspective

Unit 4: Technical Considerations

Unit 5: Stylistic Concerns

Unit 6: Musical Elements

Unit 7: Form and Structure

Measures 62-74(end): Coda

Measures 5-11: Main Theme Introduced in Trumpet

Measures 12-21: 2nd Theme Introduced in Woodwinds, New percussion ostinato

Measures 22-27: Theme A restated in woodwinds, no percussion

Measures 28-30: Partial Theme B in Flute/Oboe

Measures 31-57 Theme A Develops, tonality and color

Measures 58-64: Theme B in flute oboe and xylophone

Measures 65-68: Theme A fragmented

Measures 69-73: Theme B fragmented

Measures 82-87: Transition to new tempo

Measures 88-91: Quarter note equals 88 Transition Theme A in Tenor Saxophone

Measures 92-100: Theme A passed around, Trumpet, Flute, Alto Saxophone

Measures 101-103: Theme B Upper Voices

Measures 104-119: Theme A and B Together

Measures 120-132(end): Coda

Unit 8: Suggested Listening

Cajun Folk Songs II. Manhattan Beach Music. 1997.

A Shaker Gift Song. Manhattan Beach Music. 2004.

Vesuvius. Manhattan Beach Music. 1999.

Unit 9: Additional References and Resources

Have Lomax recordings playing as students walk in and get instruments.

Pass out student packets and discuss history and culture.

Have students turn it in.

Pass out Cajun Folk Songs.

Teacher stops clapping once all students are clapping correctly.

Teacher starts conducting in 6/8 2/4 time to show how it fits

Students sight read movement 2 stopping and starting as necessary.

Students will perform Dorian mode scales with 80% accuracy.

Students will identify mode of Cajun Songs with 80% participation.

MU:Pr4.3.E.8a Demonstrate understanding and application of expressive qualities in a varied repertoire

In for 2 out for 2. 4 times

Have students take out scale exercises.

Have students play first 4 exercises smooth and legato.

At piano show students difference between major, minor, and Dorian.

Draw each on board showing scale degrees raised/lowered.

Listen to each example on youtube.

Have students write Dorian at the top of their scale exercise.

Work through first 4 together (first one is already done, do next 3)

Have students hand in worksheet does not matter if it is finished.

Take out Cajun Folk Songs.