Secondary Teaching Unit

Celtic Air and Dance no. 3

Arr. Michael Sweeney

MUSIC 670- Spring 2018

Sarah Grose
Unit Introduction
Title: Celtic Air and Dance no. 3
Composer/ Arranger: Michael Sweeney
Grade Level: 2

Unit Objectives:
Students will:
 Use a provided flow study to learn the main melody and harmony of “Red is the Rose.”
o Identify the chordal intonation based on the provided flow study.
 Develop proper articulation in the “Bill Sullivan’s Polka” section of Celtic Air and Dance
no. 3
 Perform with distinct styles between “Red is the Rose” and “Bill Sullivan’s Polka”
 Smoothly transition the melody from section to section in “Red is the Rose.”
 Describe the cultural context of Irish folk songs by researching, “Red is the Rose,” and
“Bill Sullivan’s Polka.”
 Assess their personal performance in order to improve as an ensemble.
National Standards Addressed:
 Cr.4.P Share personally-developed melodies, rhythmic passages, and arrangements –
individually or as an ensemble – that address identified purposes.
 Cr.3.N Evaluate and refine draft compositions and improvisations based on knowledge,
skill, and teacher-provided criteria.
 Pr.1.Ad Develop and apply criteria to select varied programs to study and perform based
on an understanding of theoretical and structural characteristics and expressive challenges
in the music, the technical skill of the individual or ensemble, and the purpose and
context of the performance.
 Pr.2.Ad Examine, evaluate, and critique, using music reading skills where appropriate,
how the structure and context impact and inform prepared and improvised performances.
 Pr.3.Ac Demonstrate how understanding the style, genre, and context of a varied
repertoire of music influences prepared and improvised performances as well as
performers’ technical skill to connect with the audience.
 Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.
 Re.2.Ac Explain how the analysis of structures and contexts inform the response to
music.
 Re.4.P Evaluate works and performances based on personally- or collaboratively
developed criteria, including analysis of the structure and context.
Score Analysis
Unit 1 Composer/ Arranger
Michael Sweeney is currently Director of Band Publications for Hal Leonard Corporation
in Milwaukee, WI one of the largest publishers of printed music in the world. Michael is directly
responsible for the development, production, recording and marketing of new publications for
school bands. In addition, he contributes as a composer and arranger in all instrumental areas,
and is particularly known for his writing at the younger levels for concert band and jazz. Since
joining the company in 1982, Hal Leonard has published over 500 of his compositions and
arrangements.
Mr. Sweeney is a 1977 graduate of Indiana University (Bloomington) where he earned a
degree in Music Education, and also studied composition with Bernard Heiden, John Eaton and
Donald Erb. Prior to working for Hal Leonard he was a band director in Ohio and Indiana,
working with successful concert, jazz and marching programs at all levels from elementary to
high school.
A winner of multiple ASCAP awards, his Ancient Voices (1994) and Imperium (1992)
are featured in the acclaimed “Teaching Music through Performance” series by GIA
Publications. Other compositions such as Black Forest Overture (1996), The Forge of Vulcan
(1997), and Distant Thunder of the Sacred Forest (2003) have become staples in the repertoire
for middle school bands. He has received commissions ranging from middle school and high
school bands to the Eastman Wind Ensemble and Canadian Brass. His works appear on
numerous state contest lists and his music is regularly performed throughout the world. Michael
is also in demand as a clinician and conductor for honor bands and festivals.
Michael resides north of Milwaukee where he enjoys fishing and playing the bodhran.
Unit 2: Composition
As in the previous Celtic Air and Dance arrangements, No. 3 presents two familiar folk
songs in contrasting styles. “Red is the Rose” (as it is known in Ireland) uses the same basic
melody as the Scottish “Loch Lomond” and is treated here in a flowing ballad style. The lyrics
themselves are quite simple, and tell a love story with a sad, wistful ending. Two lovers swear
their love and eternal devotion to one another in the first two verses and in the final verse they
must separate due to emigration. Many Irish natives had to deal with this throughout their entire
lives and the beautiful melody here should depict that longing and heartbreak. Below is a picture
of Loch Lomond, and the melody while depicting a love story, could be used to envision a
beautiful place such as this and all the desires that fill your heart in love and in losing love.
 “Bill Sullivan’s Polka” begins at m. 39 and features a lively melody stated by the flutes
and eventually by the rest of the band. The original tune was composed by the Gleantann-
concertina, accordion, and fiddle player Terry “Cuz” Teahan. Teahans tune originally contained
a third part that has since been dropped. This folk song brings energy and life to the piece and
adds a nice contrast from “Red is the Rose.” This area will need to focus on articulation and
matching styles throughout the entire ensemble
Unit 3: Historical Perspective
“Red is the Rose” is originally an Irish folk song portraying the love story of two
different souls. The lyrics of the first two verses have the lovers swearing love and eternal
devotion to one another. “Come over the hills to your darling. You choose the road, love, and
I’ll make the vow. And I’ll be your true love forever.” “Twas down by Killarney’s green woods
that we strayed. When the moon and the stars they were shining. The moon shone its rays on
her locks of golden hair. And she swore she’d be my love forever.” Many people have searched
for exact meanings of these two verses, all coming to the conclusion that two emigrants have met
one another and fallen in love, the final verse is where the discussions really pick up: “It’s not for
the parting that my sister pains. It’s not for the grief of my mother. Tis all for the loss of my
bonny Irish lass. That my heart is breaking forever.” This verse in itself has many people
searching for an explanation. What does he mean when he is talking about his mother and his
sister? Why are they upset? Did the man in the story die? Did his true love die? A sure answer
has not been found. But I think that helps with the beauty of the song, in life you lose people,
people who mean the world to you. And sometimes you have no idea why they left. But the real
beauty in that tragic time, is how you move forward from it, how you overcome it. And
ultimately I think Alfred Lord Tennyson said it best when he said, “Tis better to have loved and
lost than never to have loved at all.” I think that’s the motive of “Red is the Rose.” To take
risks, and allow yourself to fall in love.
“Bill Sullivan’s Polka” The song was immigrated to Chicago in 1928 and has been talk to
local musicians ever since. This tune is best known as a “Bill Sullivan’s” but is also called
“Mickey Chewing Bubblegum,” and sometimes “Kevin Burke’s” because he teaches this song
on DVD #1 of “Learn to Play Irish Fiddle: Polkas, Jigs, & Slides” due to its origin as a folk song,
there is no set history on this piece either, but many scholars and curious musicians have gone
searching for answers. The most similar historical perspectives that I could find were those that
talked about depicting a normal day walking through the streets and towns of Ireland. All of the
different sounds represent the people, and what they add to the culture. In this case, we are
reminded that each part is very important, and holds a specific role in our song. As the
musicians it is our responsibility to bring these parts to life and give them a personality.
Unit 4: Technical Considerations
In “Red is the Rose” the notes and rhythms seem simple, but they still need to be played
technically accurate. The whole note chordal structure needs to move and breathe together,
while supporting the melodic line. Those who have the melody, should just float over the top of
the ensemble in a sing-song fashion. Nothing in this section should be forced or rugged, it all
must be smooth and effortless.
For “Bill Sullivan’s Polka,” there is a lot more to consider for the technical aspects. The
flutes need to match articulation across the entire section to set the proper dance tune and style
that this section comes with.

As this section progresses starting at m. 47 the entire ensemble comes in with lines that
complement the melody. It starts with the 2nd clarinets and their quarter note line. These
quarter notes need to line up with the quarter notes in the melody.

In m. 55 there is a new style to the folk song that adds a more lyrical aspect. The off
beats and quarter notes need to line up with the melodic phrase and need to be light and delicate.
They cannot be overbearing as well. Think of pizzicato articulations on a string instrument and
try to emulate that.
 Overall the ensemble needs to make sure that the styles are very contrasting and that
articulation is appropriate to the folk song.
Unit 5: Stylistic Considerations
Celtic Air and Dance, is a great piece of music to introduce stylistic differences in a
young ensemble. The beginning section will cause the ensemble to focus on chordal tuning as
well as how to support a single melodic line. For example at m. 5 every voice is supporting the
melodic line in the trumpet and that line must naturally flow over the top of the ensemble.
Starting in m. 32 the ensemble needs to be aware of the push and pull that I as the
conductor will be doing. From that point on is a transition to the faster section known as “Bill
Sullivan’s Polka.” This starts with snare drum clicks in m. 38 and then the new section starts
with flutes on melody and sustained notes in the alto sax and clarinet.
In “Bill Sullivan’s Polka” stylistic considerations are derived from the voice choices as
well as the articulations. The quarter notes throughout the section should be light and separated
but have to remain in tempo. In m. 55 a new melody occurs, but is focused on the same dance
style. This should be light and effortless as if dancing with a partner.
The piece should end brilliantly and with a full rich sound. The original melody in “Bill
Sullivan’s Polka,” returns and ends the piece with a familiar and comfortable tune.
Unit 6: Musical Elements
There are two main melodies being represented in this piece, “Red is the Rose,” and “Bill
Sullivan’s Polka.”
The beginning of the piece needs to be delicate and a nice relaxed mezzo piano and the
dynamics only increase due to the added layer of voices. The only time that there should be a
drastic change in dynamics through this piece is in m. 26 leading up to the climax of the section
in m. 30. After this the dynamics will begin to fade out making the completion of this section
clear.
The snare drum clicks in m. 38 are used to initiate the tempo change and style change that
is then taken over by the flutes in m. 39. The volume should be full but not crazy loud. The
flutes need to establish the correct style of accents on beats one and two of the first measure and
beat two of the second measure etc. As more voices add in it is of the utmost importance that
articulations are exaggerated so that the piece does not become heavy and drag.
Unit 7: Form and Structure
1. Intro
a. M. 1-4
i. Concert Eb Major, slow and deliberate, eery, and suspenseful. This
section should naturally fade into the melody at m. 5 and intonation is of
the utmost importance in this section.
2. A- “Red is the Rose”
a. M. 5-37
i. Labeled “Gently” this section of the piece is the first folk song in the piece
and the ensemble must pay special attention to the delicacy and emotional
aspects of this section. “Red is the Rose” represents a love poem that ends
in tragedy and the dynamics need to really demonstrate this aspect. The
melody should flow over the chordal structure and the chords need to lead
the dynamics.
3. Transition:
a. M. 38
i. Snare stick clicks, to establish the new tempo into “Bill Sullivan’s Polka”
“Bill Sullivan’s Polka”
4. M. 39-m.54
a. The flutes start out the new section with a completely contrasting melody.
Articulation is of the utmost importance in this section and the accents should be
used as almost a springboard to the next note. In m. 47 the clarinets and alto
saxes join the flute melody and there are now accented quarter notes. It is
important to align the articulation from top to bottom and the accents should not
become heavy.
5. C
a. 55-62
b. A new legato style is introduced in the melody and the rest of the ensemble is now
playing staccato quarter notes and off-beats. The staccato notes need to still have
a nice resonant tone and be light as well. The melody should be smooth and
delicate to show a vast contrast from the previous section.
6. B
a. 63-72
i. Similar responsibilities in this section but now there are more people
playing the accented quarter notes. Keep these full and resonant without
causing them to drag.
7. Transition
a. 73-80
i. Percussion break. Strong articulations and balance from top to bottom.
8. C
a. 81-96
 i. Smooth and staccato notes again need to still resonate and not rush. Off-
beats need to stay on top of the tempo and not cause the ensemble to drag.
9. B
a. 97-104
i. The last time this is theme is played and it should be a large statement and
effortlessly transition into the ending of the piece.
10. Coda
a. 105-end
i. As voices naturally drop out, the dynamics will slowly fade as well. In m.
108 and 109 the percussion should completely come out of the texture
leading the ensemble to a big dramatic finish.
Unit 8: Suggested Listening
1. https://www.youtube.com/watch?v=OyT94WO7Oag&t=37s
2. Celtic Air and Dance No. 1
3. Celtic Air and Dance No. 2
4. https://www.youtube.com/watch?v=KmHnKn8-1zE
a. Bill Sullivan’s Polka
5. https://www.youtube.com/watch?v=eqC-HkrMZHU
Unit 9: Additional References and Resources
1. “Bill Sullivan's (A).” Slowplayers.org, 14 Dec. 2014, slowplayers.org/2014/05/04/bill-
sullivans-a/
2. The score provided the composer information as well as the information about the piece.
3. http://blogs.jwpepper.com/index.php/band-composer-series-michael-sweeney/
 Song Analysis:
Measure 1-4 5-37
Form Introduction A Section

Phrase Structure
Tempo Quarter = 80 Quarter Note=100

Dynamics Piano-Mezzo piano Big range of dynamic contrast. It starts at a piano and leads to the climax of
the section in m. 23 The ensemble should continually grow and allow for
different peaks and valleys in this section in order to better represent the
musical phrase.

Meter/ Rhythm 4/4 4/4

Tonality Concert Eb Major Concert Eb
Harmonic Motion I I V V I vi ii V I vi IV V
Orchestration Trumpets, Alto Sax, Trumpet melody (tuba, Trombone, French horn, Bari sax, Tenor Sax, Alto sax, Bass
French Horn, Clarinet, Clarinet, Bassoon) Flute, oboe, and trumpet melody (Bassoon, bass clarinet,
Clarinet, and Flute alto sax, tenor sax, horn, trombone, tuba) Low Brass melody (Clarinet, Alto Sax,
Tenor Sax)

General Character Smooth, Pure, and Beautiful, longing, and emotional. This section of the piece is the ballad, it is
Introductory representing the song "Red is the Rose" or "Loch Lohmond." The music needs to
represent the love song in a pure and real way.

Means for This section sets up

Expression the entire beginning
section, it musc be
soft and beautiful. There are endless opportunities for this section to be musical, and all of those need to
Allow the conductor be taken advantage of. This section has multiple opportunities to push and pull the
to dictate time and tempo, as well as to experiment with dynamics and different balance across the
push/ pull the ensemble.
ensemble in order to
properly introduce
the new theme.

Conducting This doesn't need to

Concerns be conducted in four
the entire time.
Move into more of a Melding, again not every beat needs to be conducted and doing so doesn't represent
macro 2 or 4 even the fluidity that is wanted in this section. Find ways to combine beats as well as use
but make sure the less to show more. In some measures it's possible to just show the dynamics don't be
ritardono in m. 4 is afraid to do that.
still clear and
concise. Cues should
be small and simple
gestures.
 Rehearsal Have these members Create a function chorale to represent the chordal structure and give the ensemble
Considerations of the ensemble play ways to practice with experimentation of dynamics and tempo. This is also a good way
as softly as they can, to represent the change of the melody and fluidity in transitions. Also make sure to
not being concerned discuss the meaning of this song with the ensemble because if they don't understand
about tone or tuning. what is happening in the music and it will allow for more musical understanding.
Then slowly have
them add the tone
and build on the
volume a little bit.

Measure 38-58 59-70

Form B Section C Section
Phrase Structure

Tempo Quarter = 116 Quarter = 116

Dynamics Mezzo Forte/ mezzo piano Forte
Meter/ Rhythm 2/4 2/4
Tonality Concert Bb Concert Bb
Harmonic I I
Motion
Orchestration Begins with Flutes and a drone in the clarinet and alto sax. Clarinets set up the new dance feel in this
Voices slowly add in like, oboe, trumpet, and alto sax on the section. As in the previous section, voices
melody. Lows tend to have accented quarter notes on beats 1 & slowly add in and layer the melody.
2 or just beat 1. When this melody is repeated there are more
voices on part, we add trumpets to the melody
and horns to the bass line.

General Big and full. This is a dance section and needs to be treated as Fun and light
Character such. Make it fun.

Means for In a dance it is important to remember that not all beats are This section needs to be lighter in order to add
Expression important. In the main melody that is first stated by the musicality to the piece.
flutes, it is important to use the accent on beat two as a The repeated section can be slightly louder and
springboard, and realize that the eighth and sixteenth note used as a way to lead up to the B section
is not its own thing, but a result of the accent. Lows can
really develop a rich deep tone in order to emphasize the
dance feel.

Conducting Keeping a good 2 pattern. Showing the expression of the
Concerns dance and fun through facial expressions as well as finding
ways to not just beat a two pattern the whole time. Find
spots to take a risk.
Facial expression and demanding a slightly
softer dynamic from the ensemble through
pattern size.
Giving good cues to the voices that come in the
second time.
 Rehearsal Get people into the mood of a dance, play them an example
Considerations of the polka and have accents be represented through
stomps, staccatos represented with staccatos and get that
feel into the ensemble then have people 12mmolate that on
their instruments.
Same concept of dancing and this time having
it be more of a dose do with a partner.
Run the section with just the quarter note hits,
but make them eighth notes to emphasize the
importance of vertical alignment.

Measure 71-86 87-94

Form B Section Percussion Break
Phrase
Structure

Tempo Quarter note=120 Quarter note= 120

Dynamics Forte Forte
Meter/ 2/4 2/4
Rhythm
Tonality Concert Bb Major Concert Bb Major
Harmonic I I V I
Motion
Orchestration The entire ensemble is playing in this section and balance is All percussionists except for the bells play in this
of the utmost importance. Make sure that the accented section, it is used to have a different transition
quarter notes don't rush in this section. Also make sure that and new style to the piece.
as in the previous section, the instruments with the melody
use the accents as more of a springboard to the next couple
of notes.
General March, Big, Pompous. Big
Character

Means for The second time around could prove to be more Use this as a pivot for the piece and allow it to be
Expression challenging than the first time around. It will challenge the big. This is the percussions moments to shine.
ensemble to be more musical and make a difference in
dynamics to create a musical experience for all. Students
should find other ways to represent a dance and will need to
accentuate dynamics as well.

Conducting Big punches on the accented notes this time around. You Make sure to give a good cue for them so that
Concerns shouldn't need to conduct as much due to it being a there is no confusion on when they come in.
repeated section of the music and the familiarity from the
ensemble. This gives you as a conductor many
opportunities to use different facial expressions. Make sure
to cue the legato quarter notes in the low brass.
 Rehearsal This section could also include a dance activity as well as Similar to the ensemble, the percussion need to
Considerations having the student’s just play the accented notes to work on represent the dance feel and use proper
vertical alignment. It is also possible to write out rhythms articulation.
for the ensemble to work on during warm ups. These
rhythm sheets should have accents, staccatos, legato
markings, and slurred notes.

Measure 95-119 120-125

Form C Section Coda

Phrase
Structure

Tempo Quarter Note=120 Quarter Note=120

Dynamics Forte Mezzo Forte-Forte

Meter/ Rhythm 2/4 2/4

Tonality Bb Major Bb Major

Harmonic I I
Motion
Orchestration The entire ensemble is playing in this section and Voices slowly fade out into the last four
balance is of the utmost importance. Make sure that the measures, until there is a slght percussion
accented quarter notes don't rush in this section. Also break ending in a sixteenth note run and
make sure that as in the previous section, the instruments big exclamation point of a down beat.
with the melody use the accents as more of a springboard
to the next couple of notes.

General March, Big, Pompous. Finally and exclamatory.

Character

Means for Although the audience is now familiar with this section, Allow for the lack of instrumentation to be
Expression that doesn't mean the ensemble can relax. The musical an easy way to add decrescendos. Then
intesity needs to last the entire time. have the last 4 measures be the biggest part
of the piece.
 Conducting Again, making sure that I as the conductor am staying Big cues and a clear cut off to represent
Concerns engaged and keeping the ensemble attentive. what you want the last sound the audience
to hear.

Rehearsal Represent the dance feel and use proper articulation, Have everyone play their parts in order to
Considerations don't get lazy and let these things slip that you've worked match style and then run that section. Hold
so hard on. the last note for intonation and then have
them just play the note duration.
 Activity #1: Introductory Flow Study
Related Objectives:
Students will:
 Use a provided flow study to learn the main melody of “Red is the Rose,” and identify
the chordal progression.
 Identify the chordal intonation based on the provided flow study.
Warm-up:
For a warm-up to this activity students will begin with breathing exercises to put them in the
correct mindset for rehearsal. Activities for warm-up will include Remington’s and Remington
variations (shown below.) The provided chart shows the basic function of a Remington (pick a
starting note and go down in half step increments. The great thing about a Remington exercise is
it can start on any note, as well as work on the purpose of tuning. Have the lows sustain the
starting pitch while the rest of the ensemble moves notes, have the ensemble play up in half steps
instead, and even have a drone and one group play up in half steps while the other group plays up
in half steps.

Purpose:
The purpose of the first activity is to introduce the chordal progression and melody found in the
“Red is the Rose” section of Celtic Air and Dance no. 3. Tone in my opinion is the #1
fundamental technique to teach to an individual and an ensemble, if your students don’t sound
good, no audience will want to listen to them. This activity will provide the teacher with
opportunities to work on tone, chordal tuning, dynamics, and the necessity of smooth transitions
between voices for the melody. This flow study will provide an opportunity for students to listen
to a part other than their own which is a crucial element of ensemble building as well as
ensemble strength building. This flow study can and will be continuously used through the unit
as well to address other musical elements and foster creative thinking from the ensemble
members.
 Procedure:
1. Instruct students to open their student guide to the Remington exercises sheet.
a. Have the entire ensemble play the same variation of the Remington this time
around.
i. Start on a concert Bb going down in half steps (Bb-A, Bb-Ab, etc.)
2. Instruct students to open their student guide to the page containing the “Red is the Rose”
flow study.
3. Tell the students which part they will be playing for the first reading of the flow study.
a. Bass
i. Tuba, trombone, euphonium, and bassoon.
b. Tenor
i. Tenor and baritone saxophone, 3rd trumpet, 3rd clarinet, and bass clarinet.
c. Alto
i. 2nd trumpet, 2nd clarinet, and alto saxophone.
d. Soprano
i. Flutes, 1st clarinet, and 1st trumpet.
4. After the first run-through ask guided questions:
a. “Was it easy for you to hear the melody? Why or why not?”
b. “What could you do differently this time to change that answer?”
5. For the next run-through have students rotate up one two parts.
a. Bass-Alto, Tenor-Soprano, etc…
i. “Was it easier or harder to hear the melody this time?” “Why?”
6. Now for intonation questions and activities.
a. “The ________ of the chord needs to be the strongest?”
i. “Root.”
1. In any triad major or minor, the root needs to be the strongest.
b. “Which note of the chord is most important when identifying if it is a major or
minor chord?”
i. Answer: “The third.”
7. At the end of this lesson instruct students to put away their flow study. It will be used in
later lessons.

Flow study that will be provided in student guide:

4
4
S
1 1 2 2 3 2 1 1 1 1 11 3 5 6 5
7 5
3 3

A 5 3 4 5 3 4 5 2

T 3 1 6 7 5 6 2 5

B 1 6 2 5 1 1 7 7
Chart for tuning chords: Just Intonation
This chart will be provided in the student guide as a reference for chord intonation.

Students will complete a worksheet from their student guide, based on the above chart for major
and minor chords. Example questions are, “What needs to be done to the third of the chord in a
major triad?”

Assessment:
Assessment for this activity will mostly be informal and not even directly after/ during this
lesson. In future lesson plans, the teacher will address this activity and assess the memory of the
students. Knowledge of the melody placement as well as chordal tuning will be addressed in
later lessons and assessed in those lessons.
 Activity #2: Articulation Introduction
Related Objectives:
 Play with proper articulation in the “Bill Sullivan’s Polka” section of Celtic Air and
Dance no. 3
 Perform with distinct styles between “Red is the Rose” and “Bill Sullivan’s Polka”
Warm-up
As in the previous activity, start this with breathing exercises. Breathing is an essential part of
playing a wind instrument and should be addressed in every warm-up exercise. In order to
incorporate articulation into the warm-up, have students play smaller note values for each pitch.
For example 2 half notes, 4 quarter notes, 8 eighth notes, etc. For each of these groupings you
can add articulation markings like staccato, accent, and legato.
Purpose
The purpose of this lesson is to establish consistent articulation among all voices in the
ensemble. Articulation like tone production, is one of the fundamental aspects of building
musicians as well as an ensemble. The entire ensemble needs to be on the same page with
articulation in order for the style to be established. This needs to be addressed early on in the
process and will need to be continuously addressed throughout the unit.
Activity:
The teacher will model different styles of articulation for the ensemble with guided questions
after each articulation model. All of the
1. Staccato: Teacher will model incorrectly with a choppy and rigid sound.
a. ”What did I do?”
i. Look for answers like, “Stopped the sound with your tongue.” “The notes
didn’t have tone to them, it was choppy.”
b. T: “What can we do differently?”
i. S: “Release the sound with the air not the tongue.”
1. The assessment will come from these answers.
2. Did students notice what the teacher did to be wrong?
3. Did the students give feedback on how the teacher could improve?
c. “Can I have someone show me how to do it?”
i. This process of the activity provides the teacher with a chance to do
individual assessment, based on how the student does you can say, “Great
job!” or give feedback on how to do it better/ differently.
2. Continue this process with legato and accented articulations.
a. For legato articulation, overemphasize the lack of space between notes. Make it
sound like one long note instead of four individual notes.
i. Things to improve legato articulation:
 1. “Doo sounds with your tongue.” “Make the articulation of the
following note noticeable but not harsh.”
ii. “Can I have someone model this for the class?”
b. Accents: Make the sound loud and harsh. It will be blatty and gross.
i. “What did I do?”
1. Answer possibilities, “You sounded bad.” “The front of the note
was aggressive.”
ii. “Very good, what could we do differently to make it sound better?”
1. Look for answers similar to, “Allow for the note to naturally
taper.” “Use a Da sound for the articulation.”
iii. “Can I have someone model this for the class?”
3. Once you have modeled all of these incorporate the visual learners by writing shapes to
represent each one on the board.

Articulation Image Representation

Legato: Full length Accent: Full front with tapered ends Staccato: Short and round sound.
 Articulation Exercises Worksheet
The following worksheet will be in the student guide as well and will be used at the beginning of
the unit. Students will identify which articulation marking is which and will perform each line
with one or fewer mistakes.

Assessment:
Assessment throughout this activity will be group as well as individual. Individual assessment
will be based off of student answers/ responses in the beginning exercise. If students show a lack
of understanding in their answers, the teacher will readdress those topics. Other forms of
assessment related to this activity is the results of the worksheet, “Did students answer with the
correct form of articulation?” Aside from filling out the worksheet, students will perform the
articulation worksheet in order for assessment to occur, “Did students play the correct style of
articulation?”
 Activity #3: Historical/ Cultural Perspective Activity
Related Objective:
 Describe the cultural context of Irish folk songs by researching, “Red is the Rose,” and
“Bill Sullivan’s Polka.”
Warm-up:
For this activity a warm-up can be as simple as having a recording of the song playing while they
are entering the classroom. On this day instruments are not necessary so excess sound shouldn’t
be as much of a problem. The questions can be written on the white board or posted on the
projector screen to begin a student’s thought process.
Purpose:
Cultural understanding and knowledge is what gives students a chance to connect to the piece of
music they are playing. Without this concept, it can leave the students asking, “Why?” or “What
is the point?” Students will research the history of “Red is the Rose,” also known as “Loch
Lomond” and “Bill Sullivan’s Polka,” and will write journal entries based on their research.
Activity:
The teacher will instruct students to open their student guide to the historical/ cultural
perspective journal entry. Students will get themselves into groups of two or three based on their
section and will research “Red is the Rose” or “Bill Sullivan’s Polka” based on groups assigned
by the teacher. Woodwinds will research “Red is the Rose” Brass and Percussion will research
“Bill Sullivan’s Polka.” This activity can be repeated in order for every student to research the
entire piece. The activity is researched based and students will need iPad’s or their cell phones
in order to fill out their journal entries.
Assessment:
Journal Entry Questions: 5 pts each
1. These songs are traditional Irish Folksongs, what was happening in Ireland at these times
to make these songs significant?
2. What style of song would you identify this as? Love song, dance, etc.
3. Why was this song written?
4. Would you describe this as a happy or sad song? Why?

Teacher Assessment:
Journal Entries 0 5
Question 1 Provides little to no feedback Provides lots of feedback
with reflective answers.
Question 2 Provides little to no feedback Provides lots of feedback
with reflective answers.
Question 3 Provides little to no feedback Provides lots of feedback
with reflective answers.
Question 4 Provides little to no feedback Provides lots of feedback
with reflective answers.
Total: /20
 Activity #4: Melody Identification Activity
Related Objective(s):
 Smoothly transition the melody from section to section in “Red is the Rose.”
 Perform with distinct styles between “Red is the Rose” and “Bill Sullivan’s Polka”
Warm-up:
For this activity students will need to get their Listening Guide worksheet from their student
guide. The warm-up isn’t going to be nearly as active because this is a listening exercise.
Purpose:
The purpose of this activity is to have students identify where in the ensemble the melody is
being played. They will identify when the melody switches voices (timbre) in “Red is the Rose”
as well as in “Bill Sullivan’s Polka.”
Activity:
Students will listen to a recording of themselves playing Celtic Air and Dance no. 3 and identify
who has the melody at all of the major rehearsal marking. At this point in the unit students will
have played through each section at least two times and will be familiar with the melodic
material. We will start with “Red is the Rose” listen to it twice, and then switch to “Bill
Sullivan’s Polka,” with the same routine.
Assessment:
Section One: 1 2 Score
1-10 Provides an Answer Provides the Correct /20
Answer

Section Two: 0 3 5 Score

Answer 1 Provides 0 of 3 Provides 1 of 2 Provides
criteria criteria measure number,
and instrument
(s)
Answer 2 Provides 0 of 3 Provides 1 of 2 Provides
criteria criteria measure number,
and instrument
(s)
Answer 3 Provides 0 of 3 Provides 1 of 2 Provides
criteria criteria measure number,
and instrument
(s)
Total: /15
 Listening Guide: Answer Key
Name:_______Answer Key_______ Instrument:_________________________

Directions: Listen to Celtic Air and Dance no. 3 and answer the following questions. Each
section will be played twice! The first time through write down as many answers as you can and
the second time through change your answers or fill in the sections that you haven’t answered
yet.

Who has the melody in each of these sections? (2 pts each)

Hint: If you can’t identify a specific instrument give an instrument family or section (i.e.
Low Brass, Upper Woodwinds, High Brass, etc.)

Measure Melody Instrument/ Family

5 Trumpets
13 Upper Woodwinds/ Trumpets

22 Low Brass/ Low Woodwinds

30 Upper Woodwinds/ Trumpets

39 Flutes

47 Upper Woodwinds
55 Upper Woodwinds/ Trumpets

63 Upper Woodwinds/ Trumpets

81 Low Brass/ Low Woodwinds

89 Clarinet/ Trumpets

97 Upper Woodwinds/ Trumpets

 Activity #5: Articulation and Movement
Related Objective(s):
 Play with proper articulation in the “Bill Sullivan’s Polka” section of Celtic Air and
Dance no. 3
 Perform with distinct styles between “Red is the Rose” and “Bill Sullivan’s Polka”
Warm-up:
Students will once again use their articulation worksheet to prepare for this lesson. Start on a
concert Bb and eventually turn it into a scale. Move from one line to the other in order to work
on all of the particular articulations.
Purpose:
In music education (and every form of education) we work with three main types of learners.
Kinesthetic, Auditory, and Visual learners. In order for teachers to connect with all of their
students, it is important to take as many opportunities as possible to incorporate multiple learner
personalities. This lesson will focus on all three forms learners as students use movement to
emphasize what they have learned about articulation, listen to a professional recording, and
watch the teacher demonstrate the activity.
Activity:
1. The teacher will describe the sequence of the activity.
a. “Follow along in your music as I play a recording of “Bill Sullivan’s Polka.”
i. “What are some things that we have worked on in this section of our
music?”
1. Hopefully you will receive answers like, “Articulation.” Or
“Style.”
ii. “Very good! Today we are going to once again work on articulation but in
a little different way.”
2. Select two or three brave student’s leaders in your classroom to teach the activity to
beforehand to have help in leading instruction.
3. Students will watch the teacher and helper’s the second time through the recording.
a. For each accented note stomp, for each staccato note snap your fingers, and for
each legato note pat your legs.
i. “Join in with me once you see the sequence.”
b. Students will eventually join in and it will result in a fun activity (hopefully)
4. After they have run through the activity twice, have them play the melody on their
instruments. If it is a sound you didn’t want ask guided questions such as, “Did our
playing match the dancing we just did?”
a. If yes great, but if no, how can we fix that?
b. Ask students, “How can our movement emulate what we are playing?”
 i. Potential answers: “Play the staccatos more lightly and detached, like a
snap. Play the accents with a heavier front like when you are stomping.
Etc.”
c. This will help the ensemble develop a more unified sense of style and articulation
in the “Bill Sullivan’s Polka” section.
Tools for the Activity:
1. https://www.youtube.com/watch?v=KmHnKn8-1zE
2. Open classroom to allow for movement. In m. 55 the folk song style changes once again.
To incorporate this into the dance/ movement activity have students do a dose do partner
style of dance. This will enforce the new style while also emphasizing the dance feel in
this entire section.

Assessment:
The teacher will assess students during two main points of this activity. The first point of
assessment is during the dancing style, make sure students are stomping, snapping, and patting
their legs at the appropriate times. The second point of assessment is seeing how the movement
transfers to the ensemble playing. Did the student’s develop a better style? Did the movement
effect the articulation being used by the ensemble? Why or why not? Finally this is an activity
that can be continuously brought back to future rehearsals. If the ensemble is not playing with
proper style and articulation, ask questions such as, “Is this how it sounded after we danced?”
“How can we make it sound like that again?” This will provide many opportunities for retention
and enhance understanding.
 Activity #6: Ear Training/ Passing off the Melody
Related Objective(s):
 Smoothly transition the melody from section to section in “Red is the Rose.”
Warm-up:
As with all playing activities, this will once again begin with breathing and Remington exercises.
After these exercises, students will use their provided flow chart once again for this activity.
This time instead of assigning specific instruments to parts the teacher will randomly assign parts
based on things such as birthdays, shoes, and t-shirt color.
Purpose:
The purpose of this activity is to enhance student’s listening skills across the ensemble. By
randomly selecting the melody students must use their ears to find who is playing it instead of
relying on knowing which section is playing.
Activity:
1. Instruct student to open their student guide to their flow study.
a. “Instead of having specific instrument sets play the melody, today I want to try
something different. If you are wearing tennis shoes, play the soprano line,
everyone else pick your favorite from the soprano, alto, tenor and bass line.”
2. Have them play through with their assigned parts and then ask guided questions.
a. “What was difficult about that?”
i. Students will probably give answers such as
1. “We didn’t know who had the melody,” or “I couldn’t hear the
melody.”
b. “Ok, what can we do differently this time to make sure we can hear the melody?”
i. “We could play softer.”
c. “Let’s try it.”
3. As soon as they seem to understand the exercise in this set-up switch who has the
melody.
a. “This time, I want everyone who is wearing a purple shirt to play the soprano
line,” or “Everyone who has a birthday in January, March, June, and October play
the soprano line.”
4. There isn’t a set number of times to do this, it all depends on how the ensemble responds
and if they are listening.
5. An alternative activity is to have the entire ensemble start at m. 5 then instruct everyone
too quickly and quietly find a new place to sit.
6. Once they have found their new spot, have everyone play at m. 5.
a. Ask questions such as, “Was our balance different in this set-up, why or why
not?”
i. Possible answers, “We aren’t with our sections so we couldn’t hear each
other.”
 b. “How do we fix that?”
i. Things the students can discuss at this point are playing softer to hear the
melody, listening closer to each part in order to support the melody, etc.
7. This activity provides a new way to force students to listen at a deeper level.
8. After two or three times in the chaotic set up, students will quietly return to their seats.
Once they have returned to their seats, the teacher will instruct for them to play the exact
same section of the music.
a. “Did we sound better or worse in this run through? Should we sound different?”
i. Answers will vary depending on the ensemble, if they answer better they
have mastered the concept of this lesson. If they answer worse ask
questions such as, “Why did it change?” “What did you do differently in
these seats than the last seats?”
1. Students will give answers similar or related to, “It sounded worse
because we didn’t use the same listening techniques.”
ii. At this point in the instruction you as the teacher need to encourage
students to always use this style of listening no matter what the set-up is.

Assessment:
The teacher will assess students after each run through of the flow study or the piece. Did the
tone of the band get better after each run through? Was the melody able to be heard in each set-
up/ run through?
 Glossary of terms

o Ritardondo: (especially as a direction) with a gradual decrease of tempo

o Articulation: how a note is played, based on the beginning, middle, and end of the note.
o Staccato, accent, legato, etc.
o Form: the overall structure or “plan” of a piece of music
o Melody: a sequence of single notes that is musically satisfying or the principal part in
harmonized music
o Harmony: the combination of simultaneously sounded musical notes to produce chords
and chord progressions having a pleasing effect.
o Range: distance from highest to lowest
o Theme: musical material, usually melodic, that the composition is based upon.
o Accent: an emphasis, stress, or stronger attack placed on a particular note or set of notes.
o Staccato: light and detached. A note of shortened duration.
o Legato: smoothly, with no breaks in-between notes.
 Student Guide
Unit Goals/ Objectives:
By the end of this unit you will accomplish the following tasks:
 Use a provided flow study to learn the main melody and harmony of “Red is the Rose.”
o Identify the chordal intonation based on the provided flow study.
 Develop proper articulation in the “Bill Sullivan’s Polka” section of Celtic Air and Dance
no. 3
 Perform with distinct styles between “Red is the Rose” and “Bill Sullivan’s Polka”
 Smoothly transition the melody from section to section in “Red is the Rose.”
 Describe the cultural context of Irish folk songs by researching, “Red is the Rose,” and
“Bill Sullivan’s Polka.”
 Assess your personal performance in order to give feedback and improve as an ensemble.

Composer/ Arranger:
Michael Sweeney is currently Director of Band Publications for Hal Leonard Corporation
in Milwaukee, WI one of the largest publishers of printed music in the world. Michael is directly
responsible for the development, production, recording and marketing of new publications for
school bands. In addition, he contributes as a composer and arranger in all instrumental areas,
and is particularly known for his writing at the younger levels for concert band and jazz. Since
joining the company in 1982, Hal Leonard has published over 500 of his compositions and
arrangements.
Mr. Sweeney is a 1977 graduate of Indiana University (Bloomington) where he earned a
degree in Music Education, and also studied composition with Bernard Heiden, John Eaton and
Donald Erb. Prior to working for Hal Leonard he was a band director in Ohio and Indiana,
working with successful concert, jazz and marching programs at all levels from elementary to
high school.
A winner of multiple ASCAP awards, his Ancient Voices (1994) and Imperium (1992)
are featured in the acclaimed “Teaching Music through Performance” series by GIA
Publications. Other compositions such as Black Forest Overture (1996), The Forge of Vulcan
(1997), and Distant Thunder of the Sacred Forest (2003) have become staples in the repertoire
for middle school bands. He has received commissions ranging from middle school and high
school bands to the Eastman Wind Ensemble and Canadian Brass. His works appear on
numerous state contest lists and his music is regularly performed throughout the world. Michael
is also in demand as a clinician and conductor for honor bands and festivals. Michael resides
north of Milwaukee where he enjoys fishing and playing the bodhran.
Composition
 As in the previous Celtic Air and Dance arrangements, No. 3 presents two familiar folk
songs in contrasting styles. “Red is the Rose” (as it is known in Ireland) uses the same basic
melody as the Scottish “Loch Lomond” and is treated here in a flowing ballad style. The lyrics
themselves are quite simple, and tell a love story with a sad, wistful ending. Two lovers swear
their love and eternal devotion to one another in the first two verses and in the final verse they
must separate due to emigration. Many Irish natives had to deal with this throughout their entire
lives and the beautiful melody here should depict that longing and heartbreak. Below is a picture
of Loch Lomond, and the melody while depicting a love story, could be used to envision a
beautiful place such as this and all the desires that fill your heart in love and in losing love.
“Bill Sullivan’s Polka” begins at m. 39 and features a lively melody stated by the flutes
and eventually by the rest of the band. The original tune was composed by the Gleantann-
concertina, accordion, and fiddle player Terry “Cuz” Teahan. Teahans tune originally contained
a third part that has since been dropped. This folk song brings energy and life to the piece and
adds a nice contrast from “Red is the Rose.” This area will need to focus on articulation and
matching styles throughout the entire ensemble
Historical Perspective
“Red is the Rose” is originally an Irish folk song portraying the love story of two
different souls. The lyrics of the first two verses have the lovers swearing love and eternal
devotion to one another. “Come over the hills to your darling. You choose the road, love, and
I’ll make the vow. And I’ll be your true love forever.” “Twas down by Killarney’s green woods
that we strayed. When the moon and the stars they were shining. The moon shone its rays on
her locks of golden hair. And she swore she’d be my love forever.” Many people have searched
for exact meanings of these two verses, all coming to the conclusion that two emigrants have met
one another and fallen in love, the final verse is where the discussions really pick up: “It’s not for
the parting that my sister pains. It’s not for the grief of my mother. Tis all for the loss of my
bonny Irish lass. That my heart is breaking forever.” This verse in itself has many people
searching for an explanation. What does he mean when he is talking about his mother and his
sister? Why are they upset? Did the man in the story die? Did his true love die? A sure answer
has not been found. But I think that helps with the beauty of the song, in life you lose people,
people who mean the world to you. And sometimes you have no idea why they left. But the real
beauty in that tragic time, is how you move forward from it, how you overcome it. And
ultimately I think Alfred Lord Tennyson said it best when he said, “Tis better to have loved and
lost than never to have loved at all.” I think that’s the motive of “Red is the Rose.” To take
risks, and allow yourself to fall in love.
“Bill Sullivan’s Polka” The song was immigrated to Chicago in 1928 and has been talk to local
musicians ever since. This tune is best known as a “Bill Sullivan’s” but is also called “Mickey
Chewing Bubblegum,” and sometimes “Kevin Burke’s” because he teaches this song on DVD #1
of “Learn to Play Irish Fiddle: Polkas, Jigs, & Slides” due to its origin as a folk song, there is no
set history on this piece either, but many scholars and curious musicians have gone searching for
answers. The most similar historical perspectives that I could find were those that talked about
depicting a normal day walking through the streets and towns of Ireland. All of the different
sounds represent the people, and what they add to the culture. In this case, we are reminded that
each part is very important, and holds a specific role in our song. As the musicians it is our
responsibility to bring these parts to life and give them a personality.
Practice Guide: When practicing this music (and other music), it is important to work on the
concepts and not just the music. For example, work on tone production not just m. 5 to
wherever. Work on specific articulation not just m. 55. Use provided activities from class in
order to work on these concepts effectively. Happy practicing!
It is expected of you to practice two hours outside of rehearsal every week. This shouldn’t be all
at once but rather in 20-40 minute increments throughout the week.
If you need more copies of this log come talk to the director, I have plenty in my office.

Practice Log

Week Date Music Starting Ending Technique

measure measure addressed