Wesley Crow

Conducting Lessons – Dr. Wimmer

Unit Study – Gate City Snapshot

Unit 1: Composer Commented [AW1]: DONE.

“Percussionist, composer, & educator Nathan Daughtrey (b. 1975) is a musical
chameleon who uses his wide-ranging talents to adapt comfortably to a variety of environments.”
(Nathan Daughtrey website) Daughtrey received his Bachelor of Music Education, master’s, and
doctoral degrees in percussion from the University of North Carolina at Greensboro. Of the
many hats Daughtrey wears, one of them is his recognition as a performing artist and clinician.
“With publications for percussion ensemble, concert band, orchestra, chamber ensembles,
and soloists as well as an ever-growing number of commissions, Nathan balances his performing
with composing, and to great acclaim. He is the only composer in the history of the Percussive
Arts Society International Composition Contest to procure both 2nd and 3rd place in the same
year.” (Nathan Daughtrey website) All of his compositions and arrangements are published by C.
Alan Publications.
Nathan has taught percussion at the collegiate level at a few different universities
including: University of North Carolina at Greensboro, University of Oklahoma, and High Point
University (NC). While at these schools he has: served as a visiting lecturer of percussion, taught
applied lessons, and conducted percussion ensembles, and worked with the School of
Communication, the Department of Dance, and the Department of Theatre (at High Point
University). Currently, Nathan serves as the Director of Operations for C. Alan Publications.

Unit 2: Composition Commented [AW2]: DONE.

Gate City Snapshot (2012) is a commissioned work by the Mendenhall Middle School 8th
Grade band from Greensboro, NC. The piece was first played on May 3, 2012. It is 107 measures
and its duration is ca. 3:40. This 2.5 grade piece is written for young developing ensembles with
optional oboe and bassoon parts. The piece was inspired by Greensboro in the year 1927. In that
year, Greensboro opened two buildings that would later become historical landmarks. Those
buildings were, The Depot and The Carolina Theatre. The composition also gains inspiration
from the type of movies, specifically The Jazz Singer (1927), that played in this theatre during
that time. In particular, the song Blue Skies (1927) which featured in The Jazz Singer (1927), is
eluded to in the composition. This elusion is discussed at greater depth in Unit 6: Musical
Elements, under the subtopic “Harmony”. Gate City Snapshot (2012) is a programmatic
reflection back to Greensboro, NC, in 1927. The composition is written to create sounds of a
train ride. Duaghtrey describes his composition as “a soundtrack to an adventure movie.”
(Nathan Daughtrey – Gate City Snapshot Program Notes)
Unit 3: Historical Perspective Commented [AW3]: DONE.
The focus of the piece should be on its inspiration, Greensboro in 1927. That being said,
Good job with this section! Avoid speaking in first person or
creating activities that helped recreate life in the 1920s could really help students grasp the piece. using an active voice when writing.
Finding a way to allow students to experience this historical period through their senses would
help give better perspective. For example, hearing the sounds of a train station and understanding
the importance of trains in that time as they were the primary mode for long-distance trips.
Perhaps showing students a small segment from a “talkie” to show what movies were like during
this time. One could even show the fashion worn in 1927 to help paint the picture that could
enhance their musical experience while playing the piece.

Unit 4: Technical Considerations

The ranges found in this composition are standard for a piece of this grade level. The
generic tonal centers consist of: G minor, B-flat major, C minor, and G major. Consider the
accidentals (A-flat, B-natural) necessary to create these tonal centers as they may cause problems
for students. The tempo in this piece ranges from 60 to 136 beats per minute. The piece also
includes a number of tempo changes such as the ritardando into m. 9. Another tempo change
would be the accelerando from m. 46 into m. 48. We see another accelerando from m. 75 to m.
79. Finally, there is a ritardando starting in m. 99 until you arrive “safe and sound” at 60 beats
per minute in m. 102. The meters explored in this piece are 4/4, 3/4, and 5/4, which are separated
into a 3+2 pattern. One consideration would be to create a rhythm/melody sheet of melodic
figures, alternating between 3/4 and 2/4 to help students internalize the meter (see Figure 1).

Figure 1, Possible Metric/Melodic Exercise

There are four percussion parts and a timpani part. At least five percussionists are
required to play this piece. Within the percussion parts, Percussion 1 and Percussion 4 are
demanding technically considering the 16th note patterns. The triangle part is also tough with the
technical challenge of playing a 2/4 pattern in 5/4 time. This is just one example the rhythmic Commented [AW4]: And what other technique is used on
independence necessary from each percussionist. In addition to that technical challenge, the the triangle?
triangle player must also understand how to go back and forth between open and closed muting Commented [AW5R4]: What about the muting part?
on the triangle. Could that be hard?
Commented [WC6R4]: I mention the muting part below as
Unit 5: Stylistic Considerations it may present an additional challenge
At the beginning of the piece, Daughtrey includes the style marking “looking back” in Commented [AW7]: DONE.
effort to transport the audience to 1927, Greensboro, NC. This stylistic marking provides
students with the opportunity to discern characteristics of the music in this sections that make the
music seem like it is transporting you. For instance, the beginning of the piece conveys the
feeling of going back in time with the descending chromatic motion.
In m. 13 the ensemble is challenged with soft dynamics across the board. For instance, the upper
woodwinds and low brass play p. It is important to establish how soft/loud p is in this context
and compared to the other sections and their dynamic within the piece. For example, at m. 13 the
melody is only marked mf. Whereas, m. 39 is more or less the same except it is even softer
dynamically as the melody is only marked mp. More importantly, one should consider the air
that is necessary to support this soft dynamic with control. Uses student who can exhibit this
effectively as examples for the rest of the ensemble.
In m. 29 Daughtrey uses 3/4 time to introduce a contrasting theme that could be
compared to a waltz. Some students may be unfamiliar with the feel of a waltz and its pattern of
strong-weak-weak. To instill this feel by emphasizing beat one, have students think of
press/release (tongue/slur) on the strong and weak beats. This can especially be seen in the
counter-melody at m. 21 (see Figure 2). As always, a good technique would be to model by
singing.

Figure 2, Press/Release from Waltz Melody, m. 21

In regard to articulation, it is crucial that each student understand how to perform each
articulation and that they are consistent during performance. The primary articulation seen in the
piece is an accent. Uniformity in this area will improve performance quality. More importantly
though is the process in which students discern which interpretation of each articulation marking
is more appropriate. One consideration to guide students in this process would be to create
shapes that represent the sound of a certain articulation. Have students shape their note, the same
as the shape featured (see Figure 3). In addition, you can achieve uniformity in articulation by
modeling the style in which the articulation should be played, then have the ensemble match
your example.
Full-length Note Accented Note Tenuto Quarter (Waltz)

Figure 3, Articulation Shape

Unit 6: Musical Elements

Melody: Commented [AW8]: DONE.
There are two primary themes/melodies throughout the piece. The first full statement of
the melody is played by Alto Saxophone 1 and Trumpet 1 in m. 13. The melody is eight
measures long and is symmetric, consisting of two, four-measure sub-phrases. This melody
returns in full at m. 39 and in a variated form with the lows in m. 56. The second theme/melody
is written in a waltz-like feel and is first stated by the Clarinets in m. 21. As mentioned earlier,
the countermelody is designed to reinforce the waltz feel. This waltz melody is briefly reprised
as the piece transitions to the Coda in m. 96.
 One unique aspect about this piece is that the melody is performed by each section
throughout the piece. This provides an opportunity to for each member in the ensemble to be
featured and develop from that experience. Since each instrument has the melody at some point
within the piece, it may be beneficial to create a melodic glossary for students. This would
consist of a sheet of paper, one for each instrument in its according key. The sheet of paper
would contain the different melodic lines featured throughout the piece. The melodies on the
page would be assigned a number. Doing this allows the ensemble to match style and shaping in
the melody. If students become aware of who has the melody, in what section, and how it
sounds, they may then begin to address balance regarding their own parts. Other concepts such
as breathing, articulations, and dynamics can be addressed while using the melodic glossary.

Harmony:
As mentioned in Unit 2, the piece Blue Skies (1927) is eluded to within Gate City
Snapshot (2012) as it serves as the harmonic foundation throughout the piece. In fact, you can
hear its influence in the first measures of the pieces. The descending chromatic line followed by
the ascending line is reminiscent of the opening chords to Blue Skies (1927), (E minor, E minor
7, A7, G, D7, G, B7). Daughtrey does not only present this progression right at the beginning of
the piece because the chromatic movement helps give the feeling of “looking back”/transporting.
Additionally, because it is the first idea heard, the audience is able to recall this same harmonic
progression again later on in the piece. For example, at m. 79 Daughtrey uses it as he transitions
into the Coda. While the progression is the same, it is still easy to miss as there are numerous
differences such as meter and rhythm.

Rhythm: Commented [AW9]: Images would more helpful then

Aside from some potential syncopation problems that could be solved with careful words in this section.
counting, there are no rhythms within the piece that are too terribly complex. Independence of Commented [AW10R9]: I still think an image would be
meter is critical to keeping the winds and percussion moving forward, together. Rhythmic beneficial here.
motives often cross bar lines in the percussion section. This adds a level of difficulty to the piece.
Other rhythmic considerations are the way in which accents are strategically placed in the
percussion part, as well as in rhythmic ostinatos in the winds’ parts. These accents are essential
to emphasizing the meter and continuing melodic movement. One strategy would be to have the
ensemble clap the accent pattern at m. 52 to really feel the groove and lock in the tempo.

Figure 4, Accent Pattern

Timbre: Commented [AW11]: How is orchestration (percussion
One of the ways in which timbre is most noticeable in this piece is due to the way in instruments especially) used to create the story line of this
piece? Same with range of instruments?
which the melody is shared. For instance, when the low brass plays the melody at m. 56 it will
have a different timbre than when the trumpets play the melody at m. 79. One way you can relate
this topic to your students is by asking them “What color does our sound look like here?”. Once
students become aware of the timbre/color they bring to the palette they must sell the difference
in color. In addition to each of the winds bringing their own color to the palette, the percussion
adds to the overall blend of colors/timbres as well. For instance, Daughtrey uses the different
percussion parts to help create the sounds of train when combined. One example of him creating
this is through the timbre of the snare part being played with wire brushes.

Unit 7: Form and Structure

Measure Number: Section: Musical Considerations: Tonal Centers: Commented [AW12]: Update the empty cells.

mm. 1-4 Introduction Descending chromatic figures in the G minor

keyboards and upper woodwinds.
Low woodwinds/brass enter to augment the
mm. 5-8 Introduction descending chromatic line; upper voices G minor
provide contrary motion.
Clarinets begin train sound while the
mm. 9-12 Introduction ensemble firmly sets the key in G minor; G minor
percussion augments train sound.
Trumpet and alto saxophone introduce the A
mm. 13-20 A theme with French horn and tenor G minor
saxophone performing the countermelody.
Clarinet waltz melody; alto
mm. 21-28 B G minor
saxophone/French horn: countermelody.
Clarinet/tenor saxophone/French horn
mm. 29-36 B assume melody with flute/trumpet G minor
performing the countermelody.
Silence; percussion transitions back to A
mm. 37-38 Transition
theme.
Trumpet/alto saxophone reprise the main
mm. 39-47 A theme, with French horn/tenor saxophone G minor
providing the counter melody.
mm. 48-55 Transition Transition to C. C minor
Low brass/woodwinds introduce a 3/4
mm. 56-63 C C minor
development of the A theme.
Flute/oboe/clarinet/trumpet: melody;
mm. 64-71 C horn/saxophone/: countermelody; low C minor
brass/woodwinds: rhythmic accompaniment.
Last four measures of previous section
mm. 72-78 C provide material for transition to a recap of C minor
the introductory melodic lines.
 Trumpet introduces 5/4 version of the
opening material followed by upper
mm. 79-90 Coda woodwinds/low brass and woodwinds; C minor
trumpet/French horn/clarinet provide a
rhythmic countermelody.
mm. 91-94 Coda Sustained chords with rhythmic emphasis. C minor
Reprise of the waltz melody to provide
mm. 95-101 Coda C minor
transition material to the final measures.
Revisiting of the harmonic progression from
mm. 102-end Coda G major
the beginning; end on a G major chord.

Unit 8: Suggested Listening

Works by Daughtrey: Works by other composers:
 Appalachian Air (2003)  Blues Skies (1927) – Irving Berlin
 Apollo’s Chariot (2006)  Old Churches (2003) – Michael Colgrass
 Downtown Dash (2009)  Novo Lenio (2002) – Samuel Hazo
 Such Small Things (2017)  Portrait of a Clown (2011) – Frank Ticheli

Unit 9: Additional Resources Commented [AW13]: Are you using MLA? I still don’t think
“Index.” Nathan Daughtrey, www.nathandaughtrey.com/. these are formatted correctly.

Daughtrey, Nathan. Gate City Snapshot. C. Alan Publications, 2012.

Payne, Phillip. Teaching Music Through Performance in Band: Volume 9, Teacher Resource
Guide, “Gate City Snapshot, A Journey back to 1927 Greensborough”