March of the Belgian Paratroopers

Pierre Leemans, arr. James Swearingen

Hal Leonard Corporation

Grade 3

Madison Hines
MUSIC 670 Fall 2019
 Table of Contents
UNIT INTRODUCTION .......................................................................................................................2

UNIT STUDY ......................................................................................................................................3

GRID ANALYSIS .................................................................................................................................9

ACTIVITY #1 – INITIAL LISTENING.................................................................................................. 17

ACTIVITY #2 – SIGHT READING MELODIES ..................................................................................... 20

ACTIVITY #3 – MOVEMENT INTEGRATION...................................................................................... 22

ACTIVITY #4 – PEER ASSESSMENT OF DYNAMIC CONTRAST........................................................... 25

ACTIVITY #5 – HISTORY INTEGRATION .......................................................................................... 27

ACTIVITY #6 – LISTENING AND EXPRESSING MUSICAL PREFERENCES ........................................... 31

ACTIVITY #7 – LISTENING QUIZ PREPARATION .............................................................................. 33

RESOURCES..................................................................................................................................... 36
 Unit Introduction
Title: March of the Belgian Paratroopers
Composer/Arranger: Pierre Leemans, arr. James Swearingen
Publisher: Hal Leonard Corporation
Grade Level: 3

Learning Goals
1. Students will differentiate characteristics of European versus American marches. (K)
(MU:Pr6.1.E.8a)
2. Students will perform concert Bb, Eb, and Ab major scales. (S) (MU:Pr5.3.E.8a)
3. Students will identify and perform different sections of the piece with the appropriate
style and use non-musical terms to describe each section. (A, S, K) (MU:Pr4.2.E.5a)
4. Students will assess their own performance and give feedback to their peers with musical
reasoning. (A, K) (MU:Re8.1.E.8a)
5. Students will transfer light articulation used in warm-ups into the context of the piece. (S)
(MU:Pr6.1.E.8a)
6. Students will demonstrate understanding of composer’s intent through writing program
notes for the concert. (K) (MU:Pr6.1.E.5b)
7. Students will sight read short melodies from the piece in order to better understand their
role in the ensemble and the roles of the instruments around them. (A, K) (MU:Pr5.3.E.8a)
8. Students will express stylistic preferences through listening to recordings and writing in
their band journals. (A) (MU:Re7.1.E.8a)
9. Students will recognize and identify selected listening examples of American and
European marches. (K) (MU:Re7.2.E.8a)

Knowledge Skill Affective

- Activity #1 - Activity #2 - Activity #2
- Activity #5 - Activity #3 - Activity #3
- Activity #7 - Activity #4 - Activity #4
- Activity #6
 Unit Study
Unit 1: Composer

Pierre Leemans (1897-1980) was a Belgian musician and composer of classical music.
He worked in variety of genres, including choral music, orchestral music, film scores, and songs.
He is best known for his marches and March of the Belgian Paratroopers is one of his most
successful compositions.
Leemans studied piano, harmony, orchestration, and composition at the Brussels Royal
Conservatory of Music. He began teaching music in 1917 at the Etterbeek Music Academy and
continued to teach music at this school until 1932. When he was 22, he served his year of
military duty and then returned to teaching at Etterbeek. Leemans passed away on January 10,
1980.

Unit 2: Composition

“While serving in the Belgian army during World War I, Pierre Leemans was asked by
his regimental commander to composer a march. Several attempts were made, but he was unable
to complete the project. Later, during World War II, a group of Belgian paratroopers, once again,
asked him to write a march. Revisiting his original attempts, he was able to quickly write a piece,
March of the Belgian Paratroopers, that has long been recognized as one of the greatest marches
of the wind band repertoire. It is both unique in design and certainly very pleasing to the ear.”
(Taken from program notes by James Swearingen)
The trio of this march was created from a march written for a N.I.R. radio contest;
however, the march was abandoned after only winning a consolation prize. This piece is quiet
and unaggressive in the gently paced European march style. It is set in to form of a “patrol
march,” which represents the music marching in from a distance, playing, and then passing.
The march was premiered on May 8, 1946 by the Royal Symphonic Band of the Belgian
Guides, conducted by Franz Wangermee. It was later arranged for American band
instrumentation by Charles Wiley of Lamar University in Texas.
Unit 3: Historical Perspective

In 1942 during WWII, parachutist and commando units were founded in Great Britain, as
well as the Belgian Special Air Service. The Belgian 1st Parachute Battalion (1 PARA) was a
military division of the Belgian Army and part of the Para-commando Brigade from 1946-2011.
The group has many regimented traditions that were heavily influenced by the experiences of
personnel in British SAS during WWII.
During the second world war, much of the music was based around patriotic themes. Jazz
was especially popular during this time period in the United States and United Kingdom. Songs
like Boogie Woogie Bugle Boy and There’ll Always Be an England were very popular.

Unit 4: Technical Considerations

This piece calls for standard wind band instrumentation and standard percussion
instruments (snare drum, bass drum, bells, crash cymbal, triangle, and parade drum). The piece
goes between 3 different keys (Eb, Ab, and Bb) which are manageable by an advanced middle
school or early high school group. Leemans makes use of a variety of chords in the piece,
including minor two chords and many inversions of seventh chords.
The piece stays in 2/4 throughout. While there are not many rhythmic challenges in terms
of syncopation, many of the instruments have very rhythmically involved parts. There are often
complex countermelodies occurring in the tenor voices (baritone, tenor sax). These instruments
may not have seen parts this involved and they have to find the balance of bringing out their line
while not covering up the melody. The tempo remains the same throughout (QN = 112) and is a
moderate European march tempo.
There are other technical considerations for various instrument families. The woodwind
parts have basic trills, brass players have staccato sixteenth note passages that will require a light
tongue, and some of the tenor voices have complex countermelodies (as mentioned above).

Unit 5: Stylistic Considerations

Being a European march, it is important for the director to explain the differences
between these marches and standard American marches. The form of the piece should be
reviewed with the students so that they know each section of the piece and how it relates to the
overall form.
 One of the key stylistic elements in this piece is articulation. Performers must maintain a
light articulation and style throughout to prevent the march from becoming heavy and dragging.
This will also help keep the rhythmically involved lines manageable.
Dynamics also play a huge role in this piece. Performers should work to emphasize the
swells of crescendos and decrescendos, while also making sure to stay true to the dynamics that
are written in their part. This can become challenging as more voices are added and with lines
that are countermelodies. Performers should work to know their role in the overall context of the
piece.

Unit 6: Musical Elements

Leemans creates contrast in the piece through articulation and dynamics. There should be
a clear difference between accents, marcatos, and staccatos. Dynamics are often marked for
effect and not the phrasing of the piece. Performers should continue to follow the contour of the
line as they play, but they should also accentuate the dynamic changes that are written.
The counterlines in this piece should also be brought out. As the melody is played over
and over again, the countermelodies provide contrast and interest to the piece. The performers
should work to find the right balance between interesting countermelodies and maintaining the
presence of the melody.
Harmony usually resides in the bass voices, as they outline the chords that get passed
throughout the ensemble. Some of the melodies are also accentuated with secondary melodies
that add contrast to the original melody.

Unit 7: Form and Structure

Musical
Measure Number Section Tonal Centers
Considerations
One to a part, setting
Intro
the tone for what is to
m. 1-8 (Stately, small, Eb
come. Like a
approaching)
chamber ensemble.
Tutti and relaxed.
Clarinets should play
A
their lines in a
m. 9-17 (Gentle, buoyant, Eb
connected manner
light)
and bass
voices/offbeats
 should remain light.
When the middle
voices come in
during the repeat,
they should support
the melody and not
overpower
Emphasize the new
articulations and
bring out the
Eb (although most of
B counterlines in the
this section is
m. 18-25 (Slightly weighted, baritone/tenor sax
centered around the
happy, smooth) voices. They add
V)
contrast to this
section. Note the
dynamic swells.
New counterlines are
added to the
ensemble and should
A`
m. 26-33 play a secondary role Eb
(Light, relaxed)
to the melody. Still
keeping the overall
volume quiet
Dynamics should be
exaggerated in this
section. Contrast
between sweeping
melodies and 2-
C measure ditties.
m. 34-49 (Sweeping, light- Staccatos should Bb
hearted, dynamic) remain light and
bouncy, not pecky.
Counterlines should
think about soaring
through their
rhythms.
First forte! Dynamics
should be celebrated
and the ensemble
A
should play with
m. 50-58 (Stately, regal, Eb
more triumph.
triumphant)
Percussion can help
to emphasize this
change.
Dogfight Remains loud (if not
m. 59-66 Ab
(Pompous, weighted) louder). Brass will
 likely have to double
tongue this section
and should work to
keep it light.
Dynamic contrast
becomes prominent
once again.
Countermelodies
Trio
should be brought out
m. 67-98 (Reflective, proud, Ab AND Bb minor
as they enter, but
honor)
should remain in the
same style that is set
by the rest of the
ensemble.
Back to piano, make
a noticeable shift in
the dynamics.
Clarinets should
A strive to make this
m. 99-106 Eb
(Light, relaxed) very similar to the
first time they had the
melody at the
beginning of the
piece.
This section should
convey carefree
enjoyment. Emphasis
B
of the accents will Eb (centering around
m. 107-114 (Joyful, “Candy in
bring out this the V)
streets”)
sentiment.
Counterlines should
support and sing.
Different counterlines
in the low brass
should be brought out
A to contrast the
m. 115-122 (Triumphant, previous A section. Eb
glorious) Fortissimo – the last
“hoorah” before the
band passes by.
Finish strong.
Fading away with
Outro almost identical
m. 123-130 (Farewell, light, structure as the Eb
distant) beginning. The final
decrescendo should
 go into almost no
sound, just as if the
band was out of the
distance and around a
corner in a parade.

Unit 8: Suggested Listening

Leemans – Dirge for the Fallen Heroes
Leemans – Old Brussels 1935 March
Leemans – March of the Commados

Unit 9: Additional References and Resources

Chevallard, Philip C., and Richard B. Miles. Teaching Music through Performing Marches.
Chicago: GIA Publications, 2003. Print.

Wind Repetory Page: https://www.windrep.org/March_of_the_Belgian_Parachutists

Grid Analysis
Activity #1 – Initial Listening
Objectives
 Students will identify different sections of the piece and use non-musical terms to
describe these sections.
 Students will give examples of stylistic differences that make the sections unique

Purpose
The purpose of this activity is to get students familiar with the form of the piece before they
begin playing it for the first time. By identifying the different sections, they will realize that
some material is repeated, and they will be able to begin to distinguish the contrasting characters
of each section.

Materials
 Recording of piece: https://www.youtube.com/watch?v=MzZh0jByyAU
 Guided listening activity
 Student Warm-Up Packets
 Paratroopers sheet music

Sequence
 Warm-Up
o In their student warm-up packets, students will turn to the selected scales section
o Students will perform Bb, Eb, and Ab scales in the rhythmic pattern that is written
in the packet.
 These scales are selected because they are the key centers of the piece. By
familiarizing their ears with the tonal centers, they will be prepared to
identify the shifts in the piece.
o Students will perform the scales in the rhythmic patterns with the following
articulations
 Accented first eighth notes
 Staccato (bouncy, not pecky)
 These articulation patterns are frequently used throughout the piece
 Activity
o Students will turn to the guided listening sheet in their student guide to complete
this activity (pg.
o The teacher will play the recording the first time and ask students to follow along
in their part.
o The teacher will ask students to identify two sections in the piece that are identical
 Ideally, students will identify the intro and the outro
 T will ask students to fill in the first and last cell of the grid with the
measure numbers and a name for these two sections.
o Listen to the piece again and ask the students to identify other sections that are
similar. Continue this process until the grid is complete and matches the key.
 o Listen to the piece once again and have students give a non-musical adjective to
describe each of the sections.
o For the final listening, the students will identify musical characteristics that stood
out to them in each of the sections.

Assessment
Students will be assessed on the following areas:
 Correctly identified the measures for each section
 Correctly labeled the titles of each section (as discussed by the class)
 Provided at least one non-musical adjective for each section
 Identified at least one music characteristic that stood out to them in each of the sections

A checklist will be used to determine if this information is correctly notated in their listening
guide. The teacher will provide feedback to the students based on the adjectives that they chose,
as well as the musical characteristics that stood out to them.

Student correctly identified

the measure numbers for each Yes No
of the sections
Student correctly labeled the
titles given to each of the Yes No
sections
Student provided at least one
non-musical adjective to
Yes No
describe the character of each
section
Student identified at least one
musical characteristic that
Yes No
stood out to them in each
section
Additional Feedback:
Name: ________Answer key______________

Listening Guide for March of the Belgian Paratroopers

Directions
1. For the first listening, follow along in your part and start to pay attention to the form of the piece.
2. For the second listening, identify sections that are similar. We will determine labels for these
sections as a class.
3. For the third listening, write down one non-musical adjective that describes the section.
4. For the final listening, identify at least one musical characteristic that stood out for you in each
section.

Musical
Measures Label Non-Musical Adjective
Characteristics
1-8
Intro Answers will vary Answers will vary
9-17
A
18-25
B
26-33
A’
34-49
C
50-58
A
59-66
Dogfight
67-98
Trio
99-106
A
107-114
B
115-122
A’
123-130
Outro
Activity #2 – Sight Reading Melodies
Objectives
1. Students will sight read short melodies from the piece in warm-ups with 80% accuracy in
pitch and rhythm.
2. Students will perform with improved ensemble awareness after identifying the sight-
reading melodies in the context of the piece.

Purpose
The purpose of this activity is for students to become more aware of the other parts that are
occurring at the same time as their parts. This will help students identify melody, countermelody,
bass lines, and accompaniment parts in a given section of the piece. By reading other parts, they
are also improving their sight-reading skills and gain an appreciation for the parts that their peers
are playing. It also improves their listening skills because they will have to identify which
instruments have the parts that they sight read during the warm-up.

Materials
 Sight Reading Warm-Up
 Paratroopers sheet music (m. 42-49)

Sequence
 Warm-Up
o In their student warm-up packets, students will turn to the Sight-Reading Warm-
Up (#3)
o The ensemble will read through all four sight reading exercises (8 bars each). The
primary focuses will be: correct rhythm, correct pitches, correct articulations
 Activity
o After the ensemble has read through all four sight reading exercises, the teacher
will ask the students to find m. 42 in Paratroopers.
 The ensemble will read line A in the WU once again.
 The ensemble will read m. 42-49 and the teacher will ask them to listen to
which instruments are playing line A. (Ss will respond, it can be those that
are playing the part)
 T asks the ensemble what function line A serves (melody, countermelody,
accompaniment, bass line, other?)
o T will continue this process for all lines in the sight-reading WU in the context of
the piece (m. 42-49)
o Once students know their roles, T will focus on addressing balance and dynamic
contrasts.
 Exit Ticket:
o What was one thing that you took away from today’s lesson that helped you
perform your part more musically?

Assessment
The exit ticket will serve as an informal assessment for the students. The teacher will review
their answers to see what students gained from this activity (answers could include increased part
awareness, heard new parts for the first time, improved my sight-reading skills, played with more
dynamic contrast, understood my role in the ensemble). The teacher will also use observation
and listening during the WU and the ensemble playing. The teacher will be listening for accuracy
in notes and rhythms, but also for changes in the balance and musicality of the ensemble.

Example of WU #2
Activity #3 – Movement Integration
Objectives
1. Students will march and sing their parts with 80% accuracy in rhythm and vertical
alignment.
2. Students will perform the A section of March of the Belgian Paratroopers with 90%
accuracy in rhythm and vertical alignment.

Purpose
The purpose of this activity is for students to connect movement with rhythmic accuracy and
vertical alignment in the piece. For this activity, the primary form of movement will be marching
since the piece is a march. Students will connect down beats to their feet hitting the floor and
upbeats to the space that their foot occupies when it is suspended in the air. Singing their parts
will allow them to connect the rhythmic figures (notably the sixteenth note triplet) to the macro-
beat that they are feeling in their feet. After completely the movement activity, they can transfer
the marching motion to tapping their foot and playing their part with strong vertical alignment
and rhythmic accuracy.

Materials
 Video of a military band marching (https://youtu.be/-8DPeYjJfrw?t=67)
 Metronome
 Space for the students to march in place

Sequence
 Warm-Up
o Students will turn to WU #3 in their packet, which focuses on reading the
rhythmic patterns found in the A section
o Students will read these lines with a metronome playing and counting out loud,
focusing on vertical alignment and rhythmic accuracy
 Activity
o T will start by playing the video of the Pershing’s Own Inauguration Rehearsal. T
will write the following questions on the board to guide students as they watch:
 What do you notice as the members march with just the drum cadence?
 What do you notice as the members march while playing?
 How would marching help you play your music better?
o After students have the chance to answer the question in Think-Pair-Share, T will
introduce the marching activity
 1. Students will learn the proper marching technique. T will keep it simple
(start with the left foot, leave a golf ball sized space off the ground as you
march)
 2. Students will practice this technique with a metronome. T will observe
to make sure that students are moving their feet in time with the met.
 3. Once students are comfortable marching in time, they will march while
counting eighth notes out loud. T will observe to make sure that feet are
 moving in time and students are counting eighth notes with rhythmic
precision with the met.
o Once students are comfortable moving their feet and counting at the same time, T
will ask them to find m. 26 in their music. Students will march and count their
parts from m. 26-33. Percussion will play on their arms.
 T will observe to make sure that students are continuing to keep good time
in their feet and counting the rhythm accurately.
 T will ask, “Where have we seen these rhythms before?” Ss will connect
back to the warm-up
o T will isolate the sixteenth note triplet rhythm
 Discuss how that the downbeat lands when the heel hits the floor.
Demonstrate and have them feel this connection between movement in
rhythm.
 T will ask, “If the downbeat is when it hits, where is the upbeat?”
 Ss will respond, “As the foot moves up/when the foot is suspended
in the air/etc.” T will clarify if it’s in the same foot as the downbeat
or the other foot (Correct answer is the other foot)
 T will demonstrate and have them feel the connection once again.
 T: “Now, let’s look at our triplet figure – is it on the upbeat or the
downbeat?”
 Ss respond, “Upbeat”
 T: “So we have to fit that triplet within that down beat. Let’s feel it
in our motion. Watch me.”
 T will demonstrate and count out loud. T will not how the triplet has to fit
while the left foot is suspended in the air.
 T will have students do the same thing on their own and then the group
will come back together.
 Using a metronome, Ss will march and count the triplet figure in a loop.
 Once students are comfortable with speaking the rhythm, they will move
to air and fingers. After this, they will practice playing it.
o Once this rhythm is covered, Ss will speak the rest of the line while marking time
once again.
o Next, they will move to using air and fingers while marking time. Percussion can
play at this point.
 T will listen to make sure that fingers and clicks of the instrument are in
time.
o Lastly, they will try marking time and playing their entire line. Those students
with larger instruments can sit down at this point to play their part.
o T will then transfer the marching/marking time to tapping the toe as students play.
 Once seated, T can fix spots as needed.

Assessment
The teacher will primarily use listening and observation in this activity to make sure that students
are connecting the complex rhythms to the big beat of the piece. As the students learn the
marching technique, the teacher will observe to make sure that their marching is helping them
and not hindering them (coordination might be a struggle at first, but repetition will help. Ensure
students that this is not an audition for the marching band – the main focus is to keep feet in time
with the metronome). As students play and add different elements to their playing, the teacher
observe and listen to make sure that the transitions are smooth. If students are struggling after
adding in a new element (air, fingers, or playing) they should not if there needs to be changes in
the sequencing to help with student understanding and execution. Overall, this activity should
help with stronger vertical alignment and keeping the rhythmic integrity of the piece.

The teacher can use this reflection guide to make sure that the objectives are being achieved.
Students can find a copy of this same guide in their Student Guide to reflect on their own
experiences with the activity:

Topic Observations and Changes

Students’ comprehension and execution of the
marking time/marching

Students marching and counting at the same

time

Students incorporating air/fingers while

moving

Students playing while moving

Taking away the motion and moving to toe

tapping: do students maintain rhythmic
integrity and play with better vertical
alignment?
Activity #4 – Peer Assessment of Dynamic Contrast
Objectives
1. Students will perform with contrasting dynamics throughout the sections of March of the
Belgian Paratroopers.
2. Students will provide feedback to their peers about the effectiveness of their dynamic
contrast from outside the ensemble using a scale of 1 – 5 with reasoning.

Purpose
The purpose of this activity is to allow students the chance to listen to the ensemble from an
audience perspective and provide feedback to the ensemble on how they can improve. By
changing their listening perspective, students can gain a more accurate representation of how
their sound (particularly dynamic contrast) is being expressed to the audience.

Materials
 March of the Belgian Paratroopers sheet music
 Function Chorale

Sequence
 Warm-Up
o Scale work: Ss will play their Eb, Bb, and Ab scales on patterns that focus on
light articulation (staccato articulation)
o Function Chorale: Students will play through the function chorale which is based
on the chord sequence in the “C” section of the piece. Students will focus on
playing with resonant tone and dynamic contrast. The teacher will give
suggestions such as:
 Cresc. 2 bars, Decresc. 2 bars
 Cresc. if you have moving notes in your part
  Identify the peak of the phrase and the falling movement of the phrase
 Activity
o The ensemble will play through the C section of the piece, focusing on dynamic
contrast.
o After going through the section once or twice, T will ask Ss two at a time to step
out of the ensemble and listen
o The ensemble will perform the section of the piece and Ss will listen to see how
they do with dynamic contrast
o T asks student listeners, “On a scale of 1 – 5 (1 being no dynamic contrast to 5
being exceptional dynamic contrast), where did we fall? Justify your rating.”
 Ss will respond and justify their reasons.
 T will ask for suggestions on how the student listeners think that they can
improve
o Repeat this process for 2-3 rounds of student listeners to provide feedback
o Assessment: Do students provide constructive and justified feedback about
dynamic contrast? Does the ensemble respond to their suggestions and make
adjustments afterward?

Assessment
Peer assessment is the primary form of assessment during this activity. It gives students the
chance to listen to the group from outside the ensemble and gain a different listening perspective.
It also allows the students to have a voice in providing suggestions to their peers, so that the
students aren’t solely hearing the opinions of the director. Furthermore, it allows the students to
work on justifying their musical decisions.

The teacher will also assess how well students are able to explain and justify what they are
hearing out in the audience. If students are struggling to articulate their ideas or not providing
specific feedback, the teacher can present guiding questions before having the ensemble play
again.
Activity #5 – History Integration
Objectives
1. Students will describe the differences in style between European and American marches.
2. Using technology, students will research information about characteristics of European
marches, as well as information on the piece and composer.
3. Students will demonstrate understanding of the composer’s intent through writing
program notes over March of the Belgian Paratroopers for the concert.

Purpose
The purpose of this assignment is for students to discover information about the composer and
the piece. By learning about the piece’s history, the students can perform with greater
understanding of who the piece was written for and what it meant to the composer. By learning
more about the European march history, they can also begin to differentiate the characteristics of
European marches versus American marches by noting the style differences found in tempo,
articulation, and form. One of the key assessments of this unit will be introduced in this activity
and supplemented by the sixth activity, which will be a listening quiz that focuses on identifying
and describing American versus European marches.

Materials
 Access to technology (iPads/tablets or computers)
 Recordings of various marches
 March Listening Quiz guide
 Whiteboard/chalkboard to compile program notes

Sequence
 Warm-Up:
o T will start the activity by having the students listen to two marches, one
American and one European (in this case, the European march example will be
Paratroopers). T will ask the students to be thinking of musical
o Using a T-chart, the teacher will have the students describe some characteristics
of the American march. After listening to Paratroopers, T will ask them to
describe characteristics of this march.
o T will identify which is American and which is European and have students note
the differences in their warm-up packet
 Activity:
o T will explain the task to students and how they will accomplish it:
 Using technology, students will research information about
characteristics of European marches, as well as information on the
piece and composer.
o Using their worksheet in the student guide, students will work in pairs to find the
information that they need. Give students approximately 15-20 minutes to do their
research
o Once Ss are back in the classroom, T will start by asking students what they
discovered about the European march style. T will write/type their responses on
 the board and Ss can add onto their notes on their worksheet. There must be at
least 5 different facts written on the board for students to complete their activity
correctly.
o T will then ask students to present information about the piece and the composer
(Paratroopers, Leemans). T will write their information up on the board.
o After Ss have shared at least 5 pieces of information about the piece, T will
present the task of writing program notes for the concert using the information
that they learned.
 Working as a class, Ss will organize their information in paragraph form
that is suitable for a concert program.
o Closure: “Learning about the differences between European and American
marches is an important knowledge skill to have as a performing musician. It is
important to know the style differences so that you can perform them
appropriately and accurately. To continue developing this knowledge base, we
will be listening to more marches and determining if they are American or
European. At the end of the unit, we will have a brief quiz over some important
marches and the characteristics of each version. We will continue to work on this
in the next lesson activity later this week!”

Assessment
The teacher will use a rubric to grade the student’s worksheets found in their student guide. The
teacher will make sure that the factual areas are filled out with the correct information (dates,
composer name, etc.) For the characteristics on European marches, the teacher will look for
thoughtful answers in complete sentences with factual information. If the student made an error
in their research, the teacher will be looking to see if they corrected their information in class. If
a correction was made, the teacher will note that in writing on the rubric.

Rubric
Student writes down 3 facts Full Credit (2.0 pts) Partial Credit (1.0 pt) Missing (0 pts)
about European marches
Student includes at least one Full Credit (2.0 pts) Partial Credit (1.0 pt) Missing (0 pts)
additional fact that they
learned from their peers’
research.
Student provides the correct Full Credit (1.0 pt) Missing/Incorrect (0 pts)
name of the composer.
Student provides the correct Full Credit (1.0 pt) Missing/Incorrect (0 pts)
dates of the composer.
Student writes at least 3 Full Credit (2.0 pts) Partial Credit (1.0 pt) Missing (0 pts)
other facts about the piece or
the composer.
Student includes at least one Full Credit (2.0 pts) Partial Credit (1.0 pt) Missing (0 pts)
additional fact that they
learned from their peers’
research.
Student makes corrections to Corrected/No incorrect Incorrect information in
any incorrect data recorded information (1.0 pt) worksheet (0 pts)
on their worksheet after class
discussion.
Name: ___________Answer Key___________________

European vs. American Marches

Write down 3 key facts that you learned about the history or style of European marches.

1. Answers will vary

2. Answers will vary

3. Answers will vary

Write down any interesting facts that you learned from your peers in our group discussion. To
receive credit for this section, you must write down at least one different fact from the ones that
you found above:

Answers will vary. Students must write down at least one different piece of information
than what they wrote above.
Name: ________ Answer Key ____________

Information about March of the Belgian Paratroopers

1. What is the name of the composer of this piece? What year was he born and what year
did he die?

Pierre Leemans (1897 – 1980)

2. What year was this piece written?

1945

3. Using bullet points, use the space below to write down at least 3 other facts that you
found interesting about the piece or the composer. Cite your sources by writing down the
name of the website where you found the information.

Answers will vary. Student must have a citation next to the source to receive full credit for
the information.

In the space below, write down other pieces of information that your peers shared that you found
interesting or didn’t find in your own research. To receive credit for this section, you must write
down at least one different fact from the ones that you found above!

Answers will vary. Students must write down at least one different piece of information
than what they wrote above.
Activity #6 – Listening and Expressing Musical Preferences
Objectives
1. Students will express stylistic and musical preferences through listening to recordings
and writing in their journals.
2. Students will replicate their preferred musical preferences through performance with
accurate articulation, dynamic contrast, and balance.

Purpose
The purpose of this lesson is to develop student listening skills by exposing them to professional
recordings and different interpretations of Paratroopers. By allowing them to listen to different
recordings, students are able to see how different groups interpret articulation, dynamic contrast,
and balance to create their own unique interpretation. Students will write in their journals to
further develop their abilities to write about music in an informed manner using the correct
vocabulary and descriptors. After they express and describe their preferences, they will be asked
to replicate this style through their performance. This helps them connect what they are hearing
to how they perform and allows them to translate these listening skills and put them into
performance.

Materials
 Different recording links
o https://open.spotify.com/track/3WHfEa2sBgzcAe6hetsm2F?si=FoTxMJSzQGm
Mc6voksHmBQ
o https://open.spotify.com/track/60C2N68gDrko0SlJuh7P33?si=iBSa0u1OTD-
XgLfktjz5Ag
o https://open.spotify.com/track/6ggTlsQW3IZ2cSgh9H7wg8?si=H62G9ApKRMK
3ntHFQ1pmJw
 Student band journals
 Paratroopers sheet music

Sequence
 Warm-Up:
o Using the function chorale found in their student guide, students will play the
function chorale in a variety of styles. These styles will be chosen by both the
students and the teacher. Consider dynamic levels, emotion, articulation
differences, etc:
 Angry, sad, shy, triumphant, heavy
 Accented quarter notes, staccato eighth notes, etc.
o On the last repetition, allow students the opportunity to improvise melodies over
the chord structure if they are comfortable. This will further introduce developing
your own stylistic preferences and taking risks in your playing. Those students
that don’t want to improvise can continue to play the chord structure
 Activity
o T will play each of the recordings once and ask the students to note some stylistic
differences that make the group’s interpretation unique. Ss will write their
 observations in their band journals, labeling each section (Recording 1, Recording
2, Recording 3). T will encourage Ss to pay special attention to articulation,
dynamic contrast, and balance.
o After Ss have listened and journaled about each piece, they will write a rationale
for which interpretation was their favorite.
o T will ask students to share their thoughts. As Ss share, they will replicate the
stylistic preference that was expressed by their peer.
 After performing with the new stylistic preference, the class will
determine if they want to keep that interpretation in their performance.
They can also discuss potential modifiers to the interpretation to make it
more unique to them.
o **T should encourage students to make their own musical decisions and not
simply copy what other groups have done. Find ways to take an idea and
incorporate it with their own ensemble spin. This is also an opportunity to discuss
the pros/cons of listening to a piece before you play it.

Assessment
The teacher will read through the students’ responses about their stylistic preferences. This will
be more of an informal assessment and students will receive credit for completing the activity.
As the teacher reads through the journals, they should provide feedback to the students about
their observations and preferences. Since students are continuing to learn how to express and
justify their musical preferences, the teacher can give suggestions for wording and further
elaboration if needed. This feedback will allow students to improve their writing for next time.
Activity #7 – Listening Quiz Preparation
Objectives
1. Students will differentiate characteristics of European versus American marches.
2. Students will be able to identify selected listening examples with the correct title and
composer.
3. Students will determine the style of an unknown listening and justify their decision based
on salient characteristics of each type of march.

Purpose
After having a few weeks to listen to the selected repertoire, students will participate in this
activity to prepare them for their listening quiz. The activity will involve identifying the correct
pieces and composers, describing the European march style, describing the American march
style, and identifying the unknown listening based on their knowledge of each style. Listening
quizzes allow the teacher to formally assess student knowledge of these two types of marches.

Materials
 Recordings for selected marches (2 American examples, 2 European examples):
o Stars and Stripes Forever, Sousa
(https://open.spotify.com/track/3GOD8aRw5FwEv0A2pFPZ9S?si=dt-
Coz8ZSmOpXOolQWeDfg)
o The Klaxon, Filmore
(https://open.spotify.com/track/58PuVUsMqFFwxGJV1rOjdW?si=jw4rynWaQe
GcS4rgEhXMOA)
o Valdres March, Hanssen
(https://open.spotify.com/track/7EFIrl6MpCUu57XSggtUrn?si=39OH2kVFR-
OF7GXNKooWKQ)
o Colonel Bogey, Alfred
(https://open.spotify.com/track/2IA8v5iaTgSZatIQRAirLW?si=oFXnfo--
TqWa0FKe1rTi8A)
 Recordings for mystery examples (1 American example, 1 European example)
o Rolling Thunder March, Filmore
(https://open.spotify.com/track/5cANflj55nZDo67FT6oM9o?si=gV9ugwq6TniL
VU4HK2Tj6w)
o Mvt. 3 from First Suite in Eb Major, Holst
(https://open.spotify.com/track/0eF4xCCqN3fb9oNvQqMdT4?si=Yi9HxFe3T_-
TFnljD6DQMg)
 Popsicle Sticks with student names (or similar choosing method)

Sequence
 Warm-Up
o Before jumping into the listening quiz preparation, Ss will play through
Paratroopers from top to bottom and then be asked to describe what
characteristics of this piece make it in the European march style. Connect to
 bullet points that are found on their listening study guide found in the student
guide.
 Activity
o T will take students through a mock listening quiz starting with the known and
unknown listenings.
 Ss will review these after all have been completed and give tips for fellow
peers on how to identify them (sharing “pro tips”)
o Using the popsicle stick method, T will ask the following questions to random
students:
 Describe one characteristic of European marches (ask 2-3 students)
 Describe one characteristic of American marches (ask 2-3 students)
 In what group/organization did marches develop? (1 student)
 Military
 Name one American march composer (ask 2 students)
 Name one European march composer (ask 2 students)
 What is the tempo of most military marches (ask 1 student)
 QN = 112-144
 What is the tempo of most British marches?
 QN = 108

Assessment
This activity takes students through an informal version of a formal assessment. Students have to
articulate the information on their own through the use of the popsicle stick method, which helps
the teacher assess how well students are learning and retaining the information on an individual
level. The teacher will use similar and identical questions on the actual exam, so this provides
students with a guide for how their actual listening quiz will go. The teacher will record this
assessment by going through each student for at least one question in the preparation process. If
the teacher feels that a student is significantly behind, they can note this information and
schedule and individual meeting with the student.
 Study Guide for Unit Listening Quiz
American Marches
 Tempos range from QN = 112 –
200
 Developed in the military
tradition
 Some of the most common styles
are military marches, circus
marches, and gallops.
 Often include an aggressive
dogfight
 Typically written in duple meter
(two beats per measure)
 Some of the well-known
American march composers
include: John Philip Sousa,
Henry Fillmore, and Karl L.
King.
Selected Listening Examples for the Listening Quiz
 Stars and Stripes Forever - Sousa
 The Klaxon – Fillmore
 Valdres March – Hanssen
 Colonel Bogey – Alfred
European Marches
 Tempos are usually on the
slower side, ranging from QN =
104 – 126
 Developed in the military
tradition
 Some of the most common styles
are based on the regions,
including British, German,
Spanish (paso doble), and
French.
 Often convey regal melodies
 Some of the well-known
European march composers
include: Kenneth Alford, Jaime
Teixidor, and Pierre Leemans
 Resources
Glossary
 Form: Overall structure or plan of a piece of music
 March form: Described as Intro, First Strain, Second Strain, Trio, Break Strain, Stinger*
 Mark time: moving your feet in time while standing in one place
 Function chorale: a warm-up activity that focuses on chordal progressions and harmonic
motion, as well as players understanding voicings and roles in a chord.
 Trio: The middle section of a march that is usually the softest and in a different key than
the original (add a flat)
 Dogfight: Loud and technically challenging strain of the piece, characterized usually by
heavy articulation and brass
 Patrol march: simulate the sound of a band marching past a listener, coming and going

Recordings
 U.S. Marine Band Recording:
https://open.spotify.com/track/3hHbukDT6dJbp9gVKvYmRp
 Hal Leonard Website Recording: https://www.youtube.com/watch?v=MzZh0jByyAU
 Other lesson recordings found throughout the unit!
o 100 Famous Marches Playlist on Spotify
https://open.spotify.com/album/0d4Cf21kdnD4HxsmDHbuxZ?si=ordxFKFMSR
K4uYZ7XKCBFA

Articles/Books
 “The March: A Quick Reference Guide” Jim Daughters (Midwest Clinic Article)
 “Great European Marches” Dr. Leon J. Bly (Midwest Clinic Article)
 “A Short History of Marches” https://militarymusic.com/blogs/military-music/13515869-
a-short-history-of-marches
 “Military Music in American and European Traditions”
https://www.metmuseum.org/toah/hd/ammu/hd_ammu.htm
 Chevallard, Philip C., and Richard B. Miles. Teaching Music through Performing
Marches. Chicago: GIA Publications, 2003. Print.
 Paratroopers Function Chorale
m. 1 m. 2 m. 3 m. 4 m. 5 m. 6 m. 7 m. 8
S 1--- 7--- 1--- 1--- 2-8- 2--- 8--- 7---
A 3--- 3--- 4--- 4--- 6-6- 5--- 5--- 5---
T 5--- 5--- 6--- 6--- 4-4- 4--- 2--- 2---
B 1--- 3--- 4--- 4--- 2-2- 7--- 5--- 5---
Roman
Number I iii IV IV ii - ii7 viio Vsus4 V7
Analysis
Option 1 Option 2
S Picc, Fl 1, Ob, Cl 1, Tpt 1 S You choose!
A Fl 2, Cl 2, AS 1, Tpt 2, Hn 1-2, Tbn 1, TS 1 A You choose!
T Cl 3, AS 2, TS 2, Tpt 3, Hn 3-4, Tbn 2 T You choose!
B B. Cl, Bssn, BSax, Euph, Tuba B You choose!
Name: _________Answer Key__________________

Marches Listening Quiz

Section 1: Listening Identification

Each of the listening examples will be played one time. Please write down the name of the
composer and the piece that is played. You will receive 1 point for each correct answer.

Composer Name Title of Piece

1. Sousa
Stars and Stripes Forever

2. Hanssen
Valdres March

3. Alfred
Colonel Bogey

4. Fillmore
The Klaxon

Section II: Bonus Listening

Based on what you know about the characteristics of European and American marches,
determine if the example is a European march or an American march. Each correct answer will
receive 1 point of extra credit.

1. ______American_________________________________

2. _______European________________________________

Section III: Multiple Choice

1. In what organization did marches develop?
a. Military
b. College bands
c. Concert bands
d. Workers Unions
 2. What is the standard tempo range for most military marches?
a. QN = 80-90
b. QN = 150-180
c. QN = 112-144
d. QN = 120-150

3. Which of the following is an example of an American march composer?

a. Leemans
b. Sousa
c. Fillmore
d. B and C are both correct

4. Which of the following is an example of a European march composer?

a. Sousa
b. King
c. Alfred
d. Fillmore

Section IV: Short Answer

1. Describe 3 characteristics of American marches. You may use bullet points
to complete your answer.

Answers will vary. Refer back to study guide for answers.

2. Describe 3 characteristics of European marches. You may use bullet points

to complete your answer.

Answers will vary. Refer back to study guide for answers.