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Unit Plan:

Folk Tune and Fiddle Dance

By: Percy E. Fletcher

Angelica Kalasz MUS 3440 Instrumental I Methods

Spring 2011

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Table of Contents

Basic Information………………………………….3

Glossary of terms…………………………………..4

Program Notes……………………………………..6

Historical Information on composer/work……7

Historical Information on time period………….8

Formal Analysis……………………………...9

Errata………………………………………………..10

Performance Notes…………………………….….11

Major Skills and Concepts……………….……..13

Objectives for Students………………………..…14

Specific Objectives (by section)………………..16

Strategies and Activities…………………………..19

Practice Sections…………………………………..20

Assignments for Students………………………..22

Practice Log and Rubric………………………..…23

Evaluations for Students………………………….24

Lesson Plan: Day 18………………………..…….25

Bibliography……………………………..…...……26

Related Items…………………………………..…..27

Calendar……………………………………………..28

Exercises/Scale Sheets…………………...……….30

Additional Analysis of work……………………..35

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Basic Information Title: Folk Tune and Fiddle Dance: Suite for Strings Composer: Percy E. Grainger Editor: Boosey and Hawkes Publisher: Hal Leonard Grade: 3 Instrumentation: Basic string orchestra (violin. Viola, cello, Bass) Score Type: Full Score Performance Time: Approximately 9:40 Range Concerns: 1st violins shift into 3rd position, and use harmonic E, cello’s shift into 2nd position. Style: Set-up in Suite style with multiple movements (2). The second movement is written like a traditional fiddle tune (ABACA format) Keys: Mvt. 1- G Major, a minor, A Major, D Major, e minor, E Major Mvt. 2- G Major and C Major Tempos: Vary throughout the work.

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Glossary of Terms

Dynamics-the varying degrees of loud or quiet called for in music.

Forte (f)- to play loudly.

Pianissimo (pp)- to play very softly

Sfortzando (sfz)- to suddenly get loud.

Mezzo piano (mp)- mezzo is the Italian word for “medium”, play medium quiet.

Diminuendo- the Italian word for “become softer”, get quieter.

Accents- emphasis on one pitch or chord.

Staccato-to play notes short and detached.

Legato-to play smooth and connected.

Tenuto-note held for its full time value; a grouping of tenuto notes will have a connected

sound.

Ritardando- to gradually get slower.

Molto Ritardando (molto. rit.)- molto is the Italian word for “very”, very exaggerated

slowing down of the tempo.

Rallentando (rall.)- to slow down.

Rallentando e. diminuendo (rall. e dim.)- to slow down and get quieter.

Poco a poco- the Italian for “little by little”; typically referring to dynamic or tempo

changes.

Crescendo- the Italian word for “growing”, to play increasingly louder.

Accidentals- a pitch that is labeled differently than the key signature.

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Arco- playing a string instrument with the bow.

Divisi- to play the part divided.

Pizzicato (pizz.)- to pluck the string, without bow on string instruments.

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Program Notes

“Folk tune and Fiddle Dance: A Suite for Strings” was composed by Percy

Eastman Fletcher. Mr. Fletcher was born on December 12, 1897 and died on December

10, 1932. Fletcher was born in Derby, England and grew up playing the violin, piano and

organ. Organ was his favorite of these. Mr. Fletcher made his living by working for

various theaters in London as the Musical Director. He himself wrote several plays, one

of which being “Cairo” later re-named “Mecca”. Mr. Fletcher also enjoyed writing solo

ballades for voice, some of which are “The Bells of Youth”, and “Kitty, what a Pity”.

Fletcher was also know for his suites for “Light Orchestra” which would be our string

orchestra of today.

The piece itself is composed of folk melodies recalled by Fletcher from his

childhood. At the time this piece was written Great Britain had entered a tumultuous

period in its history. World war one was on the back door step, and liberal reform in the

constitutional government had led to adult male and female suffrage. Times were changing.

Fletcher’s composition reflects a yearning for nationalism and pride in British traditions.

“Folk tune and Fiddle Dance” was one of several light orchestral works composed by

Fletcher, however it is by far the most popular today. Originally composed for string

orchestra, it has been arranged for full orchestra as well.

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Historical Information:

The Composer

Percy Eastman Fletcher was born on December 12, 1879 and died on September

10, 1932. Fletcher was born in Derby, England and grew up playing the violin, piano and

organ. Organ was his favorite of these. Mr. Fletcher made his living by working for

various theaters in London as the Musical Director. For the last 17 years of his life, he

was privilege to fill this role at His Majesty’s Theater. He himself wrote several plays,

one of which being “Cairo” later re-named “Mecca”; its intermezzo is still played today.

Mr. Fletcher is credited to the orchestration of “Hiawatha” and “Minnehaha” suites from

Coleridge-Taylor’s music. Mr. Fletcher also enjoyed writing solo ballades for voice, some

of which are “The Bells of Youth”, and “Kitty, what a Pity”. He later wrote works for

choir, including “The Shafts of Cupid”, “The Great Adventure” and “Galloping Dick”

(respectively). Fletcher was also known for his suites for “Light Orchestra” which would

be our string orchestra of today. Although some of his works, like “Folk Tune and Fiddle

Dance” were later arranged by other for full orchestra instrumentation. Percy E. Fletcher

is most well known for his pioneering work for Brass band, specifically a tone poem

called “Labor and Love” which was premiered at the National Brass Band Championships

in 1913 and won the performing band the first place title. This piece paved the way for

composers such as Elgar, Holst, and Vaughan Williams to enter the world of composition

for brass.

The Work

“Folk tune and Fiddle Dance: Suite for strings” was one of several pieces Fletcher

wrote for “light orchestra” in 1914. The thematic materials throughout this work are folk

tune recalled by Fletcher from his childhood. Fletcher grew up in the Derby, Great Britain

that was only a small town in the late 18th-early 19th century. Like other composers of

folk music, Fletcher was able to hear these melodies played at social gatherings like dinner

parties and dances.

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Historical Information:

Shortly before Fletcher’s birth an act was past in Great Britain called the

Education Act of 1870. This act made class singing required, and a rise in demand for

educational choral works opened the door for many composers. By the 1900’s when

Fletcher was on the composing scene, school operettas and cantatas were becoming very

popular. Composers like Gustav Holst, Frederic Cowen and our very own Percy Fletcher

made significant contributions to this effort.

Percy Fletcher wrote “Folk Tune and Fiddle Dance” in 1914. This first decade of

the 20th century proved to be a very interesting time to live in Great Britain. World war 1

would start in 1914 and bring all social and empirical issues to a head. New liberal parties

were starting to emerge from the House of Lords (one of the reigning political house,

much like our congress). Although Britain still had a constitutional government, suffrage

for all men and woman over 30 began to change the way people felt about their

government. Britain also became aware of its need for reform in army training as it fought

a three year battle to the Boers in South Africa.

In Ireland at the time, a yearning for nationalism and self -rule sent citizens trying

to breaking up this new liberal rule and weaken Great Britain. Fletcher’s nationalistic

comments in his composition are not unlike these cries of the Irish for tradition and

holding onto the riches of the past.

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Formal Analysis

Folk Tune and Fiddle Dance: Suite for Strings by Percy E. Fletcher Mvt. 1- Folk Tune Section 1: “Smoothly Flowing” (m. 1-m. 34) Key Signature: G Major Time Signature: 6/8 -ritard going into next section Section 2: “A little quicker” (m.35 or reh. 4 to m. 56) -rallentando e diminuendo into a fermata in m. 56 Section 3: “In Minuet time” (m.57 or reh. 6 to m. 81) Key Signature Change: a minor Time Signature Change: ¾ -Rallentando in last three bars to a fermata in m. 81 Section 4: “Quick and Lively” (m. 82 or reh. 8 to m. 104) Key Signature Change: A major Time Signature Change: 6/8 -fermata in m. 104 Section 5: “In a rough, jovial manner” (m. 105 or reh. 10 to m. 143) Key Signature Change: D Major Time Signature Change: 2/2 -fermata in m. 143 Section 6: “In moderate time” (m. 144 or reh. 14 to m. 155) Key Signature Change: e minor Time Signature Change: 6/8 Section 7: “Smoothly and tenderly” (m. 178 or reh. 17 to m. 186 or end of mvt.) Key Signature Change: E Major Mvt. 2: Fiddle Dance (in Rondo: ABACA form) Intro: m.1-8 Key Signature: G Major Time Signature: 2/4 A Section: m.9-m. 32 (reh. 1-2)

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-main melodic/rhythmic figure exposure B Section: m. 32-m. 68 (reh. 2-5) -secondary theme and variations A Section Recap: m. 68-97 (reh. 5-7) -restatement of main melodic material Transition: m. 98-m. 113 (reh. 7-8) Key Signature Change: C Major -restatement of intro material in different variation C Section: m. 114-m. 129 (reh. 8-9) -a third theme (with basic variation on the first two) Transition: m. 138-159 (reh. 10-12) -variation on intro with added pizzicato A Section Recap: m. 160- end (reh. 12) Key Signature Change: back to G Major -restatement of the main theme

*this movement remains in 2/4 throughout

Errata: No errata were found in score or in current publications.

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Performance Notes

Mvt. 1- Folk Tune

1.Time Signature Changes

-Example: The sections at m.56 are in 6/8 and at m.57 it changes to ¾ giving it a completely different feel. It then changes into 2/2 at m. 105

-Also, be careful of the pick-up note into m.82, m. 144, and m. 156

2. Stylistic Transitions

-Example: From the beginning to m.35 is smooth and legato, then it begins to transition into m. 57 which becomes a shorter and more staccato sound.

-Make sure the group is aware of slight changes in tempo with contrasting sections.

-Example: reh. 10 (m.105) is “rough and jovial” with a slightly faster tempo than the section at reh. 15 (m.157) which is “slower, broadly and expressively”

3. Be aware of difficult key signatures

-Example: Reh. 17 (m. 178) to the end are in E Major. 4 sharps is difficult for string players because they can no longer play their open G or D strings.

Mvt. 2- Fiddle Dance

1. Balance might be an issue.

-Example: A the beginning when the theme is first stated in the upper strings, cello/bass still have a moving line. It is important that the melody is clearly stated, and low strings must stay as an accompaniment.

2. Watch for accidentals

-Vln. 1, 2 and viola have a lot of C#s, and G#s throughout the movement

-Make sure that the students are still responding to dynamic changes even though they have a lot of accent markings.

-Example: M. 24 the violins and viola have accents but are supposed to be playing a piano dynamic.

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3. Rushing

-The main fiddle theme is likely to rush due to its fast notes and technical difficulty (one would think it would drag, but honestly it will probably get faster and faster).

-Use the cello/bass to keep the tempo consistent. They have steady quarter notes through melodic passages. Example: M. 24-26 cello/bass have quarter notes while vln. 1, 2 and viola play the melody.

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Major Skil ls and Concepts

1. Compound meter vs. simple meter

-6/8 transition into ¾ in mvt. 1 (reh. 6)

2. Stylistic Changes

-different styles within the sections of mvt. 1. Ex: Minuet vs. folk tune

-mvt. 2 contrasts stylistically with mvt.1, played in a less tame “fiddle tune style”

3. Contrasting Articulations

-within mvt. 1 the sections vary from strict staccato to legato or tenuto

-mvt. 2 calls for strategically placed accents to bring out aspects of the melody.

4. Rhythmic Challenges

-dotted eight sixteenth rhythms. Ex: Mvt. 1 (reh. 4)

-tied dotted quarter note and quarter note. Ex: Mvt. 1 (m.152)

5. Key Signature Changes

-specifically in mvt. 1 (E Major in particular)

-switching from Minor to Major keys

6. Balance Concepts

-making sure the melody line is heard throughout, and knowing who has the melody. Ex: in mvt. 2, the cello/bass have a moving line but it isn’t the melody.

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Object ives for Students

General Ensemble:

1. Students will play in correct key signature with proper intonation.

-Playing in E Major! (m.178 in Mvt. 1)

-Transitioning from minor keys to major keys. Example: a minor in m. 81 to A Major in m. 82.

2. Students will play with correct rhythm.

-The different dotted rhythms in 6/8 time. Including ties.

-Being aware of the change in value of notes in the 2/2 sections.

-Subdivide long patterns in 6/8

3. Students will play in appropriate style with proper articulation.

-Within the first mvt. the style changes several times from legato to staccato to accented tenuto to portray different characters.

-Bow weight, stroke, and length changes will help these changes sound effectively.

-The second mvt. is to be played in a “fiddle tune style”. Discuss what this means stylistically, technically, and musically.

--This also encompasses phrasing; different styles will call for different types of phrasing throughout the work

4. Students will correctly transition to different meters and different keys.

-Meter changes. Example: M. 55 to m. 57 in mvt. 1. Changes from 6/8 to 3/4. Also, m.103 to m. 105 6/8 to 2/2 (the value to the quarter note changes)

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5. Students will listen to each other when playing and maintain accurate balance throughout the ensemble.

-Listening within the ensemble, knowing who has the melody when and when it is appropriate to play out.

-Observing dynamics, and phrasing as a group.

-Eye contact between the players.

6. Students will keep a steady tempo and will not rush.

-Not rushing pizzicato. Example: Mvt. 2, m. 98

-Cello/Bass not rushing because you have the easier part.

-VIns/Viola not rushing melody in Mvt. 2 (beginning).

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Specific Objectives: Mvt. 1

1st Violins:

1.Students will shift properly into 3rd position to get notes in tune.

2. Students will play stylistic difference throughout the contrasting section.

3. Students will play with correct bow stroke/ technique for different articulations.

4. Students will observe and play accidentals in tune.

5. Students will play harmonics correctly.

6. Students will phrase melody lines.

2nd Violins:

1. Students will be aware of bow stroke while playing accompanying lines (to

1st violins).

2. Students will phrase theme sections.

3. Students will properly subdivide during held out or tied notes.

4. Students will play accidentals in tune.

5. Students will observe and play all dynamics and articulations.

Violas:

1. Students will play with accurate intonation.

2. Students will play pizzicato with accurate dynamics and without rushing.

3. Students will play out with good tone during soli sections.

4. Students will play all melodies stylistically accurate.

Cellos:

1. Students will properly shift into 2nd position.

2. Students will play in proper accompaniment style.

3. Students will play accidentals correctly and in tune.

4. Students will play with proper bow distribution.

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5. Students will play divided parts correctly.

6. Students will properly subdivide tied notes.

Bass:

1. Students will play with accurate intonation.

2. Students will play accidentals correctly.

3. Students will play with proper accents and articulations.

4. Students will be sensitive to dynamics and play them correctly, whether they

are playing pizzicato or Arco.

5. Students will play with a stable tempo.

Mvt. 2

1st Violins

1. Students will play in “fiddle” style.

2. Students will play with proper bow stroke to get this “fiddle” style. 3. Students will shift correctly. 4. Students will play with proper intonation. 5. Students will not rush pizzicato sections.

2nd Violins

1. Students will play in “fiddle” style.

2. Students will play proper dynamics. 3. Students will play with bow stroke characteristic to the piece. 4. Students will play out when they have the counter melody.

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Viola

1. Students will play stylistically accurate.

2. Students will play in tune. 3. Students will play accidentals accurately and in tune. 4. Students will play pizzicato sections with correct dynamics and in tempo.

Cello

1. Students will correctly shift into 3rd position

2. Students will not cover up the melody even when they are playing a moving

accompaniment part. 3. Students will follow dynamic contrasts. 4. Students will play with proper articulation.

Bass

1. Students will play with accurate intonation.

2. Students will play with proper intonation. 3. Students will not cover up melody line with accompaniment. 4. Students will not rush pizzicato sections.

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Strategies and Activities

Rhythm Exercise 1

Student will feel subdivisions in 6/8 time. The rhythm of m.23 for the 1st violin line and for the 2nd violin/viola line will be written on the board (see attached worksheet). Students will clap each line separately. Then the class will be split in half, half the students will clap top line while others say the bottom line on “ta” syllable. Switch rhythms.

Rhythm Exercise 2

Students will feel the rhythmic pulse as it changes from 6/8 to ¾ meter as in m. 56-61 of Mvt. 1- Folk Tune. This activity will be call and response. First, teacher will clap a rhythm and students will replicate it. Discuss which measure was 6/8 and which was ¾. Then teacher will clap a measure and students must decide if it was 6/8 or ¾. Teacher lengthens the rhythm to have multiple measures and change meter. See attached worksheet for examples.

Scales

Students will play D major, E major, A major, a minor, and e minor scales. These scales will

be played with different suggested articulations corresponding to what the style is of the

different sections. See attached scale sheet.

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Practice Sections

1st Violins:

Mvt. 1, m. 1 to 16.

Emphasis on phrasing and legato style

Mvt. 1, m. 34 to 56

Emphasis on articulations and style.

Mvt. 1, m. 82 to 96

Emphasis on phrasing

Mvt. 1, m. 178 to end

Emphasis on intonation and hitting E harmonic

Mvt. 2, m.9 to 32

Emphasis on “fiddle” style bowing (light, off the string)

Mvt. 2, m. 32 to 48

Emphasis on intonation and hitting all notes in rhythm. Practice notes

slowly to get accuracy.

2nd Violins:

Mvt. 1, m.24 to 34

Emphasis on phrasing.

Mvt. 1, m.116 to 132

Emphasis on coordination of bowing and rhythm.

Mvt. 1, m. 156 to 177

Emphasis on phrasing and intonation.

Mvt. 1, m. 178 to end

Emphasis on intonation.

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Viola:

Mvt. 1, m. 57 to 81

Emphasis on style in minuet section

Mvt. 1, m. 83 to 104

Emphasis on note accuracy and matching style with violins.

Mvt. 1, m. 107 to 115

Emphasis on style accuracy and blending with violins.

Mvt. 1, m. 144 to 155

Emphasis on intonation and phrasing.

Mvt. 1, m. 178 to end

Emphasis on intonation.

Mvt. 2, m. 11 to 32

Emphasis on style and phrasing.

Mvt. 2, m. 32 to 60

Emphasis on note accuracy and intonation

Cello:

Mvt. 1, m. 1 to 9

Emphasis on proper phrasing and style (solo section)

Mvt. 2, m. 98 to 114

Emphasis on phrasing and style (solo section)

Bass:

Mvt. 1, m. 60 to 81

Emphasis on articulation and style (solo section)

Mvt. 2, m. 112 to 114

Emphasis on playing all notes in proper rhythm.

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Assignments for Students:

Assignment 1:

Objective: Students will improvise and compose a short folk melody.

Compose your own folk tune: All compositions will be in the key of G major and be 6 to

8 bars long (time signature of your choice, however, ¾ or 4/4 are most common in folk

music). Ultimately, this composition would act as an “A” part to a two part folk tune.

The tune should be notated, and the student should be prepared to play it in class.

Students will receive credit/no credit for this assignment.

Assignment 2:

Objective: Students will learn about folk music through independent listening and written

response.

Listen to a folk tune. Write a two-paragraph response to what you heard. What kind of

bow stroke are they using? Articulations, affects? How is this different from technique

used in classical playing? Students will receive a letter grade for this assignment. Please

see attached rubric.

Practice Logs:

Students are required to turn in a practice log every Friday. This log should be signed by

parent/guardian. Format for practice logs can be found on next page. Students will receive

a letter grade for this assignment. Please see attached practice log and rubric.

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Practice Log

Name: Date: Monday: Tuesday: Wednesday: Thursday: Friday: Saturday: Sunday: Parent/Guardian Signature: ___________________________________

Practice Log Rubric

A 5 or more days of practice a week.

Practicing between 40 minutes and an hour a day.

B 3-4 days of practice a week.

Practicing between 30 minutes and an hour a day.

C 2-3 days of practice a week.

Practicing between 20 and 40 minutes a day.

D 1 to zero days of practice a week.

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Evaluation of Students

Playing test 1: Mvt, 1

1st Violin: m. 35 to m. 57

2nd Violin: m. 61 to m. 81

Viola: m. 82 to m. 104

Cello: m. 1 to m. 9

Bass: m. 165 to m. 174

Playing test 2: Mvt. 2

1st Violin: m. 32 to m. 48

2nd Violin: m. 48 to m. 60

Viola: m. 32 to m. 48

Cello: m. 98 to m. 114

Playing test Rubric

Well-prepared, accurate rhythms, accurate intonation,

Accurate dynamic contrast

B Well prepared, some in-accurate rhythms, some in-accurate intonation,

Lack of dynamic contrast

C majority of rhythms are in-accurate, majority of notes are out of tune,

No dynamic contrast

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Day 18 Lesson Plan

Objective: Students will play through m. 105-143 in “Folk Tune” with correct dynamics and accents. Students will sight-read “Arlington Sketches” by Elliot Del Borgo.

Opening Set: Play a D major scale with a light, off the string bow stroke comparable to the stroke required for m. 105-143 in “Folk Tune”.

Body:

Recap: play through m. 105-123 (broken down yesterday), and fix any issues.

Sight-reading: “Arlington Sketches” by Elliot Del Borgo

-go through STARS method: key signature/time signature, tempo, articulation/accidentals, rhythms, signs (repeats/codas).

-conduct through work while students air bow, counting and cue-ing

-ask for any questions, then play through piece.

Folk Tune: Look at m. 124-143

-have 2nd violin/viola play melody alone, listening and matching bow stroke, adjust any intonation issues.

-try starting students and not conducting, forcing them to keep eye contact with each other and improve style coordination.

-cello/bass in m. 124, check intonation on divided part (G# in particular)

Look at m. 132-143

-listen to accompaniment: 2nd violins/cello/bass together. If 2nd violins are having trouble staying steady during slurred eighths try it first without slurs, then with slurs.

-add the melody in 1st violins and viola

-check balance to see if everyone is heard, discuss who should be heard in this section.

Play through m. 132-143

Assessment: Randomly selecting a quintet of students to play m. 124-143 for the class.

Closing Set: Thank you! Good job (if deserved), and keep practicing! Student’s pack-up instruments.

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Recordings

“Folk Tune and Fiddle Dance: Suite for strings” by: Percy E. Fletcher

Performed by Cypress Creek HS Symphony orchestra

http://www.youtube.com/watch?v=ljdAzpsofuU (internet)

“Old tyme” traditional American folk tune. Performed by: Edgar Meyer, Bela Fleck, and Mike Marshall. ‘Heartland: An Appalachian Anthology’ (CD)

Bibliography

Scowcroft, Philip L. the Music of Percy Fletcher. Classical Music on the Web.

http://www.musicweb-international.com/garlands/fletcher.htm

Self, Geoffrey. Oxford Music Online: Fletcher, Percy (Eastman). 2007

http://www.oxfordmusiconline.com/subscriber/article/grove/music/09818?q=Percy+Fletcher&search=quick&pos=1&_start=1#firsthit

Randel, Don Michael. Harvard Dictionary of Music: Fourteenth Edition. Harvard University Press. 2003.

Saunders, Clark T. “Assessments with Value”. p.99-104. Teaching Music through performance in Orchestra, Volume 2. 2003.

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Related Items:

Other Works of Percy E. Fletcher:

Labor and Love (for Brass band, more advanced)

Fountain Reverie (for Organ)

Festival toccata (1915, for Organ)

Rustic Revels (1918, for string orchestra, same level)

Passion of the Christ (1922, choral work)

Works Similar to “Folk tune and Fiddle Dance”:

Holberg Suite by: Gustav Holst (1884, same folk tune feel, more difficult)

Simple Symphony by: Benjamin Britten (1934, same string suite set-up, more difficult)

Suite on English Folk tunes Op. 90 by: Benjamin Britten (same type of material, more difficult)

American Sketches by: James Curnow (same “fiddle” feel as mvt. 2, about the same level)

Ashokan Farewell arr. By: Calvin Custer (same “folk tune” feel, easier)