WebQuest

The following resource is meant to provide high school band teachers with a useful tool from which classroom lessons can be taken and used. Basically - all the legwork has been done for you!! (How convenient)...

Robert W. Smith has provided the concert band world with some outstanding literature, and Purgatorio, the second movement from his symphony for band entitled The Divine Comedy, is certainly considered among his best works. If you are interested in teaching your moderate level high school band about style, expression, exposed playing, and extended techniques - this piece is for you! Purgatorio was published by Belwin-Mills Publishing Corporation (part of Warner Brothers), and is considered a "Grade 4" composition.

Take a glance through the site, and see if any of these materials can be used for your own teaching. I have included an in-depth score analysis, some information about the composer, several activities and lesson plans that could be used, as well as an interactive Webquest for your students to complete. I hope you can find something that will be useful for your own teaching.

By completing all of the activities listed below, students will have completed work on 8 out of the 9 National Standards, missing only "Evaluation" - however, after the concert would be a great time for the students to evaluate their own playing! So, by the time this unit is complete, every National Standard will have been covered.

Purgatorio is a wonderful piece of music that can teach an incredible variety of musical ideas to developing students. Huge stylistic and dynamic changes provide the students with opportunities to experience multiple types of expression within one piece. Exposed, soloistic playing allows some students to show off their skills, as well as gain confidence and musical independence. Extended techniques are used throughout the ensemble to create sounds and effects that are not typically heard or used in band repertoire, which expands a student’s understanding of the true meaning of the word “music.” Many other ideas and performance techniques that are unique to this piece provide students with an opportunity to experience music in a unique way.

This section offers a score analysis that I wrote discussing many of the educational opportunities that exist in Smith's work. This analysis is meant to help you, the teacher. I have tried to point out some of the most important musical ideas - those that have the most educational value. I believe it would be most worthwhile to discuss some of the ideas underneath or within all the notes, that aren’t so obvious after a first read through. If you would like to see all the specific details of the piece, please take note of the handout I have attached. Here, I will discuss some of the more interesting ideas from this piece, and use them to make educational connections, which you, the director, can easily see and use in the classroom.

The opening section of the piece (mm. 1-22) is used to present the two major themes of the work. A mysterious horn solo (which is very exposed, and is great for developing independence), leads into the “Powerful” theme at measure 10.

This two-measure idea sets a dark, harsh, and solemn mood. It sets up the key of D minor, which is the tonic key for the majority of the piece. This motive is used throughout the piece – it acts as sort of an interjection to reinforce the harsh nature of the work. The melodic idea heard in the solo flute at measure 12 presents the intervallic motive of the piece.

These notes, which are heard again in solo soprano saxophone at measure 18, act as the melodic base for many of the themes and melodies to come. The importance of this opening section should be discussed at length with the students. It not only sets the tone for the entire piece, but it introduces the main key as well as the major thematic ideas that recur throughout the composition. I think it is important for students to make this initial connection with the main ideas of the piece in order to understand the full scope of the work later.

The next section, which really sets a dark and somber tone, offers many musical experiences which may be unique to performer and listener, alike. This section, marked “Drudgingly,” begins at measure 23, and continues to measure 50. The immediate feeling in this section is a sort of emptiness. Quiet dynamics and sparse musical ideas set this section in motion. The most immediately notable feature of this section has nothing to do with the notes coming from the instruments, however. The score calls for dragging and stepping with the feet, in order to create the effect of people trudging through the underworld.

The composer suggests that students put paper underneath their “dragging” foot to enhance the sound from the stage. Then, when the students step in unison, he suggests that the effect be audible, but not too energetic. This effect is all in time, and creates a neat effect when performed correctly. The next interesting technique used in this section starts at measure 27. Here, the composer asks selected players to “moan as if carrying a heavy load.” This effect should rise out of the ensemble, sort of at random, to create a feeling of pain and despair. All of these effects are being used to create a feeling of heaviness, and darkness. Purgatory is a place where sinners must complete an appropriate penance for their transgressions on earth, and these effects enhance this feeling. This section is less focused on notes from the horn, and more on the “sound effects” created by performers. This is an interesting concept that begs the question, “What is music?” Are all of these effects creating music? This discussion can be a valuable one for students, and should be a part of the rehearsal.

Of course, all of these effects are surrounded by instrumental playing, which becomes the background accompaniment. An exposed, sustained clarinet line is very dark and sonorous. The soprano saxophone returns and restates the opening solo theme. Along with a continuing bass line which provides structure and time, this section really sets up the tone and mood of the piece.

The third section of Purgatorio begins to build in intensity, and seems to explode into the “Powerful” theme that was presented at the beginning. The percussion begins with a very intense rhythmic passage at measure 51, and builds in dynamic until measure 59, where the winds erupt in a section marked “Furious.” The opening theme has been slightly altered, with the addition of a triplet rhythm at the beginning.

The music has also moved to C minor at this point. This section requires great rhythmic clarity and precision from the tutti band. Because the entire ensemble is playing, one mistake or miscue in counting could adversely affect this highly exposed and precise section. At measure 63, the first true melody of the piece is heard. The listener has heard themes before this point, but finally, there is a singable melody presented in the horns. The opening four notes of the melody are reminiscent of the opening four notes of the soloistic theme from the beginning flute and saxophone lines (making the connection). This section continues to drive forward with a repetition of the “Powerful” theme at measure 69, and informally ends at measure 72.

The neat idea within this section is the symbolism behind the musical ideas. The intense percussion line, tutti band “Powerful” themes, and the intense driving melody all symbolize a sort of earthquake on the island mountain Purgatory (as the classic story goes, Dante is taken by Virgil to the mountain Purgatory, comprised of seven terraces, each of which represents one of the “seven deadly sins”). Souls are sent to this mountain to complete penance for their sins on earth. Dante learns that the quaking of the mountain signals the completion of one soul’s penance, for which all other souls give thanks (which is presented in the next section). So, the intense quaking in the percussion and the driving melody in the horns should mean something to the students – they should try to portray this violent quaking. This makes the musical ideas more real, and more interesting.

Following the mountain’s quaking, the story says that the soul’s give thanks for the completion of one soul’s penance by proclaiming “Gloria in excelsis Deo!” Robert W. Smith puts this vocal line into the music starting at measure 73, marked “Ritual Chant.” In addition to the driving melody, which now appears in the horns and saxophones, the composer writes a vocal part for all other performers.

This melody (sung in unison) should be jubilant and excited. Of course, it is very possible that students will be very apprehensive about singing in band class, but if the proper approach is taken, this will be a very exciting and effective passage. A staccato clarinet, bassoon, and piano line acts as a transition into the next vocal part. This section also moves into a ¾ time signature, and begins to feel like it is in “1.” Measure 87 presents the next chant, which should sound reverent in comparison to the first. Performers are singing on the neutral syllable “Ah,” and present the melodic idea for this section. The staccato style of the moving eighth notes needs to be accurate and precise, and should be similar throughout the sections. In comparison, the vocal line should be highly sustained. One specific item of note – the flute line which starts at measure 93 sort of comes out of nowhere, and doesn’t seem to fit with anything else going on. In addition, it moves quite fast with lost of sixteenth notes at a quick tempo. A talented flute section will be necessary to accurately execute this passage. At measure 103, the second chant melody is transferred to the horns. The chant is taken over by the oboes, horns, and baritones, while the saxophones, trumpets, and trombones play a counter-melody, the eighth notes continue in the clarinets and bassoon, and the flutes continue with their moving line. By the time this exciting section draws to a close, the tempo has slowed down with a molto ritardando, and the music seems to die away.

The singing required in the fourth major section of the piece will be something that might take some getting used to as a part of band. Some bands include singing as a part of their daily routines (which I would recommend), and this will only help to create confidence and seriousness about this section. It is also good to understand why the singing is taking place (the celebration of one soul’s completed penance), and how all the sections fit together to build an intense section.

Just as the music seemed to be settling back down, the fifth section begins at measure 127, with a tutti, fortissimo hit from the band. Another intense, quaking section comes from the percussion, followed by the tutti “Powerful” theme from the winds. At measure 135, the horn melody (first presented at measure 63), is heard in the trumpets – with slight rhythmic variations. An intense triplet line in the woodwind writing will present a challenge to most ensembles. Accidentals abound in this section, and it is moving very quickly. A neat effect comes at measure 139, when the low voices are asked to “pick a note.” This clashing chord just extends the building intensity of this section. The “Powerful” theme is interjected again, followed by a restatement of the trumpet melody, this time imitated by the melody in the low voice, displaced by one measure. This section comes to a rousing climax in measures 151-154 when the tutti band plays the “Powerful” theme twice in a row.

This section is sort of a culmination of all the thematic ideas that have been presented up to this point. Major points of interest include the fact that all the melodic ideas are intertwined, and the “Powerful” theme is continually interjected for added punch and effect. Fast woodwind lines and intense accents provide stylistic and technical challenges for the entire band. Rhythmic accuracy and matching of styles is crucial for this complex section to line up and be most effective.

At measure 155, the sixth section, marked “Primal!” begins. This marking is indicative of the driving percussion rhythms, “gutteral” horn line, and intense building of all the other parts. Interesting musical effects including trumpet and trombone falls should be very aggressive and unexpected. Low wind septuplet rips provide an interesting effect, and a technical challenge not often given to these voices. The lone horn melody at measure 163 should be “gutteral,” and should drive forward to the entrance of all the other voices and effects at measure 171. Smith describes this section as a “cacophony of sound, concluding with the unison ‘C’ in measure 181.” This unison note acts as the climax of the piece, and is capped of with a tutti exclamation of “Gloria!” A grand pause allows the sound to die away, and the final section begins.

Measure 183 marks the return of the opening “Drudgingly” section. It also marks the return to D minor, the opening key of the piece. This section, which included the sustained clarinet line, marching bass line, and foot drags and steps, is nearly identical to the first section. The only difference is in the soprano saxophone thematic solo, which adds a bit of material to the end in order to extend the final motive. The piece slowly winds down, with a decrescendo that lasts until the very last downbeat from the tuba, contrabass clarinet, and piano – on a unison D.

Purgatorio, by Robert W. Smith is a very unique piece of music, which provides students with musical experiences that are not typical of other band works. This programmatic piece of music, which very obviously tells the story of the trip to Purgatory by Dante and Virgil, is full of dramatic effects and musical ideas. Although there is quite a bit of tutti playing, and relatively few themes (only two major themes – “Powerful” and melodic), this piece is not easy. This highly stylized piece of music requires accurate and precise playing from performers throughout the band. Exposed solos and melodic lines, as well as new and innovative techniques for musical effects require a great deal of musical independence from a majority of students.

Robert W. Smith (b. 1958) is one of the most popular and prolific composers of concert band and orchestral literature in America today. He has over 500 publications in print with the majority composed and arranged through his long association with Warner Bros. Publications.

    Mr. Smith's credits include many compositions and productions in all areas of the music field. His original works for winds and percussion have been programmed by countless military, university, high school, and middle school bands throughout the United States, Canada, Europe, Australia, South America and Asia. His Symphony #1 (The Divine Comedy), Symphony #2 (The Odyssey) and Africa: Ceremony, Song and Ritual have received worldwide critical acclaim. His educational compositions such as The Tempest, Encanto, and The Great Locomotive Chase have become standards for developing bands throughout the world. His numerous works for orchestras of all levels are currently some of the most popular repertoire available today. His music has received extensive airplay on major network television. From professional ensembles such as the United States Navy Band and the Atlanta Symphony to school bands and orchestras throughout the world, his music speaks to audiences in any concert setting.

    As a conductor and clinician, Mr. Smith has performed throughout the United States, Canada, Japan, Europe and Australia. In addition, he has been awarded numerous commissions from professional and school ensembles throughout the United States, Canada, Europe and Korea. He has recently released "Symphony #2 (The Odyssey): The Symphonic Music of Robert W. Smith Volume 3", the third in a series of compact disc recordings of his best-known works for concert band. In addition, he is co-creator of the Expressions Music Curriculum. This comprehensive Pre-K through 12 music program includes Band Expressions, an innovative new approach to teaching music through the band.

    Mr. Smith is currently teaching at James Madison University in Harrisonburg, VA. In addition to conducting the Symphonic Band, his teaching responsibilities are focused in the Music Industry program and include courses in all areas of music composition, arranging, and production. He is also working through Warner Brothers Publications on his upcoming release of The Divine Comedy : The Symphonic Music of Robert W. Smith, a compact disc of his best selling works for concert band. In addition, he is completing numerous commissions as well as several orchestral works for Warner's Belwin Orchestra Series.

Some of these activities are quite musical, but others involve vocal discussion, as well as some connections to the other arts...

I have provided brief explanations of several of these activities, and I hope some of them can be used in your rehearsal setting. They are all very fun, and each one touches a different musical concept.

Allows students to understand the value of every factor that goes into creating a piece of music - notes, rhythms, form, instrumentation, etc...

You mean there's more to composing than just making stuff up? Allow your students to compose their own melody on the spot using some pre-planned guidelines.

"But, we joined band because we couldn't sing..." Trust me; your band CAN sing - here's a little trick...

A good articulation exercise - especially for illustrating the differences between articulations.

This activity makes the connection between music and the other arts in a creative way. Kids may not even think about the fact that they are doing an assignment! And, it's all online...!