Unit Study

“First Christmas Overture,” published in 1990, is a medley of familiar Christmas tunes arranged by John O’Reilly. O’Reilly is a composer and arranger of band music and method books for young musicians and is the current president of Alfred Music Publishing Company.

This particular type of overture very closely resembles the one-movement dramatic overture of the 18^th and 19^th centuries in which the piece is written in medley form to expose the listener to themes that would be developed later in the opera or other dramatic work. As time went on, the dramatic overture became an independent work, performed apart from the opera.[1]

Also, in the way of background, “Good King Wenceslas” is a carol sung about Wenceslas, Duke of Bohemia who became king in 922, AD. As the song suggests, Wenceslas was renowned for his morality and Christian virtue. Seven years after becoming king, Wenceslas’ own brother murdered him for his faith, becoming Bohemia’s first recorded martyr. The song is sung today in remembrance of the virtue of Wenceslas.[2]
Pertinent Information Regarding the Piece

The teacher should note that “First Christmas Overture” is a piece designed for very young students. It is designed for the musical growth and development of first- or second-year band students. The following is a breakdown of the musical elements (rhythm, melody, harmony, form, and musical terminology) as well as challenges that should be given the most attention during instruction.

“First Christmas Overture” is a piece that is largely free of rhythmic difficulty, in that the most difficult rhythms for students to navigate are rather predictable arrangements of quarter notes and eighth notes. It is in common time, and there is no syncopation anywhere in the piece. It should also be noted that there are very few measures that feature rests, and when there are, they are comprised of a single quarter rest and perhaps a half rest. The only rhythm pattern that may pose a problem for some students is the quarter note on beat four tied to a whole note in the next measure. (See Figure 1 below.)

The beauty (and certainly the aim) of the piece is that it makes transparent the famous Christmas tunes “Up on the Housetop,” “O Come, All Ye Faithful,” “Good King Wenceslas,” and “Jingle Bells.” This gives the teacher plenty of opportunity to teach young students how to identify and properly balance against the melody in the various sections of the band.

The harmonic content of the piece is relatively simple. The opening key is Bb major, then there is a brief excursion to its subdominant Eb major, and the piece ends in its original key. All chords are diatonic, and there seem to be no significant chromatic embellishments. Therefore, a teacher may or may not (depending on time allowance and student readiness level) choose to teach students about the basic elements of diatonic harmonic progression.

The piece seems to be void of any traditional formal structure; it would probably be described most accurately as “through-composed.” It also seems to be an overture in name only, except for its use of small melodic motives and heavy dynamics. (The piece has only one dynamic marking of forte for all instruments at the beginning, and expression never changes throughout the remainder of the piece.) However, the medley structure gives the teacher the opportunity to discuss how composers make transitions between different tunes within the melody, effectively melding entirely different pieces of music together into one cohesive structure.

The piece being specifically targeted for younger groups, the texture tends to be largely homophonic, with the exception of some groups imitating other groups. However, there is no part that is not doubled with at least one other part, and imitations, when they do occur, only do so at the measure level.

The following is a list of terminology that students need to know when studying this piece. The definitions are based upon the term’s use within the piece.

· Medley: a succession of well-known melodies loosely connected to one another[3]

· Overture: a one-movement composition traditionally used to introduce themes to be developed later in an opera or other dramatic work[4]

· Students will identify elements within a piece that are important when sightreading.

· Students will identify the important elements of John O’Reilly’s “First Christmas Overture.”

· Students will be able to define or demonstrate understanding of the terms allegro, forte, medley, and overture.

· Students will be exposed to the background information on John O’Reilly, “First Christmas Overture,” and “Good King Wenceslas.”

1. Prior to the lesson, create a handout for students of the terminology and definitions related to “First Christmas Overture.” (See “terminology” above.)

2. Have students brainstorm what elements of a piece are important to note when sightreading, and write their responses on the board.

5. Based on the list the students compiled on the board, have students identify those elements specifically within the piece. Make sure that students know that there will be a quiz on the fifth day of the unit on what to look for when sightreading a new piece.

10. Ask students to identify what is difficult or what surprised them about the piece after having sightread it.

12. Give students the background information on the piece, the composer, and “Good King Wenceslas.”

13. Issue the terms and definitions handout. Make sure students know that they will be tested on these terms on the fifth day of the unit.

Students will be assessed through direct questioning from the teacher and based upon their performance of the piece.

· Students will be able to count, sing, and play all of the rhythms in “First Christmas Overture” with 100% accuracy.

· Students will be able to recall by memory the terminology presented the day before.

· Students will be able to recall by memory the elements of a piece that are important to note when sightreading a piece.

2. Prior to the lesson, write several different rhythm patterns on the board that are found within the piece.

3. Have students count each pattern accurately, repeating each pattern as needed until 100% accuracy is attained.

7. Rehearse piece until 100% rhythmic accuracy is attained at the desired tempo.

8. Ask the students to define each term learned on the previous day. In doing so, remind them that they need to memorize the terms and their definitions (not necessarily verbatim) for a quiz on the fifth day of the unit.

9. Review with students what they should look for when sightreading a piece of music, and remind them that there will be a quiz on this on the fifth day of the unit.

Students will be assessed by direct questioning from the teacher and by their performance of the piece according to teacher satisfaction.

· After having the teacher playing each melody on the piano for the students to hear and after playing the piece, students will be able to identify all four melodies within the piece and what instrument group is playing them.

· Students will execute proper balance in playing the piece, thus highlighting the melodies in the appropriate places.

· Students will recall the terminology and definitions, as well as the sightreading techniques and elements, by memory.

5. Ask students to look at their piece and raise their hands if they ever play that melody. Have those students name the measures where they play it.

7. Have students sing through the piece all together. As they sing, have students raise their hands when they have the melody.

8. Sing the piece again, but this time, students will only sing those measures that they have the melody. Everyone else will rest until it is their time to sing the melody.

9. Discuss proper balance with students. Make sure to emphasize that the melody must be brought out at all times, and if the melody cannot be heard, then they must get softer until it can.

10. Rehearse the piece, focusing on balance and reinforcing previous concepts covered.

11. Review terminology and sightreading techniques with students, and remind them of the quiz on the fifth day of the unit.

Students will be assessed by direct questioning from the teacher and by their performance of the piece according to teacher satisfaction.

· Students will achieve a forte dynamic level (as indicated in the score), while maintaining appropriate balance (as previously taught on Day 3).

· Students will respond to suggestions from the teacher for expressive elements (not necessarily marked in the score, but are musically appropriate) and perform them to the satisfaction of the teacher.

· Students will recall the terminology and definitions, as well as the sightreading techniques and elements, by memory.

2. Have the students hold out their first note of the piece at a forte dynamic level.

4. Have the students run the piece, and see if they maintain the forte dynamic as well as proper balance.

5. As the conductor, use your musical instincts to direct students to implement any expressive elements that you feel would enhance the performance of the piece. Make sure that the students write down any changes, and make sure that they do so in pencil.

6. Rehearse the piece to make sure that all changes are in place, dynamic level is maintained, appropriate balance is achieved, and all rhythms are correct.

7. Review the quiz material with students, reminding them that the quiz will occur the next class session.

Students will be assessed by direct questioning from the teacher and by their performance of the piece according to teacher satisfaction.

· Students will demonstrate their knowledge and understanding of terminology and definitions within “First Christmas Overture,” as well as sightreading techniques and elements, through a written quiz to be graded by the teacher.

· Students will perform the piece with accurate rhythm, appropriate balance, adequate dynamic level, and musical expression to the satisfaction of the teacher.

· Students will apply their knowledge of sightreading techniques and elements by playing a new piece to the satisfaction of the teacher.

1. Prior to the lesson, create a brief quiz evaluating students’ understanding and knowledge of the terminology and definitions related to the piece, as well as the sightreading concepts covered in previous lessons.

5. Rehearse “First Christmas Overture,” reinforcing all previously covered topics.

8. Add any element or important piece of information that the students may have left out.

10. Briefly review with students what they have learned over the course of the unit, and discuss any details they need to know about the concert.

Students will be formally assessed by their quizzes, to be graded by the teacher. They will be informally assessed through the use of direct questioning by the teacher and by the students’ performance of the two pieces.

2. Have them breathe in for 4 counts (at approximately quarter note equals 60), out for 4, in 4, out 8, in 4, out 12, etc. It is recommended that students at this level only go to 12 counts out at the beginning, then increasing the number of counts as they progress throughout the year. Emphasize a steady air stream, regardless of the number of counts they are exhaling.

3. Do the same exercise, but this time, have students play it on their instruments on an F concert.

5. Have students play a Bb concert major scale, ascending and descending in whole notes.

8. Have students play a chorale exercise from a method book in Bb or Eb concert.

Below are some suggestions for enrichment activities or assignments for students to take part in over the course of the unit. These may or may not be taken for a grade. The teacher may also wish to add, delete, change, or adapt any activity or assignment suggested.

· Have students research and write a report on the historical background of their favorite holiday song. The student may wish to present their findings to the class in the form of an oral presentation.

· Give each student a piece of staff paper, and have them write out their favorite holiday tune on that paper. It should be written for that particular student’s primary instrument, and it should be written in the key of Bb concert major.

· Have students each choose a famous overture from a list compiled by the teacher. The student must then be given a copy of the score and have access to an audio recording of that score. The student will research its background, listen to it, and analyze the score to determine what is similar and what is different between that overture and “First Christmas Overture.” This can be presented in the form of a paper or an oral presentation.

The teacher may wish to consider some suggestions on some fun or creative ways to present and/or perform this piece within the school or community. Certainly, this piece would fit well within the context of a school-wide or community-wide holiday concert or festival. Another option to consider would be to serve refreshments such as cookies, hot cider, pie, etc., and have an informal performance for parents and the community. The teacher may also wish to invite other teachers or administrators from the school building to listen to the group rehearse on the fourth or fifth day of class, and offer refreshments for them when they come. (This not only gives the students another performing opportunity, but it is also a great way to promote your program in front of administrators!) Another idea may be to have students perform the piece at a local shopping mall. The final suggestion would be to have a performance in which the audience would be given a sheet of lyrics to the tunes within the medley and offer for them to join in and sing the melodies when they hear the students play them. Certainly, these are merely suggestions, and the teacher should feel free to come up with other creative ideas to perform or present this piece.

The activity provided me with a great opportunity to develop a cohesive, rigorous unit that not only encourages learning but also creativity and fun. I appreciated the added degree of authenticity in the assignment in knowing that the unit would be taught in a real classroom. This ensured that my unit would be practical, comprehensive, and detailed. Though this created added difficulty (especially in not knowing the students and their prior knowledge or capabilities), I believe it was an appropriate and welcome challenge. I also appreciated the option of teaching the unit myself, as opposed to having the designated teacher do it. Though I won’t be able to, I’m sure that students who can will enjoy the pleasure of seeing a project through to completion in an unparalleled authentic assignment, as well as meaningful feedback from an experienced classroom teacher.

I must admit that I was surprised by the lack of musical substance within the piece, “First Christmas Overture.” In developing the unit, I had much difficulty finding meaningful learning activities that would last a full five days. However, this forced me to be creative and to concoct educational opportunities wherever they may lie.

I would certainly recommend that this activity be repeated in future classes, as well as in classes other than MUSED 360. This kind of authentic preparation for teaching is unique, appropriate, genuine, and challenging.

[2] www3.bc.sympatico.ca/st_simons/cr9212.htm

[4] Ibid., (p. 602)

[5] The teacher should note that the lesson plans are merely suggestions, and the teacher should feel free to make any desired changes or adaptations.

[6] Please note that the warm ups are merely suggestions, and the teacher should feel free to change, adapt, or otherwise utilize these suggestions as he sees fit.

By Dan Haag