Ever More Distant By Douglas Akey Unit Plan Project MUS 3470 Western Michigan University Lucas Chapa

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Basic Information_____________________________________________________pg. 2

Program Note________________________________________________________pg. 3

Historical Information

The Work____________________________________________________ pg. 4

The composer_________________________________________________ pg. 5

Related History______________________________________________________ pg. 6

Formal analysis/Errata_________________________________________________pg.7

Performance Notes___________________________________________________pg. 8

Glossary of Terms____________________________________________________pg. 9

Concepts & Skills Required for Performance_______________________________pg. 10

Objectives for Students__________________________________________pg. 11

Student Assignment #1__________________________________________pg. 12

Student Assignment #2__________________________________________pg. 13

Practice Guide_________________________________________________pg. 14

Evaluation____________________________________________________pg. 15

Rehearsal Schedule___________________________________________________pg. 16

Resources__________________________________________________________ pg. 17

Bibliography_________________________________________________________pg. 18

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Basic Information

Title: Ever More Distant

Composer: Douglas Akey

Publisher: Alfred Publishing Co., Inc.

Grade Level: 2 (Medium Easy) Middle School Band

Style: Lyrical/Expressive

Key: Concert Bb Major

Meter(s): 3 / 4, 2 / 4

Tempo Indications: Quarter Note= 76 (Andantino)

Performance Time: 3:00

Instrumentation:

Score: Full Transposed Score

Range Concerns: 1st Bb Trumpet, E-G above the staff (Especially Trumpet Soloist)

Unusual Requirements: Chime part in the percussion section

10 Flute

2 Oboe

2 Bassoon

6 1st Bb Clarinet

6 2nd Bb Clarinet

1 Eb Alto Clarinet

2 Bb Bass Clarinet

2 1st Eb Alto Saxophone

2 2nd Eb Alto Saxophone

2 Bb Tenor Saxophone

Eb Baritone Saxophone

4 1st Bb Trumpet

4 2nd Bb Trumpet

2 F Horn

3 1st Trombone

3 2nd Trombone

2 Euphonium T.C.

2 Euphonium B.C.

4 Tuba

2 Mallet Percussion

1 Timpani

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Program Note

Ever More Distant by Douglas Akey

Ever more Distant composed by Douglas Akey is a beautiful lyrical piece

available for middle school bands. This piece develops a simple melody across several

different instrumentation groupings. The different colors brought out in this piece

create a calm and contemplative setting. The use of long extended phrases gives a

chance to make a truly heartfelt performance possible. These phrases include some

dissonant harmonic resolutions which when done properly can showcase an ensemble’s

listening and musical maturity.

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Historical Information

The Work

The piece Ever More Distant was composed by Douglas Akey in 2007. The need

for new compositions written for beginning and middle school band has started the

creation of many similar pieces. Ever More Distant makes use of several effective

techniques used in older more “mature” pieces such as alternating instrument pairings,

long stagger breathing phrases, and finally a very effective harmonic progression

through which a dissonant suspensions keep this slow piece interesting. Due to the

increasing success of middle school ensembles and the need to write continually new

and challenging music for them has resulted in pieces as beautiful and attainable as this.

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The Composer

Douglas Akey is not only an accomplished composer but also a successful

educator and performer. Through a performance scholarship Akey received a Bachelor

of Music in Instrumental Education and a Masters of Music in Solo Performance from

Arizona State University. Akey has experienced great success as an educator as the

Director of Bands at Hendrixson Junior High school in Chandler, Arizona since 1987.

During his time as director his bands have been invited to perform at several music

education confrences including the 1994 Midwest International Band and Orchestra

Clinic and the 1998 Music Educators National Conference. To this day Akey remains

highly in demand as both a clinician and judge for many bands throughout the West.

Mr. Akey has received several prestigious awards for both his teaching and

composition career. As an educator in 1985 he received the Stanbury Award of the

American School Band Directors Association as the outstanding young junior high

school band director in the United States. In 1996 Akey received the National

Federation of Secondary Schools Music Educator of the Year award as well.His

compositions are seen frequently in the programs of countless state contest lists in the

US, Australia, and even the Far East.

As a performer Douglas Akey is currently the principal hornist for the Tempe

Symphony Orchestra. In the past Akey played with the Arizona Brass Quintet, the Del

Sol Brass Quintet, and the Tuscon Symphony Orchestras.

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Related History

The years surrounding the creation of this piece (2007) were an unnerving time

for the United States. Not only was the country troubled by foreign affairs but domestic

turmoil as well. Abroad our country was still battling the war on terror. President Bush

had issued even more of our resources, mainly soldiers, into the warfront. The threat of

Iran’s nuclear weapons programs heightened tensions even further causing the entire

world to stand on their toes. In April there was the massacre of thirty three students at

Virginia Tech. The economy was facing similar turmoil due to the failure of thousands

of Americans mortgages. Due to the increasing tensions in the Middle East and very

little gain in our efforts President Bush also legalized the wiretapping of any American

telephone or email. Americans were experiences a tumultuous time of financial struggle

and world pressures.

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Formal Analysis

The piece Ever More Distant is an approachable piece in the key of Bb major and

follows a fairly simple pentatonic melody. The time signature is in ¾ and has only one

measure of 2/4 in between the statement of the theme by solo trumpet and the

development of the theme by the ensemble. Phrases are typically 8 measures in length

and have a suspension at the end of the phrase before the next instrument grouping

takes over the melody. These suspensions create the drama and tension for the piece.

The form of the piece follows a traditional ternary form. The A section is stated in both

the trumpet and woodwind melody. The B section contains contrasting material in the

relative G minor (although it does not actually change key) and crescendos into the

return of the theme. The ending is quiet and serene allowing for an expressive and

attentive ritardando by the ensemble.

M. 1-11 Opening material with augmented preview of the melody in clarinet and

trombone voices

M. 11-20 *Trumpet solo, first statement of the theme

M. 21-24 Time signature change, crescendo into full ensemble entrance

M. 24- 33 WW voices have the melody

M. 34- 40 Contrasting “B” section in G minor. Staggered entrances of contrasting

material.

M. 41-43 Impact point of the piece. Huge crescendo led by suspended cymbal

M. 44-55 Dramatic restatement of the theme in brass and WW voices.

M. 56-65 Alto Sax obligato embellishment with trumpet. Gradually getting softer

M. 65- end Slowing down even more. Decrescendo and significant ritardando over the

last four measures to the fermata.

Errata None Found

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Performance Notes

Written by Douglas Akey

Ever More Distant is a quietly moving piece of remembrance that offers the young band

a wonderful opportunity to concentrate on breath support, tone production, tuning,

balance and blend. The performer will need to be mindful of where the melody is

scored so that it can always be clearly heard by the listener. Likewise, the voices

responsible for resolving the harmonic dissonance should be brought out of the texture,

making the change obvious. Judicious use of staggered breathing will keep longer

phrases form being broken, resulting in a mature musical statement of this beautiful

and lyrical work.

Lucas Chapa’s Performance Notes

In order to achieve a successful performance of this piece a significant amount of

preparation must be done concerning breathing. Students need to develop the ability to

not only play through extended phrases but also to stagger breath. As mentioned by the

composer emphasis must be placed on tuning the dissonant chords so that students do

not shy away from those “unusual sounds”. Clearly identifying the melody will also

help to develop some initial musical instincts. Students should understand the concept

of primary and accompanying musical figures as soon as possible. This will not only

cause this piece to be more effective but also transfer well to all other pieces of music.

As an added note there should be a proficient trumpet player who can confidently play

the opening solo.

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Glossary of Terms

Andantino- an Italian tempo marking slightly faster than Andante but slower than

Moderato. Quarter note= 76 bpm

Poco a poco= Literal translation from Italian means “little by little”

Molto Sonore= An Italian word meaning “much sonority”.

Meno Mosso= An Italian phrase meaning “less movement”

Ritard = An Italian word meaning “gradually slower”

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Concepts & Skills Required for Performance

Breathing:

Students will need to be able to breathe properly and efficiently so that they can

play with full breath support. This involves understanding how to take full deep

breathes and rationing that breathe over an elongated period of time. Students will also

need to understand the concept of stagger breathing in order to play this piece. Take a

breath at a different time than the person next to you is crucial so that phrases are not

broken up and the melody is presented properly.

Broad Musical Concepts:

Melody

Accompaniment

Moving Figures

Recognizing Time Signature Changes in Conducting

Students will need to understand the difference between the melody and the

accompaniment. The melody should always be heard first and foremost in the piece.

Students need to be able to identify when and where they have the melody and what to

do when they have it. Likewise when they do not have the melody they need to

understand the accompaniment part in relation to the melody.

Students should also be able to identify properly a “moving figure” which would

include any ascending or descending series of notes. They should understand that when

they see this in their music it is their responsibility to bring these figures to the listener’s

ear.

Students will also need to be able to follow a ¾ and 2/4 conducting patterns. This

is crucial since the piece changes time signatures.

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Objectives for Students

Objectives: Ensemble objectives will consist from the following list

Students will be able to play with a fully supported sound over an extended

phrase of at least four measures.

Students will be able to anticipate and play the transitions between the ¾ and 2/4

time signatures.

Students will be able to understand the concept of melody and accompaniment.

Students will be able to play the piece bringing out important musical phrases

based upon their knowledge of melody and accompaniment.

Students will be able to both understand and play with a “stagger breathing”

technique throughout this piece.

Strategies for Achieving the Desired Results

In order to properly accomplish these objectives many of these concepts will be

taught in through demonstrations and lectures within the daily class rehearsal. In the

beginning of each class a significant portion of time will be dedicated to develop

breathing and giving breathing techniques to help facilitate this process. As the year

continues their ability to breath will improve and time will then shift to concepts like

melody and accompaniment figures. There will be a video assignment for both sections

of breathing and melody/accompaniment demonstrations for the students to observe

outside of class rehearsal.

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Video Assignment #1

Due Date: 12/12/2011

Point Value: 15 points

Description:

For this assignment you will watch the video on YouTube and demonstrate for

me the breathing exercise I did in the video. There will be 2 key points which I will ask

you to tell me during your demonstration of the exercise. You can turn in either a

handwritten or typed assignment sheet.

To watch the video copy exactly the website link at the bottom of this page into

the address bar on your internet browser. If you cannot get this to work or do not have

access to the internet my computer will be available for use. Ask me AHEAD of time.

Point Distribution:

5 pts for demonstrating the breathing exercise

5 pts for Key Point #1

5 pts for Key Point #2

URL Link:

http://www.youtube.com/watch?v=oxd3TpZAD5I

(These are real Dr. Lychner, please watch them!)

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Video Assignment #2

Due Date: 12/16/2011

Point Value: 10 points

Description:

For this assignment you are to watch the video from the link below. The purpose

of you watching this video is for you to hear how each section of the band plays

different parts. You are to listen to the announcer from the recoding and tell me which

two sections play the melody in this video. You will also tell me which section you hear

in order starting from the very beginning of the video. (For example; 1. Saxophone, 2.

Trumpet etc.) You can turn in either a handwritten or typed assignment sheet.

To watch the video copy exactly the website link at the bottom of this page into

the address bar on your internet browser. If you cannot get this to work or do not have

access to the internet my computer will be available for use. Ask me AHEAD of time.

Point Distributions:

5 pts for listing the 2 sections who play the melody

5 pts for properly listing in order the instruments which play from the beginning

of the video to the end

*2 bonus points available for identifying the other sections not mentioned by the

announcer who also play the melody. You have to listen and compare to figure it out!

URL Link:

http://www.youtube.com/watch?v=5tB-dQSIozg&feature=related

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Practice Guide

Description:

There will be a final assessment based upon your practice assignments. The

assessment will be on 11/15/2011done in private at my office. Sign up time will be

available on my office door. All emphasis for these practice evaluations will be

focused on breathing technique and breath control.

Flutes: Play m. 41-46 in one breath.

Clarinet: Play m. 41-46 in one breath.

Bassoon: Play m. 11- 17 in one breath.

Alto Saxophone: Play m. 41-46 in one breath.

Tenor Saxophone: Play m. 41-46 in one breath

Baritone Saxophone: Play m. 38-44 in one breath (upper octave is ok)

Trumpets: Play m. 43-49 in one breath

Horn: Play m. 41-46 in one breath

Trombones: Play m. 55-60 in one breath

Euphonium: Play m. 55-60 in one breath

Tuba: Play m. 41-44 in one breath

Percussion: Each percussionist will be expected to play for me m.1-11 of the Chime

part demonstrating proper technique and accurate rhythms.

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Evaluation

Assessment for Practice Portion

Breathing Technique

1 2 3 4

1=Student takes in a full complete breath which fills from the bottom up. Physical

expansion of the stomach is visible and apparent.

2=Student takes in an almost complete breath which is only slightly shallow. Some

expansion of the stomach is visible

3=Student takes in an average breath which is little different than normal. No

expansion of the stomach is visible.

4=Student makes no effort to take in any more air than necessary to survive. No

breathing effort visible whatsoever.

Breathe Control/Support

1 2 3 4

1=Student is able to play through the entire assigned section with one breath. The

sound remains supported and consistent throughout.

2=Student can play through the section with only one breath but is weak and

inconsistent at the end.

3=Student can play through the section with one extra breath and a fairly consistent

support throughout.

4=Student require more than two breaths to make it through the section and/or the

sound is weak and incredibly ill-supported.

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30 Day Rehearsal Schedule

Warm-up

Breathing

Piece#1

Piece#2

Warm-up

Breathing

Akey “A”

Warm-up

Breathing

Piece#1

Piece#2

Warm-up

Breathing

Akey “A”

Warm-up

Breathing

Piece #1

Piece#2

Warm-up

Breathing

Akey “A”

Piece #2

Warm-up

Breathing

Piece #1

Akey “B”

Warm-up

Breathing

Akey “A”

Piece #2

Warm-up

Breathing

Piece #2

Piece #1

Warm-up

Breathing

Akey “B”

Piece #1

Warm-up

Breathing

Piece#1

Piece#2

Warm-up

Breathing

Akey “B”

Piece #1

Warm-up

Breathing

Piece #2

Akey “B”

Warm-up

Breathing

Piece #1

Akey “A”

Warm-up

Breathing

Piece #1

Piece #2

Warm-up

Breathing

Akey “B”

Piece #1

Warm-up

Breathing

Akey “B”

Piece #1

Warm-up

Breathing

Piece #2

Akey “B”

Warm-up

Breathing

Piece #1

Piece #2

Warm-up

Breathing

Akey “B”

Piece #1

Warm-up

Breathing

Piece #1

Akey “A”

Warm-up

Breathing

Piece #2

Akey “B”

Warm-up

Breathing

Akey “A+B”

Warm-up

Breathing

Piece #1

Akey “A+B”

Warm-up

Breathing

Piece #2

Piece #1

Warm-up

Breathing

Piece #1

Piece #2

Warm-up

Breathing

Akey “A+B”

Warm-up

Breathing

Piece #1

Akey “A+B”

Warm-up

Breathing

Piece #2

Akey “A+B”

Warm-up

Breathing

Full Runs

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Resources

Recordings

http://www.youtube.com/watch?v=JYc7uHVm_uA

http://www.sheetmusicplus.com/title/Ever-More-Distant/7925303

Other Works by Douglas Akey

Fire Dance- Grade 2

Mountainbrook March- Grade 1

Tales of the Emerald Isle- Grade 3

Entry of the Nobles- Grade 1

Voyage Through the Night- Grade 3

Related Works for Ever More Distant

Into the Storm by Robert Smith (grade 3) similar difficulty

West River Jubilee by John Darling (grade 4) more advanced with similar concepts

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Bibliography

Home Page in Oxford Music Online. Web. 03 Dec. 2011.

<http://www.oxfordmusiconline.com/public/;jsessionid=96394CECEC8EAE58B20C6807

7244E84B>.

www.halleonard.com. Web.

<http://www.halleonard.com/biographyDisplay.do?id=157&subsiteid=1>.

YouTube - Broadcast Yourself. Web. 06 Dec. 2011. <http://www.youtube.com/>.