Composition Concepts for Band and Orchestra

Dr. Alexander Koops is an Associate professor of music at Azusa Pacific University, Director of the Azusa Conservatory Community Music School, Fulbright Scholar, and recipient of the CMEA John Swain music education award. He regularly adjudicates and clinics middle school and high school bands and orchestras, leads composition workshops and professional development, and is a published author. Dr. John Whitener is an Associate Professor of Music at California State University Northridge where he teaches music education courses in addition to teaching middle school band at Jordan Middle School, Burbank, and working as a professional composer. He has received numerous teaching awards including the Bravo! Award given by the Los Angeles Music Center for teaching excellence in Music Education and the Outstanding Music Educator of the Year for CMEA, Southern California Division.

• ForewordIntroduction: How to use this bookChapter 1: SoundscapesTeacher Guide: Lesson 1. SoundscapesStudent Worksheet: Lesson 1. SoundscapesTeacher Guide: Lesson 1. Soundscapes: Supplemental MaterialsChapter 2: TimbreTeacher Guide: Lesson 2. TimbreStudent Worksheet: Lesson 2. TimbreTeacher Guide: Lesson 2. Timbre: Supplementary MaterialsChapter 3: Rhythm Teacher Guide: Lesson 3. Rhythm Student Worksheet: Lesson 3. RhythmStudent Worksheet: Lesson 3. RhythmTeacher Guide: Lesson 3. Rhythm: Supplementary MaterialsStudent Test 1. Lessons 1-3: Soundscapes, Timbre, Rhythm Teacher Answer Key: Student Test 1. Lessons 1-3Chapter 4: MelodyTeacher Guide: Lesson 4. Melody Student Worksheet: Lesson 4. Melody (Orchestra Version)Student Worksheet: Lesson 4. Melody (Band Version)Teacher Guide: Lesson 4. Melody: Supplementary MaterialsChapter 5: OstinatoTeacher Guide: Lesson 5. OstinatoStudent Work Sheet: Lesson 5. Ostinato Teacher Guide: Lesson 5: Ostinato: Supplemental MaterialsChapter 6: TexturesTeacher Guide: Lesson 6. TextureStudent Worksheet: Lesson 6. TextureTeacher Guide: Lesson 6. Texture: Supplemental MaterialsTest 2. Lesson 4-6: Melody, Ostinato, TextureTEACHER ANSWER KEY Test 2. Lesson 4-6: Ostinato, Texture, and MelodyChapter 7: Words into MusicTeacher Guide: Lesson 7. Text based composingStudent Worksheet: Lesson 7. Text based composingTeacher Guide: Lesson 7: Text based composing: Supplemental MaterialsChapter 8: Harmony Teacher Guide: Lesson 8. HarmonyStudent Guide: Lesson 8. Harmony – Orchestra VersionStudent Guide: Lesson 8. Harmony – Band VersionTeacher Guide: Lesson 8. Harmony: Supplemental MaterialsChapter 9: Form Teacher Guide: Lesson 9. FormStudent Guide: Lesson 9. Form Teacher Guide: Lesson 9. Form: Supplemental MaterialsChapter 10: Final Composition Teacher Guide: Lesson 10. Final CompositionStudent Work Sheet: Lesson 10. Final Composition ProjectTeacher Guide: Lesson 10 Final Composition Supplemental MaterialsTest 3. Lessons 7-10Melody, Harmony, FormTeacher Answer Key Test 3. Lessons 7-10Appendix 1 Dynamics and Articulation ChartsAppendix 2 GlossaryAppendix 3 Sample Evaluation Form for Student CompositionsAppendix 4: Creative Warmups for bandAppendix 5: Recommended Resources

Effectively, Composition concepts for band and orchestra: Incorporating creativity in ensemble settings written by Alexander Koops and John Whitener, begins with listening for silence. Elements of found objects, body percussion, and a variety of repertoire lists are present in lesson plans from the beginning of the text and move educators and students through details of instruments, clefs, and imagination. Teacher guides, coupled with lesson plans, are focused toward different aspects of grade level and consider student interest. Clearly presented are advanced options supporting highly engaged students as well as beginning options for both teachers and students. Listening options, assessment rubrics, and opportunities for deeper learning through activities supporting musicianship include glossaries, improvisation, and real life skits. All are layered with concepts such as tension and resolution and integrated for student learning. While the title appears to focus the reader toward creativity,the creative act is a focus of composing with young people (the word "children" is not found here and three references to "choral"). This is a text not to be missed and may be used with any ensemble, in foundational learning, universities, or K-12 classrooms in any variety of creative ways. Expect Composition concepts for band and orchestra to transform your teaching.