6:00 a.m……Call time at CHS Band Room
7:30……...…Arrive at Hillsboro Stadium
8:55………...Walk to gate
9:14…….…..CANBY PRELIMINARY PERFORMANCE
9:30………..To truck for debrief
10:00……...To stadium to watch other bands (sit together)
1:00…….….To stadium to watch other bands (sit together)
Two possibilities exist for our return to Canby.
1) If you beat the bands you are capable of beating, you will make finals, and our timeline will be approximately as follows:
4:40…………Finals Warm-up (Finals times are approximate depending on Preliminary score)
5:10…………Walk to gate
5:30…………CANBY FINALS PERFORMANCE
5:45………….To truck for debrief
6:30………….To Stadium to watch other bands
10:15……….Load to buses
10:30……….Depart for Canby
11:15……….Arrive at Canby
2) If we aren't in finals, the following is our schedule:
4:40…………..Return to bus and load truck
5:30…………..Depart for Canby
6:30…………..Arrive in Canby
ALL TIMES ARE APPROXIMATE
3:00…..Decorate Band Float
4:00……Pep band will ride float in Spirit Parade
5:30…..Pep band rehearsal
6:00…..Take stands & music to stadium
6:00…..Put on uniforms
6:25…..Line up outside band room for march to stadium
6:30…..Depart for stadium with Cheer playing drum cadence and playing Fight Song as we enter
6:35…..Play in stands
6:50…..National Anthem played by the band
8:00…..Halftime performance including senior student/parent recognition (time approximate)
9:15…..Game over. Turn in uniforms properly hung up before you leave
Traditionally, senior marching band students and their parents are recognized at the Home Coming game. This year that will be on Friday, 10/24. In past years, the recognition took place prior to the game for all groups. The TRL conference has decided that causes timing problems, so their new directive has us recognizing our seniors & parents at half time. The half time order of appearance will be:
1) Dance Team father & daughter dance
2) Recognition of Cheer & Band seniors and parents
3) Band performance
4) Presentation of Homecoming Court
5) Cheer performance
6) Tunnel for team entrance
Although Administration has not worked out all the details yet, let's tentatively plan for senior students to enter the field with the band. Senior parents will gather near our pit by the drum major ladders. As soon as the recognition of band students is announced, we'll have the senior students come to the sidelines and escort their parents to a point in front of the band (TBD). Once the recognition is completed, band students will return to their spot on the field for the band performance.
Go to the first selection and click on "Listen"
NEW YORK, NEW YORK
Original Sinatra arrangement:
NY, NY SINATRA RECORDING
Go to the first selection at this link and click on "Listen".
I'LL BE HOME FOR CHRISTMAS
This link is to a YouTube recording of a performance:
Go to the first selection at this link and click on "Listen".
PRINCIPLES OF WRITING
Harmony examines the structure and relationship between vertical combinations of musical tones an their succession. Counterpoint examines the structure and relationship between horizontal combinations of musical tones (melody) and their succession.
Therefore, harmonic progression establishes tonality vertically; melodic progression establishes tonality horizontally.
SCALE DEGREE FUNCTION
In the major and minor key systems, tonic, subdominant, and dominant scale degrees are primary tones or tonal notes because the ear perceives them as most effective in establishing a tonal center.
PRIMARY & SECONDARY TRIADS
Primary triads occur on the tonic, subdominant, and dominant scale degrees.
Secondary triads occur on the supertonic, mediant, submediant, and leading tone/subtonic.
There are four traditional voices or parts used in the study of harmony. They are notated on the grand staff. The ranges are as follows:
➢ Soprano: uses treble clef with a normal range of middle “C” to “A” above the staff.
➢ Alto: uses treble clef with a normal range of “G” below middle “C” to 4th line “D”.
➢ Tenor: uses bass clef with a normal range of 2nd space “C” to “A” above the staff.
➢ Bass: uses bass clef with a normal range of “F” below the staff to “D” above the staff.
This term applies to all four voices. Each voice should stand alone as a melody. The Bass voice does not always follow melody guidelines as closely as the other voices because it supplies the harmonic foundation.
TYPES OF MOTION
Conjunct motion occurs when one pitch of a melody moves by step to another pitch. Disjunct motion occurs when one pitch of a melody skips or leaps to another pitch.
Disjunct motion greater than a 5th may be followed by any of the following:
➢ Conjunct motion in the opposite direction.
➢ Disjunct motion in the opposite direction.
➢ Conjunct motion in the same direction.
➢ Disjunct motion in the same direction.
(Two consecutive moves in the same direction which form a compound interval are forbidden. Melodies usually have a maximum range of an octave.)
➢ Augmented intervals are forbidden
➢ Compound intervals are forbidden
➢ Major sevenths are forbidden
➢ Minor sevenths must be followed by conjunct motion in the opposite direction.
➢ Diminished intervals should be followed by conjunct motion in the opposite direction.
Any number of stable tones may follow one another, but their overuse will emphasize the tonic traid.
No more than two tendency tones may occur in succession.
When one active tone is followed by another which is more than a third away the first active tone is disregarded.
Then two active tones surround a stable tone, that stable tone may then follow, or the latter active tone may be considered for movement, or another active tone may follow.
When employing broken chords, scale degree activity may not apply.
A phrase should convey a definite feeling of beginning and ending (repose). Repose is accomplished by melodic and/or harmonic cessation, called a cadence. Two phrases form a period; the first called an antecedent phrase, and the second called a consequent phrase. When there is similarity between the two phrases, they are parallel. When there is no similarity between the two phrases, they are contrasting.
Rhythms employed in the study of harmony appear in the following order of frequency:
1. Regular rhythm
2. Irregular rhythm
3. Uniform rhythm
When the harmonic interval between the Soprano & Tenor voice is a simple interval, close position occurs. When the harmonic interval between the Soprano & Tenor voices is a compound interval, open position occurs. The Bass voice is not considered in determining close or open position.
ADJACENT VOICE SPACING
Harmonic intervals which occur between the Soprano & Alto or Alto & Tenor voices must be simple intervals. Compound intervals may occur between the Tenor & Bass voices.
LOW INTERVAL LIMITS
The lowest note the Bass voice may have for a…
➢ Minor 6th is “G”
➢ Tritone is “B”
➢ 3rd is “C”
➢ Second is “E”
VOICE MOTION (normally described in terms of simple intervals)
INDIRECT MOTION: when two parts move in dissimilar directions
➢ Contrary Motion: indirect motion occurring when 2 parts move in opposite direction
➢ Oblique Motion: indirect motion when 1 part moves & another sustains/repeats
DIRECT MOTION: when two parts move in the same direction.
➢ Similar Motion: 2 parts move in same direction producing different harmonic intervals
➢ Parallel Motion: direct motion occurring when 2 parts move in same direction producing the same harmonic interval without regard for quality of the interval (M or m 3rd)
Note: indirect motion is generally preferred to direct motion
Some kinds of parallel motion destroy the 4 part texture: octaves unisons, perfect 5ths, & parallel dissonant intervals. Perfect 4ths are acceptable, but only in the upper 3 voices.
When 2 parts move in similar motion to a unison, perfect 5th or perfect octave, that movement is called hidden or covered. Hidden unisons are forbidden. Hidden perfect 5ths and perfect octaves may occur at any time except between the Soprano & Bass voices at a change of chord with the Soprano moving by disjunct motion.
Parallels by contrary motion occur when two voices move by contrary motion from one harmonic interval to the same harmonic interval. Parallel perfect octaves and parallel perfect fifths by contrary motion must not occur.
Crossed voices are not normally permited.
Overlapping voices are not normally permited.
This guy has some interesting ideas and access to a lot of info on his site:
FUNK BASS GROOVE