(Risk) Everything for a

Dream Unit Plan

Written by Richard Saucedo. Published by Hal Leonard. Grade 2

Ethan Jeffries
MUSIC 512, KANSAS STATE UNIVERSITY
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Table of Contents
INTRODUCTORY MATERIALS .................................................................................................................2

SCORE ANALYSIS...................................................................................................................................3

LESSON 1 ..............................................................................................................................................5

LESSON 2 ..............................................................................................................................................7

LESSON 3 ..............................................................................................................................................9

LESSON 4 ............................................................................................................................................ 11

LESSON 5 ............................................................................................................................................ 14

ADDITIONAL RESOURCES .................................................................................................................... 16

UNIT 1: COMPOSER ............................................................................................................................ 16

UNIT 2: COMPOSITION ....................................................................................................................... 16

UNIT 3: HISTORICAL PERSPECTIVE....................................................................................................... 16

UNIT 4: TECHNICAL CONSIDERATIONS ................................................................................................ 17

UNIT 5: STYLISTIC CONSIDERATIONS ................................................................................................... 17

UNIT 6: MUSICAL ELEMENTS ............................................................................................................... 17

UNIT 7: FORM AND STRUCTURE ......................................................................................................... 18

UNIT 8: SUGGESTED LISTENING .......................................................................................................... 19

UNIT 9: SOURCES ................................................................................................................................ 19

GRAPH ANALYSIS ................................................................................................................................ 20

GLOSSARY .......................................................................................................................................... 20
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Introductory Materials
Piece Studied: (Risk) Everything for a Dream by Richard Saucedo

(Risk) Everything for a Dream is a concert band work for grade two ensembles written by
Richard Saucedo. Featuring a flute solo, alto saxophone solo, and a trumpet solo, this ballad has
everything it needs to develop great musicality and legato style playing in young students.
There is also an important message behind this piece, a message of hope and always striving to
reach your dreams and goals.

Learning Objectives:
1. Students will understand how to attach meaning to a piece of music, and channel that
meaning into their performance.
2. Students will connect with the music and channel their performance through that
connection.
3. Students will understand the background of the piece, along with the composer’s
intentions.
4. Students will use dynamics and phrasing to create a musical experience from (Risk).
5. Students will widen their dynamic range to achieve full softs, resonant and warm louds.
6. Students will properly use articulations to create contrast and correctly represent style
in (Risk).

Objectives are generally divided into 3 main outcomes. Those based on knowledge work to
further students’ musical knowledge and understanding. Those based on skill focus on the
technical aspects of playing music, such as fingerings, rhythms, articulations, etc. Those
objectives based on the affective outcomes focus on expression, musicality, shaping, and
contrast.

Each of these objectives also work to meet the following National Standards from the National
Association for Music Education.
• MU:Pr4.3.E.Ia Demonstrate an understanding of context in a varied repertoire of music
through prepared and improvised performances.
• MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire
of music, and evaluate their success using feedback from ensemble peers and other
sources to refine performances.
• MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in
prepared and improvised performances of a varied repertoire of music representing
diverse cultures, styles, and genres.
• MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an
audience through prepared and improvised performances.
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• MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal

choices and intent when creating, performing, and responding to music.

Score Analysis
• Melodic – This piece has a very simple and repetitive melodic line. The important thing
to listen for is that the articulations are consistent as this melodic line passes around the
ensemble. A soloist may want to take some interpretation on this line, but it needs to be
consistent from soloist to soloist and section to section. Even when the melodic figure
changes, it sticks to the same slur two patterns it started with. As this melodic line
progresses, sections do have the opportunity to shape the phrase dynamically as it
progresses. When the style changes at the end, the melodic clarity drops. There is a bit
of a battle between the brass fanfare and the moving eighth notes, so a good even
balance between the two will make for good sounds.
• Harmonic – In terms of harmony, this piece is pretty simple. Whenever a section does
not have the melody, they are playing a simple accompaniment from half notes and
quarter notes. The piece sits comfortably in the Eb range. I, IV, V, VI, vii harmonies are
used throughout to demonstrate harmonic interest.
• Rhythmic – For the most part, rhythms are all eighth note based. The brass towards the
end have an eighth-two sixteenth pattern, but otherwise this is simple eighth note
passing. At the slow tempo, a big focus is going to be playing notes out to their full
values. Students are going to want to cut off the long notes before they’ve fulfilled their
value.
• Formal – (Risk) Everything for a Dream follows a relatively simple form. The piece is an
AABA Coda form. The main melodic figure repeats quite often, just with some different
layers to interpret. The coda section switches to a slightly more percussive/marcato
style. The B section leads to some cool places for dynamic contrast, while the first A
section proved opportunities for 3 separate soloists.
• Timbre – The timbre of this piece is very light and hopeful. Towards the end, there are
some heavier notes, but they need to maintain the same forward momentum. Warm
and bright best describes what students should be working towards. Think of this piece
like a loving embrace and fit your sound inside that embrace.
• Texture – This piece starts out very texturally thin. Every 4 to 8 bars, another layer adds
in to weigh down this texture a little bit more. Blend and balance is going to be super
important in the development of this piece. If the flow is not smooth, the identity of the
piece is going to suffer. The piece mostly works in woodwind/brass teams. The main
figures tradeoff between the two textures, while they harmonically all functions the
same way.
• Historical/Cultural Analyses – Richard Saucedo writes a ton of band music at this level.
He’s got a system, and this piece fits in that system very well. This piece also has a huge
meaning behind it. It was written to commemorate an organization called United Sound,
which works to provide quality musical education to students that are diverse learners
and may not have the traditional ensemble experiences. Saucedo has stated that he
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hopes a diverse ensemble has the opportunity to perform this work, and I think that is
just an awesome goal to work towards.
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Lesson 1
Objective: Students will develop an understanding of different articulations and work to play
them consistently and clearly on the melodic line in (Risk).

Warm Up 1: (Risk) Everything for a Dream is in Eb, so we will start out with some Eb major scale
activities. Be sure to ask the students what notes are in the key signature for Eb. How can they
tell? Take the students through the scale in the following rhythmic variations.
- Whole Notes
- Half Notes
- Quarter Notes
- Four Quarter notes per pitch
Make sure that the students are playing with a good, resonant tone quality. Sounds should be
warm, open, and rich. Demonstrate it on an instrument to put it in their ear!

Next, take the students through this same thing using different articulations. This would be a
good opportunity to give some informal assessment on how students are doing with this. Using
the 4 quarters per pitch, take the students through the following articulations.
- Legato
- Staccato
- Marcato
- Accents
When each is demonstrated successfully, move on sequentially. Wrap up this portion of the
warmup with a slur every two notes, much like the melody line in (Risk).

Rehearsal Activity 1:

Rehearsal on this piece should begin at a point where everyone is playing and there is a full
ensemble sound. Starting at m. 21, the woodwinds have the main melodic figure for 4 bars and
it passes to the brass. Have the ensemble play 1 time from m. 21 to 28. Make sure the melody
can be identified. Ask one of the brass or percussionists who they think has the melody, and if
they don’t identify it correctly have everyone listen to the section again. Once identified by the
ensemble, make sure they know what it sounds like.

Have the melody play by themselves, woodwinds for four bars and low brass for three. Listen
intently for the articulations. Ask the students, “Are the slurs consistent from person to person?
How about from section to section? And when they pass to the low brass?” Demonstrate this
on an instrument so students can hear what this sounds like. Play them an overexaggerated bad
example, then a clean example. Ask them, “What is the difference between those two?”
Students should answer something related to the length of notes in the slur, maybe the slur
placement, pitch throughout, etc.
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Moving forward, have everyone play this section one more time. Prompt those playing
accompaniment parts to listen for the melody and fit inside that section’s sound. This should
not be an extremely loud section, but it needs to be full and balanced. Emphasize sound quality
here. Make sure there are no players sticking out, but just good, full ensemble sound.

Take everything back to the beginning. Prompt students to apply everything they remember
from m. 21 and apply it to this thinner section. In the flute soli, listen to the articulations and
intonation on the melodic line. It should sound very sweet and clear. Same applies when the
melody hands off to the alto saxes. The accompaniment should be well below the melody, yet
providing a full, warm sound.

Assessment 1:

Formal Playing Assessment. Students will play a selected section where they have the
melody/counter melody with good tone, articulations, and rhythmic integrity. They will be
evaluated on a rating scale for each characteristic. 15 points total, 5 per category above. On the
rating scale, a 1 represents a lack of effort in producing the desired characteristic, while a 5
represents an example that could be from a midi recording. Give students thorough comment
to help them improve on the given areas. The following will be given to the students.

HW #1. Record a video from (Risk) Everything for a Dream. Be sure to demonstrate correct
notes, rhythms, and good articulations.

Flutes, Oboes, and Clarinets: M. 21 to m. 24.

Bassoon, T.Sax, Trombone, Baritone: m. 25 to m. 26
Alto Sax: m. 5 to m. 8
Trumpets: m. 9 to m. 12
Bass Clarinet, Bari Sax, Tuba, Mallet Percussion: m. 17 to m. 20.

Grading Scale

Notes 1 2 3 4 5

Rhythms 1 2 3 4 5

Articulations 1 2 3 4 5

Total ______
Additional Comments:-
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Lesson 2
Objective: Students will learn about the texture of (Risk) Everything for a Dream and will
understand their part’s role within that texture.

Warm Up: Eb Major scale. Review the concepts of articulation that were talked about in the
last lesson. Listen for balance and tone quality.

On half notes, do this activity in a round. First group should be the high voices. Second group
middles, third group lows. Emphasize with the students that they should listen down to the low
voices to find balance within the chords. Change up the groups, then ask, “How does the
listening change when the groups change?”

Using a function chorale, Bach chorale, or other warmup chorale, have the students play
through something with a little bit of part independence. Ask the students to describe the
texture of this chorale. Have just the low voices play, and everyone else listens and fingers
along. Prompt these students to listen and fit into the texture of the lows. Think about it like
the EQ in a car stereo. We want to have a full sounding low end, but clear and projecting mids
and highs.

Rehearsal Activity:
Texture in music describes what kind of layers exist in the composition. There are 4 main
textures found in music
- Monophonic, one sound.
- Homophonic, same sounding. Harmonies.
- Polyphonic, many sounds. Counter melodies.
- Heterophonic, Melody is varied by one voice.
Band, we are going to talk about texture today. Can you tell me what you think these textures
mean based on the prefix in front of them? What is the texture of (Risk)?
Mono=1, Homo=many but the same, Poly=many but different
In this activity, students will be working to identify textural differences at varying sections of
the piece. Start out with a full run through of the piece to give students a frame of reference,
and then scaffold the conversation from there. Ask the following questions to guide students
through this lesson.
- Where is the texture the thinnest in this piece? Where is it the thickest?
- How many layers are there at m.1? How many at m. 5? How about m. 9?
Break these apart and look at each layer individually. Ask this class to rank each layer based on
its importance to the section. Break down the other layers is a similar manner.

Assessment: Written Assignment.

Students will describe their role in the texture in each part of the piece on the chart below.
They will have access to the score and can use recordings as a reference.
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HW #2
For each section of the piece, describe your instrument’s roll in the texture. How do you fit in?
What section has the melody? Be sure to use complete sentences!

Sections Textural Description

1-4

5-8

9-12

13-17

17-20

21-24

25-29

30-End

Approaching Standards Meets Standards Exceeds Standards

Student has no Student understands their Student completely
understanding of their roll in roll in the piece. They can understands the makeup of
the music. They do not identify where they have the the piece. They know which
recognize when they have melody, and where they do parts are important in each
the melody and when they not. Student uses complete section, and how their part
do not. Student does not sentences, but not works to support that idea.
provide details and does not necessarily super detailed. Student uses complete
use complete sentences. sentences with fully fleshed
ideas.
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Lesson 3
Objective: Students will explore the full extent of their dynamic range and work to apply it into
(Risk) Everything for a Dream.

Warm Up: Warmup for this lesson will consist of a concert Eb major scale, with the following
rhythmic variations.
- Whole Notes
- Half Notes
- Quarter Notes
Each rhythmic variation will also have the following dynamic shape variations.
- Piano to Forte Crescendo every 4 counts
- Forte to Piano Decrescendo every 4 counts
- Terraced dynamics every 4 counts. piano, mezzo piano, mezzo forte, forte.
The goal with this is to get the students to emphasize their dynamics. We need to be able to
produce super soft softs, really full louds, and everything in between. While going through this,
be sure to ask the students what they think of their dynamics. Can they be even softer yet
maintain a good sound? Can they get to forte without blasting their tone wide open?

Rehearsal Activity:

This rehearsal is going to continue the focus on dynamics and the overall dynamic shape of
(Risk) Everything for a Dream. Have the following guiding questions on the board to guide
student learning throughout.
- What is the overall dynamic shape of (Risk)? Think about beginning to end, what does it
look like?
- Does that shape take place smoothly, or are there some ups and downs in between?
- What kind of shapes can we create that aren’t necessarily written in the music?
Prompt the students to think about the above questions throughout the day’s rehearsal. Take
them through the piece in chunks and be sure to emphasize the overall dynamic shape that is
present here.
- The beginning solo sections should be soft yet full sounding. This is the low point we
must build from.
- M.9 reaches a mezzo-forte in most of the ensemble, but we should be careful to not let
that get out of hand. Sit the harmonies behind the trumpet solo.
- M. 13 builds tension to a big release at m. 17. The dynamic is marked fortissimo, but we
must save some gas in the tank for the ending. A big full forte will be enough for this
section.
- The arrival at m. 30 can be big. This is the culmination of the piece, we should let it fill
the room and emphasize the crescendo at the end.
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Tech Integration
Teach students about the basics of recording and playback equipment. Two microphone, XLR
cables, some sort of USB interface, and a DAW like GarageBand. Have a stereo recording setup
ready to record the ensemble in rehearsal. Record each chunk and play it back for the
ensemble. Ask them the following questions to begin problem solving.
- Does the overall dynamic shape come across as we would like it?
- What can we do to emphasize that dynamic shape a bit more?

Assessment: Since this lesson is very big picture/ensemble sound focused, I think this is best
assessed informally throughout the rehearsal process. Students who are sticking out of the
texture should have that brought to their attention with instructions to blend. A checklist could
be used to mark student’s understanding as a yes they can play dynamically or no they cannot
play dynamically. The same checklist can be used for several informal assessment tasks, and it
might look like this. If the topic being assessed has 80% understanding, then it does not need to
be re-emphasized as a class. If needed, students who are struggling can use a pull-out lesson to
work the given topic.

Student’s Name Dynamics? (Y or N) Articulations? (Y or N) Listening? (Y or N)

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Lesson 4
Objective: Students will begin to make personal connections to the music in (Risk) Everything
for a Dream.
Students will make musical decisions relating to shaping and expression.

Warmup: Go through the same scale cycle as in previous lessons. Concert Eb Scale, whole
notes, half notes, quarter notes, 4 quarter notes. Loop back to the whole notes. Ask the class
for suggestions on what kind of dynamics we can add to the scale to make it more interesting.
Some ideas that students might say could be from the following;
- Forte-piano crescendo every note
- Crescendo from piano to Forte on every note.
- Decrescendo Forte to piano every note
- Piano-forte-piano (<>) every note.
Have the ensemble try a couple of these different shapes. Prompt the ensemble to listen to the
alignment and try to match up. Now, set this up as an experiment. Ask for one volunteer to lead
the ensemble from their seat. If you can help it, select a student who you expect to do well with
this for the first time. Have this student play with different shapes on the scale while the
ensemble listens while playing to try to match. Count them off and give time as needed, but the
shape needs to come directly from the student volunteer. Take a couple of volunteers, then
move on.

Have a brief discussion with the class to unpack that experiment. Ask them the following
questions.
- What was difficult about that activity?
- What went well with that activity?
- What do you think is the purpose of that activity.
Ideally, they would recognize that listening and blending while moving together as a difficulty,
execution of dynamic range may be successful, and hopefully the purpose is along the lines of
making music. Try to guide the conversation in that direction.

Eventually, explain this concept as shaping and expression. This is the idea that we can perceive
music to have direction related to dynamics and in some cases time based on personal
connections not found on the page. As a solo performer that means reasonable free reign. As
an ensemble, we must work together on that shape and direction. For now, prompt them to
use hairpins on long notes.

Rehearsal Activity:

Jumping right in, we want to apply that content directly to (Risk). Starting at m. 1 with everyone
who plays a half note or longer, prompt them to slightly crescendo and decrescendo for 1 bar
each way. Work to move together and fit into the section sound. This same thing applies at m. 5
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and m. 9. Shape these phrases with <>’s to make this interesting. The more instruments we add
onto the shape, the more important it is to listen and blend.

Add the melody in with the harmony parts. Be sure the melody folks listen down and try to
match the shape that is being given to them. Try to flip the listening! Have the harmony folks
listen and support the melody. Ask the students who play the harmony the following question:
- Why should you listen to the melody for your shape?
Obviously because the melody is more important. We must always support the main idea.

At m. 13, the phrase shape is written in for the ensemble. Prompt students to start out softer
than marked so that the big arrival can have contrast. Exaggeration of dynamics is another tool
to help create musical shape and expression.

As class wraps up, have a discussion with the students about the personal side of expression.
Ask them the following questions;
- What do you think of when you hear this piece?
o This should be a personal connection of some kind
- What did the composer intend this piece to be about?
o Striving to reach a goal. United Sound
- How can we apply these ideas to our own performance?
o What are some goals you are working towards? What do you dream of for your
life?

Assessment: Guided Journal. Students will journal around the following question. This will be
scored as a completion, with written/recorded. Students must have 7 sentences and must make
a personal connection to the piece. Students must also use musical words to describe these
connections. (not, “I like the loud part because it reminds me of when I’m excited.”)

HW #3: Journaling

Question: What are some goals or dreams you strive to achieve? Listen to a recording of
(Risk) and write at least 7 sentences about your dreams and how the piece connects to
those.
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________________________________________________________________________
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Approaching Standards Meets Standards Exceeds Standards

Student does not make any Student can make 1 or 2 Student has several really
meaningful connections to connections from the music clear musical connections,
the music. Student does not to their experiences. Student and can describe them really
use musical language. can use some terms from the well using musical language.
music vocabulary.
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Lesson 5
Objective: Students will express their ideas of the music in a physical medium, using scarves or
flags to create a lite winter guard-like show.

Warmup: Building on the growth and shaping from the last warmup, quickly progress through
concert Eb scale with some different shaping ideas. Using a chorale from the warmup book,
apply a different shaping, but prompt the students to watch the conductor to see what it is.
Fluctuate the tempo just a bit but be extreme with the dynamics. Mix things up each time so
the students begin to focus on watching instead of riding along. Prompt them to continue
listening for blend, but this time watch visually for the shape.

Rehearsal Activity:

Start out this rehearsal with a run through of the piece. Capture a recording on a system to play
it back later. Be sure to remind the students of the shaping activities that took place last week,
and prompt them to find the passion they have in this piece.

Ask the students to put their instruments, chairs, and stands away quickly, carefully, and
quietly. Move any percussion out of the middle of the room. Have the students assemble in
instrument families with some room to work. Woodwinds, Low Brass and woodwinds, High
Brass, and Percussion. Pass out scarves to each student.

In each of the following sections, students must come up with an action using the scarf that
represents their role and shape in the piece. They must work as a team, and everyone must
participate in the process. Prompt them to think of the scarf as their airstream, or maybe the
vibes they feel in a certain section.
- M. 1 - M. 12
- M. 13 - M. 20
- M. 20 - M. 27
- M. 28 – End
Students will have 20 minutes to choreograph each section of the music. Be sure walk around
and keep students on track or help if there are questions. At the end of the 20 minutes,
rehearse the visual with the recording once. Perform the whole thing once again, this time
recording it in a way to watch back later. Ask the following questions to guide student
understanding.
- What do you feel like went well?
- What didn’t go so well?
- How does the overall visual represent what we should strive for when we perform this
on our instruments?
- What are your takeaways from this activity?
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Assessment:
This should be assessed based on participation in the choreography activity and the post-
activity reflection. If students are not participating, mark their activity as incomplete. Give lots
of general feedback to the class and help guide the discussion to keep students on track.

Approaching Standards Meets Standards Exceeds Standards

Student does not engage in Student participates in the Student helps lead others in
the discussion or creative creative process and the the creative process. Student
process. Student does not discussion. Student can make has thorough ideas in the
make creative decisions, or creative decisions that discussion. Student is
cannot match the musical somewhat represent the confident in their ideas for
shape. Student cannot musical shape. Student can expression and shape.
explain their musical choices. briefly explain the reason for Student can explain their
their musical choices. creative feelings clearly.
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Additional Resources
Unit 1: Composer
(Risk) Everything for a Dream was written by Richard Saucedo. He was born in 1957 and retired
as Director of Bands at Carmel High School in Indiana. While working at Carmel, he was named
Indiana’s Bandmaster of the Year for 1998-1999. His wind symphony at Carmel was asked to
perform at the BOA National Concert Band Competition in 1992 and 1995 and was the Indiana
State Champion Concert Band in 1999. Saucedo’s marching band at Carmel is a consistent
national contender and was crowned BOA Champions in 2005. Today, Saucedo is a full-time
writer/arranger for Hal Leonard, as well as an in-demand adjudicator and clinician nationwide.
Saucedo studied in his undergrad at Indiana University in Bloomington and did his
master’s at Butler University in Indianapolis. His first listed composition is Triumphant Fanfare,
which was published in 1997. In 2013, Saucedo retired as Director of Bands at Carmel High
school, and spends more time writing music, adjudicating, and serving as a clinician for groups
nationwide.

Unit 2: Composition
(Risk) Everything for a Dream was written by Richard Saucedo in 2015. According to the
program notes, the piece was written for a special needs instrumental group by the name of
United Sound. The piece was performed at the 2015 Midwest Clinic by North Hardin High
School. Saucedo conducted the piece on the performance and the Spotify link is here. The
program from that performance is linked here. The piece was adapted in 2020 for Flex
Ensemble. Both versions of the piece are rated as Grade II on www.windrep.org .

Unit 3: Historical Perspective

(Risk) Everything for a Dream was written to help the mission of the group United
Sound. United Sound was founded in 2014 by Julie Duty with the mission of incorporating
special education into music education. United Sound provides teachers with materials and
resources to create a truly inclusive music classroom. Richard Saucedo puts his full support
behinds this project, even writing in the program notes about how this piece represents what is
being done by the United Sound Project.
United Sound works to improve the resources secondary music teachers have available
for students with special needs. They use a peer mentoring system that enables teachers to
help their older students learn to mentor those with “New Musicians” (those with special
needs). Since 2014, 2097 special needs students were brought into varying ensembles. They
also have a 96% school retention rate.
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Unit 4: Technical Considerations

The piece sets very well in the average beginner range of the ensemble. There is the
occasional higher note here and there but never anything above the staff (for instruments that
statement may apply to.) There are several solo parts throughout the piece (flute, alto sax,
trumpet) that require tons of musicality to make sound beautiful. The flutes have a soli section
during the a. sax solo at m. 5. Flutes have an optional 8va at m. 13 that can get pretty high up in
the range. The clarinet part sits right in the break for a lot of the piece, so that’s going to be
challenging for new players. The brass have a few accidentals at m. 30 that will need attention.
Percussion parts are straightforward. There are lots of places where the percussion helps
dynamically, such as the push from m. 30 to the end. The double stops in the vibraphone at m.
5 may be tricky. The moving eighth note lines starting at 13 are scalar so no skips to worry
about. The composer requests a mallet change in the timpani, with plenty of time to make it
happen.

Unit 5: Stylistic Considerations

In general, this piece starts out really soft and grows to a big conclusion. The melodic
lines in the beginning are all very legato, very smooth and connected. Saucedo writes
“Passionately” at the beginning of the piece. Soloists are marked mezzo-forte or forte, while the
supporting parts are all mezzo-piano. There are several Ritardandos marked throughout the
piece that can be stretched as the conductor wishes, jumping right back to the original tempo.
Phrasing is mostly 4 bars, with things becoming irregular towards the end of the piece. The
harmonies and supporting voices typically move in 2 bar phrases. Though it is not marked, the
ending section from m. 28 to the end is in a bit more maestoso style. Accented fanfares in the
brass means that a conductor can show a bit more maestoso.

Unit 6: Musical Elements

The main melody of this piece is introduced in the Flute Solo right at the beginning. At
m. 5, this same melody is passed on to the Alto Sax Solo. This melody is phrased as 4 measures.
Even though it is eighth note based, there are slurs indicated to put emphasis on the quarter
note pulse. At m.9, the melody picks up in the trumpet soloist. It has evolved a little bit from
the beginning but has the same roots. Counter lines exist in the A. Sax, Clarinet, Horn, and
Flute.
Rhythm is straight forward. The melody bases around eighth notes slurred together. At
the beginning, the harmony plays in half notes and whole notes. Lots of half notes and quarter
notes exist in accompanying parts. In m. 28, the trumpets, horn, altos, and percussion introduce
a 16th note fanfare to build into m. 30.
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Unit 7: Form and Structure

Measure Number Section Musical Tonal Centers
Considerations
1-4 Introduction- Flute Balance is crucial with Eb
Solo a flute soloist.
Be sure to emphasize
legato playing
5-8 Intro-Alto Solo Same goes here but Eb
allow the ensemble
to grow a little bit
with the texture.
9-12 A Theme- Trumpet Legato sound, but Eb
Soloist with separation
between slurred and
unslurred notes.
Watch the 8th note
handoffs. Balance.
13-17 B Theme- Transition Vertical alignment Eb
with 8th notes. Same
interpretation on the
slurred notes.
Growth to the arrival
at m. 17.
17-20 B Theme Full sound, full length Eb
notes. Emphasis on
Quarter Note Lines.
Moving 8th notes
help build the
soundscape.
21-24 A Theme- Balance between all Eb
melody voices and all
harmony voices.
Good handoffs with
counter lines, smooth
transition into 25.

25-27 A Theme Same as last section. Eb

Nail the style change
into m. 28
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28-End Coda Crisp 16th notes, good C minor, then back to

vertical alignment Eb
th
between 16 ’s and
moving 8th’s.
Percussion creates
the growth and push
to the end. Listen for
moving line in Saxes
and Brass. Timpani
has the time in m. 31-
33. Growth on the
last note.

Unit 8: Suggested Listening

Fantasy on an Irish Air - Richard Saucedo
Nightsong - Richard Saucedo
Ode to Greensleeves - Richard Saucedo

Shenandoah - Frank Ticheli

Harkstow Grange - Percy Grainger
Balladair – Frank Erickson

Unit 9: Sources
https://www.windrep.org/Richard_Saucedo
http://www.unitedsound.org
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Graph Analysis
Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35
Form Theme A Continues A Theme (Solo
Theme A (Flute Solo) B Theme B Theme A Theme Coda
(Alto Sax Solo) Trumpet)
Phrase
Structure

♩=64 ♩=64 ♩=64 ♩=64 ♩=64 ♩=64 ♩=64 ♩=68

Tempo

mp ff mf< f mf fff
Dynamics
mp<mf>mp <f>mp <mf >< f
Meter/Rhythm

Tonality
E♭ Major E♭ Major E♭ Major E♭ Major E♭ Major E♭ Major E♭ Major B♭ E♭ Major
Harmonic
Motion I IV V I V V VI V V VI vii I V I viib V I V I V I I
Everyone is in. Sax and Horn Woodwinds and Mallets carry Bsn, T.Sax, All are in. Fanfare 1 in Trumpets, horn, A.Sax, and Snare. Moving 8th's
Orchestration Flute Soloist, Bassoon, Clarinets, Alto Soloist, add Tenor and Bari Trumpet Soloist, add Horn, Add Snare Drum and Bass Drum
have moving lines. Mallets the melody, counters in Alto Trombone, and in Bsn, T.Sax, Tbone, Baritone. Fanfare 2 in Saxes +Brass. Ends with a
Bass Clarinet, Timpani. Sax, Vibraphone. Trombone, Baritone, Tuba, Piano. at m. 15 and 16.
and Piano moving 8th notes. and Horn. Baritone melody. big I chord.
General Peaceful, hopeful, maybe a little Building, growing. Yearning for Longing, Dreaming, wishing. Like It's starting to come within
Peaceful, Passionate, Loving. Everthing is working as planned. Very peaceful, yet Celabratory, Successful.
Character bit reminiscent. something. you really really want something. reach. It's right there.
excited.
Means for Shaping is in the hands of the
Same Story, the soloist should
Dynamics are everywhere. The
Shaping on the long notes will be
take the lead on dynamic Long growth here, be sure to Shaping is on the conductor here. Help the Long crescendos. Whole notes need to have shape, while
Expression soloist here. At m. 4, the soloist is the leader in terms of
important here. Percussion/Piano
shaping. Conductor should pay stretch it out. Let the pattern can also shape the moving eighths ensemble create music. Push through the ends of the 16th lick and moving 8ths can help us go somewhere.
conductor can slow down and expression, with the conductor
more attention to them grow. as necessary. Be sure to drop back the phrase dynamically. Leave room for a fff ending.
stretch some things out. conveying that to the ensemble.
(obviously). to mf at m. 19.
Conducting Really take some time and
Showing the hairpins in the Dynamic growth is important
Catch the style change, conduct a little more separated
Concerns stretch out m. 4. Maybe a stretch Cue in the alto soloist. Shaping in Backing off at m. 19, Much the same as the other times with this melody. here. Be sure to leave the ensemble room to grow. Might
conducting will be important here. here. Don’t start m. 13 too big.
on the half note 3 and 4 measures 7 and 8. Pickup a cue pushing to m. 21. Ritardando Show the hairpins, help keep this thing moving to have to have a smaller pattern in the beginning, use the
Show growth into m. 13, but Maybe a cue to bring out the Alto
especially (Could conduct that bar for the trumpet pickups. in m. 20, let it stretch a bit. the transition at m. 28. left hand to control sounds. Maybe a little Fp at m. 33.
leave room to continue to grow. Part at m. 15.
in 3?) Stretch out m. 32 for effect.
Rehearsal Work balance between flute
Balance with the alto soloist, flute Work for a smooth trade off with Let the ensemble grow naturally.
Doing something with the Unify a concept of how this melody should sound.
soli is crucial. Don’t let the tenor the 3+4+ folks and the trumpet More separated notes here. Really lean into the maestoso
Consideration soloist and clarinet accompanists.
The percussion parts will help
long notes. Listen for the Be sure the slurs are interpreted the same way.
and bari overpower. Be sure the soloist. Be sure the offbeat notes push from m. 15 to the arrival 17. style that Saucedo is trying to emulate. Intonation on the
Intonation is crucial as well. quarter note people, they Smooth handoff between the WW's and Lows at m.
half note people are changing are in time with the rest of the Be sure quarter notes in the alto long notes, as well as the final chord.
Shaping in the phrase are the most melodic part. 25.
together (especially vibes). ensemble. are heard

Glossary
8va – play one octave higher than written

Loco – at place. Cancels an 8va

A Tempo – Same as the first tempo in the piece

Soli – entire section plays together. A solo for the given section

Solo – One player plays the line

Ritardando – slow down gradually

Molto Ritardando – slow down a lot