Secondary Unit

Teacher Guide

Battle Pavane
By: Tielman Susato

By: Christian Martinez

 Part 1: Unit Introduction
Title: Battle Pavane

Composer: Tielman Susato

Publisher: Manhattan Beach Music

Grade: 2+

Length: 3 minutes

National Music Standards:

a. Creating

b. Performing

c. Responding

d. Connecting

Standard 1: Generate and conceptualize artistic ideas and work.

Standard 2: Organize and develop artistic ideas and work.

Standard 3: Refine and complete artistic work.

Standard 4: Select, analyze, and interpret artistic work for presentation.

Standard 5: Develop and refine artistic techniques and work for presentation.

Standard 6: Convey meaning through the presentation of artistic work.

Standard 7: Perceive and analyze artistic work.

Standard 8: Interpret intent and meaning in artistic work.

Standard 9: Apply criteria to evaluate artistic work.

Standard 10: Synthesize and relate knowledge and personal experiences to make art.

Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to
deepen understanding.
Learning Outcomes:

Each outcome below is categorized into one of the eleven standards above, the goal is for

students to become proficient with these outcomes.

Knowledge Outcomes: Students will be able to:

1. Identify, create, and perform both scales portrayed in the piece. (2, 4, 6, 10, 11) We will also

make connections to historical context 2. Identify and describing the genre of the Battle Pavane

and describing its meaning as well as connecting it to the student’s personal life. (6, 7, 10, 11)

Psychomotor Outcomes: Students will be able to:

1. Control breath support and maintain consistent tone throughout the musical phrases with

varied dynamics. (4, 5, 6) 2. Control entrances and exiting of sound to create clean transitions

from each period/sections of the work. (4, 5, 6) 3. Work towards fixing vertical alignment, pulse

issues and articulations. (4, 5) 4. Students will analyze parts in the music that were difficult and

circle with a pencil those measures. (7, 8, 10) 5. Students will hum/sing pitches to work on note

accuracy and work darkening their tone from selected measures. This will help relate back to

intonation and pitch accuracy because it is crucial to hear the note before playing it. Activating

the mouth, oral cavity muscles, and using the brain to process notes on the page will help fix

issues. (5, 6, 7)
Affective Outcomes: 1. Students will shape lines and adjust to intonation issues at selected

measures. (Emotion from the conductor transferred to the student’s perception of the piece)

(7, 8, 9) 2. Describing history of the culture and how it relates to the different periods in the

music. (10, 11)

Cross Curricular Connections:

This piece has an in-depth amount of information with what it is about being in the title, and

the historical context. The students will be able to connect the history, and geographic location

with the piece to identify the meaning behind the four different sections of this work. The

students will have a visual representation of what the pavane dance looks like to help create a

better idea from the beginning of the piece and how it sets up the geographical setting, timbre,

and mood. Bloom’s Taxonomy will be implemented on how it ties in the visual arts (setting) to

the music, which connects two types of art together.

Historical Connections:

A “pavane” is a 16th-century Italian court dance. Its popularity spread throughout

Europe as a slow stately dance with a repetitive rhythmic pattern in duple meter. It was

often paired with a faster dance like a “galliard” which is a more rigorous dance in 6/4. Pavane

may come from one of two sources “Dance of Padua” or the Spanish word pavon, which means

peacock.

The Battle Pavane has four strains and is considered more dramatic than typical pavanes of the

time. The performance should be paced so that the tranquil opening progresses evenly
to the “triumphant and very broad climax” at the end. This arrangement makes use of the

various tonal colors that can be produced within a young band including antiphonal percussion.

(Susato & Margolis, 1981)

Technology Integration:

Students will use computers to get onto the website, musictheory.net to look up the different

scales to see how they are created. At the end of the research assignment with the student’s

partners, everyone will take a Kahoot! quiz. The quiz will be used during class to review the

historical concepts dealing with the pavane style and dances such as the galliard. At the very

end of the unit, a post write will be given to the students on what they learned throughout this

piece, dealing with historical, and musical information. The form will be on paper/pencil with

multiple choice and short answer.

Terminology to address to students:

Antiphonal- music performed by two or more groups typically on opposite sides of the perform
ing space.

Majestic- implying grandeur; broad and stately.

Pavane- a stately dance in duple meter common during the Renaissance.

Strain- a section of music containing one or more phrases.

Suspension- prolonging a consonant note while the harmony changes, typically making it disso
nant, before resolving the held note.

Tenuto- a note held for its full value often with a sense of weight.
 Part 2: Score Analysis

Unit 1: Composer

Tielman Susato (ca. 1510-ca. 1570) was a lead Renaissance music publisher, arranger,

composer in the southern Netherlands, He is from a town in Westphalia. He later moved to

North Holland and eventually Sweden. At various times he was also a calligrapher, and

trumpeter, both at Antwerp Cathedral in Belgium. He was the major music publisher in the Low

Countries from 1543 to 1561, publishing music of composers such as Crecquillon, Josquin des

Prez, Handl, Clement Jannequin, Clemens non-Papa, and Lassus. His editions include 19 books

of motets, 3 books of masses, 25 books of chansons, and 11 “Musyck boexken”, from the third

of which, “alderhande Danserye” (1551), a collection of popular dance tunes arranged by

Susato, is taken the present work, the Battle Pavane. This arrangement for concert band by

Bob Margolis closely follows Susato’s original four-part arrangement.

Unit 2: Composition

The Battle Pavane was originally published in 1551 by Susato as part of a collection of popular

dance tunes. Margolis’ arrangement for band, completed in 1981, is published by Manhattan

Beach Music and is approximately 3-4 minutes in length. This grade 2 piece closely follows
Susato’s four-part original and is one of the most popular Renaissance arrangements appearing

on 30 state lists and recommended by the Florida Bandmasters Association as significant

literature.

“This pavane appears to be more of a battle piece in pavane form, although one could envision

a performance using dancers dressed as soldiers such as those depicted in Arbeau’s

Orchesography, a dancing treatise of the period. Perhaps this pavane is a sort of Reniassance

marching-band piece; the antiphonal horn calls in the middle section and the majesty and

sweep of the ending suggest a ceremonial or processional use.” - from the arranger’s notes.

Unit 3: Historical Perspective

A “pavane” is a 16th-century Italian court dance. Its popularity spread throughout

Europe as a slow stately dance with a repetitive rhythmic pattern in duple meter. It was

often paired with a faster dance like a “galliard” which is a more rigorous dance in 6/4. Pavane

may come from one of two sources “Dance of Padua” or the Spanish word pavon, which means

peacock.

The Battle Pavane has four strains and is considered more dramatic than typical pavanes of the

time period. The performance should be paced so that the tranquil opening progresses evenly

to the “triumphant and very broad climax” at the end. This arrangement makes use of the

various tonal colors that can be produced within a young band including antiphonal percussion.

(Susato & Margolis, 1981)

 Unit 4: Technical Considerations

Margolis notes that the piccolo, Eb clarinet, and string bass parts are optional. He also provided

ample cross-cuing to promote a successful performance by smaller bands.

This arrangement calls for eight percussionists but can successfully be performed with as little

as four players. Margolis suggests parts 1, 2, 3, and 4 be covered when only four performers are

available, parts 1, 2, 3, 4, and 5 when five are available, 1, 2, 3, 4,5, and timpani when six

performers are available, and parts 1, 2, 3, 4, 5, 6, and timpani with seven players.

Unit 5: Stylistic Considerations

The piece is in 4/4 and with a highly emphasized a tempo of 76 beats per minute.

A polyphonic texture prevails but a variety of thin and thick scoring, like-instrument choirs and

small consorts, and creative use of percussion instruments occur throughout. Dynamics range

from p-fff with extreme care given to which instrument families receive which marking. The

change of textures, dynamics, and instrumentation help to create variation between repeated

strains. The style is consistent with Renaissance pavanes with mostly articulated rhythms.

Margolis avoids common Italian musical terms and instead gives extensive instructions in

English such as sustained, accented, warm, or majestic, throughout the composition.

Unit 6: Musical Elements

Form - AA’BB’CC’DD’
Call and Response – Antiphonally / Slow duple meter

The Battle Pavane follows the typical harmony and rhythm of a Renaissance pavane. The

composition is in the key of Bb major with extensive use of tonic and dominant harmony with

the occasional use of the IV and vi chords. Harmonic interest is created with suspensions

occurring throughout. The melody is mostly step-wise with the most common leaps being a 3rd.

The rhythm is constant throughout the composition with the most support provided by the

percussion. Other rhythms include whole, half, dotted quarter, quarters, single 8th, groups of

four 8ths notes, and four 16ths on the same pitch. Percussionist also need to perform

dotted eighth sixteenth note combinations

Rhythm: A Pavane is often accompanied by a tabor (according to Arbeau) in a rhythmic

pattern of half-quarterquarter, or quarter-eighth-eighth. ! Melody uses quite a few

suspensions over the bar line, with use of the dotted quarter-eighth rhythm or quarter-tied to an

eighth followed by an eighth note. There are a few eighth note scale patterns. ! The D

section has a fanfare-esque rhythmic pattern with sixteenths on beat 1 and beat 3. There is an

echo in the third trumpet, first horn and third trombone in measure 51 which adds to the imagery

of a procession.

Melody the A sections begin with a descending thirds half note pattern the second half of

the A section melody is a repetitive quarter note line leading into a descending half note line. The

B melody begins with a downbeat rest, entrance on two and then three half notes. Then it reverts

to a quarter note arching pattern. There are nice eighth note ascending counter-melodic lines in

the bass voices. The C melody is a series of two measure antiphonal call and responses between
woodwinds and brass that emphasizes a dotted quarter-eighth rhythm. The final melody is

presented as a fanfare with very repetitive notes, lending itself to work on clear articulation and

possible discussions about double tonguing.

Harmony Margolis’s arrangement is transposed from the original F to Bb. Based

on some of the instrument range considerations, this was probably a wise choice. However, if

we were hearing it on period instruments, the entire piece would be a 5th higher. The work opens

with an open 5th and octave, with the melody beginning on the 5th. Measure two features a

suspension in the bass voice, while measure three has a suspension in the tenor voice, the

resulting rhythm being the dotted quarter-eighth.

Texture/Timbre Pairing of instrumental timbres. In this arrangement, Margolis

utilizes many of the instrumental timbres and pairs them antiphonally as they would sit in a band

set-up. Low brass and horns are paired against the clarinets and lower woodwinds. Some very

soloistic pairings of the bassoon & muted trumpet, vs the trombone and bass clarinet, then flutes

& oboes vs. saxophones vs. low brass/low woodwinds. Originally written for 4 instruments. It

looks as if the composers of the day leave instrumentation more open, which was probably a

general practice of the day. Also, the percussion parts were most likely improvised but the

pavane rhythm was maintained by one player. Some liberties where taken by Margolis in this

arrangement generally regarding his treatment of the different textures. Susato wrote masses and

motets which were typically in imitative polyphonic style of the time. It’s possible that this

piece was performed in an Antiphonal style, if more than 5 or 6 instrumentalists were

performing.
 Unit 7: Form and Structure

Section Measures Analysis

A 1-8 1st strain- Polyphonic brass and percussion beginning at a mp volume.
Bb tonality established with a half cadence to end the strain.
Pavane rhythm of quarter and two eighths established and continues
throughout piece.
9-16 1st strain (repeated)- like strain 1 with the addition of cl, bsn, str bs,
and timp. Register changes for some instruments and
volume increases to forte
B 17-24 2nd strain- Texture briefly changes with a decrease in dynamics.
Crescendos written in parts with a PAC in Bb major
25-32 2nd strain (repeated)- New texture and greater dynamics. Different
instrument families have different dynamic markings to promote
the desired color
C 33-40 3rd strain- Thinly scored call and response section centered around Bb
major
41-48 3rd strain(repeated)-continued thin scoring with new instrument
groups
D 49-56 4th strain- Fuller orchestration with 16th note now being used to
increase energy. Still centered around Bb major with percussion
crescendo into last section. Artistic cymbals introduced.
57-64 4th strain (repeated)- All performers involved with many at ff or fff
dynamic markings. Energy must sustain, or even grow, to the final
release

Expression: Little is written in Susato’s original regarding expression. Most period instruments

were probably incapable of playing as dynamically expressive as our modern wind band

instruments. Margolis adds many dynamic swells and crescendos throughout the work to

develop line and interaction between voices.

The Heart: The heart of the Battle Pavane is the antiphonal staging of the percussion and wind

timbres, suggesting the ideals of dualism and balance.

Music Selection: The Battle Pavane is a very nice introduction to antiphonal Renaissance music

for young bands.

Reasons to Perform: Authentic Renaissance Period instrumental music, Utilizes antiphonal

techniques and opportunities for antiphonal staging, Possible introduction to double tonguing

techniques for the brass and flutes, Easily recognizable form for student analysis

Introducing the Piece: Arranged in antiphonal style, based on a popular duple-feel Renaissance

Dance (As opposed to the Galliard which is triple-feel) Composed over 500 years ago,

Composed by a trombonist and music publisher from the Netherlands

(Notes from Battle Pavane Score)

Unit 8: Suggested Listening

Craite & Espoir moppressent

Qui belles amours a

Accordez moy

Fantasia. Antonio Rotta

Fantasia. Giovanni Paolo Paladino

Si tu non mi voi.

O sio potessi donna. Jacquet de Berchem

 Unit 9: Sources

Teaching Music Through Performance in Band, Vol 1 by Richard Miles

Guides to Band Masterworks, Vol. 2 by Robert Garofalo

http://illinoiscmp.weebly.com/uploads/4/1/0/7/41075753/battle_pavane.pdf

Battle Pavane Score, Tielman Susato

Notes made during University Band at Kansas State University

Score Analysis Grid Link for Battle Pavane deeper in-depth studies below:

https://docs.google.com/spreadsheets/d/1D2-oM7mcw18-

g9yAim8EW48AUJyckobeh_F33o69TMg/edit?usp=sharing
 Part 3: Strategies
Lesson Concept #1

A. Prewrite Objectives: Students before sitting down and playing the piece will do a prewrite
about what they think Battle Pavane sounds like and then afterwards listen to the song
example and write what it means personally to each student. The students will have the
opportunities to share with their neighbor if their perspectives changed on what the piece
means to them from before and after.

Activity: Before sight reading or listening to a recording, the students will only hear the
introduction of the title of the piece. The students will then describe words or images that they
think of when they hear the title, Battle Pavane. After a few students share their thoughts on
the question, we will then give the piece a listen and the students will write about what the
piece means to them. Students will get with person next to them and make a story about what
it means to them! Students will go through a listening process after given time to think about
the means of the title “Battle Pavane.” The teacher will take the data from the students and
lead a short discussion on analysis just from the title. The process is from a prewrite using pen
and paper and then the students discuss in pairs. The teacher will talk briefly about the
historical information and the composition after the listening portion of the lesson.
Name: Title: Battle Pavane

1. What do you think this piece Battle Pavane, is about?

2. Does this piece symbolize anything?

3. Turn to the person next to you and create a short story about what you and your partner
believe this song is about!

4. Listen to the following example of the actual song, how does it compare to your previous
thoughts about the song? What does the song mean personally to you, now that you have
heard it?

Warm Up #1

Activity: Once the ensemble has gotten in tune with themselves we will then do an activity
dealing with the person sitting next to them on entrances and breathing together. The first time
will be without a drone pitch in the background and two people will go at once. Eye contact and
breathing at the same time are important factors here. This exercise will help sustain pitches
for a long duration and will work on entrances. The exercise will also cover the category of
blending and balancing as two people work together to create a unified sound inside the
ensemble. The second time the students will use a drone to adjust to pitches right away from
their entrances. The students in their groups will choose a note of their liking and then the
second time let the director know to adjust the drone pitch.
Assessment: The director will be listening for consistent entrances, and their partners are
breathing and making eye contact at the same rate. The students will make comments after the
first time on what they felt went well from the exercise as a discussion in the square. Teacher
will ask students to rate themselves on how well they entered with their partners on a 1-5
scale. (poor-superior).

Applications: Addressing the importance of making eye contact when multiple sections have
the same entrances are crucial and explaining the importance of breathing together.
Addressing focus of breathing in long sustained durations, which is very important in the 1st
period of the piece.

Warm Up #2

Activity: Articulation exercises on this piece are very crucial and distinct so it is important for
students to practice utilizing good fundamentals of articulations. The students will use the
pitches Bb and F for the two exercises below. The students will focus on keeping a clear open
tone from the previous warm ups while utilizing different rhythms/articulations. Have student’s
sizzle/clap if they are struggling with rhythms. Using a metronome, the tempo can be altered
away from the 76 quarter that battle pavane asks for.

Assessment: The director will listen for the correct rhythms and breathing entrances and
exiting of sound. Director will make comments and rate the ensemble 1-5 scale. Repeat
exercise if the rhythms are not clear and distinct from one another.

Application: The rhythm exercise is like the piece we are working on because all rhythms
above are incorporated with Battle Pavane are there. Steady airflow and consistent
articulations are crucial to make period 2 in this piece flow well. The students will start with the
pitches Bb, F, G, and C. Director will start slow for each section within Battle Pavane (A-D) and
then go faster as the ensemble adjusts to the articulations. The director will have them sizzle
the rhythms first and then the woodwinds will play and the brass will listen. Brass will then play
and woodwinds will listen. Once both sections have played, we all will play together. Going up
and down the scales is a great exercise for the students to do after they are comfortable
focusing on one note for the entire articulation exercise.
Warm Up #3

Activity: Using a Background information quiz the student will show what they know and have

learned about battle pavane and through talking about it and knowing the piece the student

will be able to make more musical decisions with the knowledge of the piece in their minds.

Assessment/Application: Students will take the Background information quiz provided below:

The students will be asked to write down one musical improvement they will make with their

playing after taking this quiz.

Background Information Quiz:

Name ______________________________________

True or False

If the statement is correct, circle TRUE, if the statement is incorrect, circle FALSE and rewrite th

e information so that it is correct.

TRUE FALSE 1. Music performed by two or more groups typically on opposite sides of the

performing space is considered antiphonal music.

TRUE FALSE 2. Majestic implies mystical or magical.

TRUE FALSE 3. A strain is a section of music with one or more instruments.

TRUE FALSE 4. A suspension is prolonging a consonant note while the harmony changes b

efore resolving the held note.

TRUE FALSE 5. A tenuto note is played short with a sense of lightness.

Short Answer

Print neatly and use the back of the page if more space is needed.

6. Besides being a Renaissance composer and instrumentalist, what other important career did

Susato have? Why do you think this career was important during the 1500’s?

7. Citing specific characteristics of a Renaissance pavane, describe why The Battle Pavane

belongs in this genre.

Warm Up #4

Activity: The director will have the ensemble focus on chords to help with tuning issues

that can be apparent in the D Section of Battle Pavane. The exercise is that the director will

hold up fingers to different sections of the ensemble on what pitch set they are on. The chords

may change but this is an important blend and balance exercise. For example, the low brass

may get 1 finger up, the low woodwinds might get 5 fingers up (they will play a G) and the rest

of the ensemble might get 3 fingers up. (they will play an Eb if in C minor). It is important to
adjust to chords so that the temperament is adjusted depending on what part of the chord the

ensemble is playing. The director can then use a drone tuner to help with the tuning of chords.

An application such as Tonal Energy Chromatic Tuner and Metronome. This application will help

align the temperaments of each chord. The director can use airplay and project the tuner on

the screen for the entire ensemble to see.

Assessment: Students and director will assess how the chords align with the tuner. The

director will discuss the different guidelines and adjustments about how to make chords be in

tune. Students will rate their sections, as the director will have them play a chord (Bb D F) and

rate their adjustments on a scale of 1-5 and discuss if it was in tune.

Application: The chords utilized will fit directly into the chords being played will be

utilized within The Battle Pavane. With the students practicing and adjusting specific chords

during warm ups, it will save rehearsals time later when we come to this when rehearsing all

the sections within Battle Pavane.

Warm Up #5

Activity: Watching a Youtube video, we will watch videos of other schools performing Battle

Pavane. Based on the recording of the performance we will take note of improvements we can

make. Following this we will record ourselves playing Battle Pavane and based on the recording

of our performance, we will give critiques or things we need to work on and then given

suggestions on how we can improve for each.

Assessment/Application: Based on what the students write, they will improve on what they

believe is musically appropriate, the students will learn through observing and experimenting

with musicality. These improvements will help improve upon our bad habits and mistakes

during the recording.

CRITIQUES STRATEGIES FOR IMPROVEMENT

B. Instructional Strategies Lessons

Strategy 1 “Basics Exercises”

Objectives: With isolating the rhythms and notes in a selected passage of the music, students

can focus on good vertical alignment

Activity: This activity will focus on taking the entrances/front of notes for Section B. (it can be

done for where a large portion of the ensemble is also playing). With the idea of taking out
articulations and just playing the entrances of each note will help align the timing of the

ensemble. Once the ensemble has improved on the vertical alignment (front ends of the notes),

add in the articulations and dynamics for later in this strategy. A good example of having the

ensemble use the skeleton model B-C and D-End of the piece. The director will remind that the

ensemble needs to maintain the feel for vertical alignment throughout legato, staccato, and

slurred notes at all different dynamics. If the director omits articulations, dynamics to work on

alignment it will aid in better entrances to limit what the ensemble needs to work on vs. doing

everything all at once.

Strategy 2

“Peer Teaching”

Objectives: While it is important that the director gives feedback during rehearsals, the

student’s comments are also a great way for the instructor to see if what he/she is hearing vs.

what the students are hearing for assessment purposes.

Activity: During any selection of measures, such as A-B or D to the end, have the students rate

each other on criteria of articulations and dynamics. Students will have a graded sheet that

identical to a state ensemble judge sheet. The judge sheet will have criteria focused on

articulations, dynamics, tone quality and expression as well.

Strategy 3

“Finding what we can do better!” (Take Home)

Objective: The students will take it upon themselves to find the best things to fix that weren’t

addressed in rehearsal to further develop self-awareness and the ability to hear and fix

mistakes with our own ears.

Activity: For 5 class periods the ensemble will be given ensemble-judging sheets (below) for

each person in the ensemble to mark with a pen in terms of balance, intonation, expression,

tone quality, etc. The students will be required to fill out and rate among the ensemble on a 1-5

scale of each section (musical artistry, ensemble accuracy, intonation, etc.) The instructor will

have his/her own sheet as well to see what measures or sections in the piece need the most

amount of attention from the criteria of the worksheet. After one week a sectional will be

required of each instrument family and they will meet outside of normal class times and fill out

the same format as a section. The instructor will collect the sheets after five class periods and

will grade the sheets and analyze what each section has worked on.

Assessment: Assessment is provided from the section leader of the instrument family and the

instructor when they collect the data. Instructor will also check to see if the list was fully
completed and thoroughly written from each ensemble and sectional sheets. Assessment

criteria on which each student will assess the ensemble on is in a format listed below.

Name_______________________

Section__________________________

Date of class ________________________

Comments: Include Strengths and areas for improvement. Musicianship/Interpretation:

_____________________________________________________

_____________________________________________________

Style, Phrasing, Dynamics Tempo, Uniformity:

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________
Tone Quality Control: _____________________________________________________

_____________________________________________________

Characteristic sounds: _____________________________________________________

_____________________________________________________

Intonation /Pitch_____________________________________________________

_____________________________________________________

Melodic line: _____________________________________________________

_____________________________________________________

Pavane Style:_____________________________________________________

_____________________________________________________

Ensemble Accuracy Precision in Rhythmic Accuracy Articulation:

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________
Balance & Blend Ensemble:

_____________________________________________________

_____________________________________________________

Sections of the ensemble Soloist:

_____________________________________________________

_____________________________________________________

Other comments to help the ensemble:

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________

Student Signature ____________________________________

Strategy #4

Battle Pavane Mood and Evaluation

Objective: It is important to know how each instrument plays a role in the ensemble in

terms of dynamics and what type of mood the setting creates to help get a good type of style

going on through each of the four sections of the Battle Pavane.

Activity: While the students perform selected measures in the music below students

will write down on a separate piece of paper the words or pictures that describe each period in

this piece of music. While the instructors have the entire brass section listen to the woodwinds

or the entire band listens to the percussion the students will constantly be engaged making an

analysis about what each period means. After the ensemble has played through each of the

selected measures the instructor will make comments to the woodwinds/brass about making

necessary adjustments to darken or brighten the mood of the piece as well as balancing

dynamically. This is great transitioning back to knowing where the melody is. Students can use

the words of each period to help in advantage of figuring the mood out. Each section in the

brass woodwind and percussion family will rate and see if we created the mood we agreed

upon using a 10 scale from (did not create the mood to had some elements of the mood to

created an exact replica of how Battle Pavane idealogy.

Selected measures:

mm. beginning – 16

mm. 16- 32
mm. 32-48

mm. 48-64

Assessment: Instructor will check to make sure students have been designing pictures or

words for each section in the piece to help describe the mood we are trying to create with this

work. The section leaders of each instrument family will check off on a list to see who

participated and will then hand in the designs to the instructor. The instructor will also mark +

signs for any of the students that raised their hand and helped lead the discussions on the

specific words or pictures from each of the selected measures.

Example:

Section Name

Described mood with pictures?

Described mood with vocabulary

Active in discussion

Student’s name
Summative Assessment

Name: Title: Battle Pavane Composer: Tielman Susato

1. What do you think this piece Battle Pavane, is about? (1 point) 1 point for opinion

2. Does this piece symbolize anything? (2 points) 1 point for opinion and 1 point for mention of

what a pavane is.

3. Turn to the person next to you and create a short story about what you and your partner

believe this song is about! (3 points)

4. Listen to the following example of the actual song, how does it compare to your previous

thoughts about the song? What does the song mean personally to you, now that you have

heard it? (3 points)

Following rubric from: http://www.uiltexas.org/files/music/band-concert-rubric.pdf