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Analysis
Broad Descriptions
Type/Genre Labels
Contemporary Classical
Begins with fanfare
Background Information
The strong beginning and driven by brass and percussion (starting at measure 13) is
reflective of a fanfare
The use of the sonata rondo form is derived from the classical period.
The strong sense of rhythm, melody, tonality, and harmony are reflective of the classical
period.
diatonic harmony
melodic sections
The use of complex rhythms and percussion are reflective of the contemporary style.
This piece was written after Youngs recovery of his hereditary illness that caused him to
lose the use of his arms and hands that doctors thought he had a zero chance of fully
recovering from.
He wrote this piece to reflect the emotional and physical pain he felt during his recovery
and the strength it takes to overcome hardships that everyone has inside.
It was commissioned by the Big 12 Band Directors Association in 1997, three months
after Youngs recovery.
Variety of dynamics
Unified articulations
Sustained notes in low woodwinds and brass instruments and eighth notes in
upper woodwinds and brass and percussion instruments
Mm 5-47: Theme 1
Opening fanfare
Key of Bb
In m. 49 woodwinds and percussion bring back the rhythmic eighth notes of the
opening section
Mm 56-124: Theme 2
Pulse is driven by downbeat eighth notes from the brass and upper woodwinds
Leading to the downbeat of m. 125, brass and lower woodwinds sustain notes
with a crescendo, while the upper woodwinds have a new 5/8 eighth note pattern
Mm 125-175: Theme 3
In m. 152, the rest of the band comes in with driven passage of switching from
duple and triple eighth notes, quarter notes, and sustained notes. Percussion brings
back the rhythmic passage from theme one and has same eighth notes and
woodwinds.
From m. 152 to m. 169, there are multiple sfp crescendos throughout the brass
In m. 186, the flute solo comes in as an elongated version of the theme 3 meoldy,
but more tranquil.
In m. 215, the trumpets come in with fragments of the opening theme to keep the
driven feeling
Mm 281-363
Trumpet has sparse fragments of 6/8 meter eighth notes to drive pulse
In m. 338, theme 3 comes back with only flute, oboe, and clarinet
Mm 364-505 (end)
In m. 399, brass enters with theme 1 and woodwinds keep pulse with eighth note
downbeats
In m. 428, brass comes in with fragments of theme 3 and woodwinds drive with
eighth notes alternating between duple and triple meter
In m. 443, trumpet comes in with elongated theme 1 while other brass still plays
theme 2
In m. 461, flute and clarinet parts pass off eighth note in 6/8 meter. Brass and
saxophones come in with building chords
Heart Statement
Tempered Steel creates and contrasts different senses of aggressive complexity and
melodic beauty to give musicians the ability to understand the inner strength they all have inside.
Teaching Outcomes
Skill Outcomes
1. Students will be able to produce an aggressive sound while playing with clear articulations.
2. Students will subdivide in order to keep the tempo from pushing or pulling.
Knowledge Outcomes
1. Students will be able to differentiate between triple and duple meter while being able to feel
3/4 and 6/8 time simultaneously.
2. Students will give examples of how Charles Young keeps the interest of players and listeners
throughout Tempered Steel.
Affective Outcomes
1. Students will recognize how human expression translates into musical ideas in the contrasting
sections of aggressive complexity and melodic beauty in Tempered Steel.
2. Students will express how it feels to overcome an emotional or physical hardship by finding a
balance of intensity and delicacy in the same piece.
Teaching Strategies
Students will be able to differentiate between triple and duple meter while being able to feel
3/4 and 6/8 time simultaneously.
Kinesthetic Students will tap a three over two rhythm with their hands to feel the
compound rhythm of a duple and triple rhythm. First, half the class will clap eighth notes and the
other will clap triplets (then will switch) to hear the both 3/4 and 6/8 at the same time and hear
the compound rhythm before doing it themselves.
Visual Students will look at the score of Tempered Steel and look at a section of the
piece where there is a clear overlapping of triple and duple meter. They will see how the eighth
notes are structured with each other and will see the compound meter created. They will
understand where there is duple meter with a two-note subdivide and where there is a triple
meter with a three-note subdivide and will be able to see which instruments have the meters and
where they change.
Students will be able to produce an aggressive sound while playing with clear articulations.
Visual Students will be able to tell the difference between accented, staccato, and marcato by
the way different gestures I make by conducting. They will be able to see the aggression in my
gestures when I show accented or marcato, but clear articulations through all gestures.
Auditory Students will listen to a good recording of Tempered Steel to understand what
aggressive playing sounds like all while keeping a good tone in the sound and keeping
articulations clear and precise. Students will be able to mimic what they hear from the recording.
Students will recognize how human expression translates into musical ideas in the
contrasting sections of aggressive complexity and melodic beauty in Tempered Steel.
Auditory Students will listen to two different pieces that they are also playing in band (one that
is melodic/slow/clam and one that is aggressive/loud/strong) and will be able to tell the different
between them by hearing and contrasting the two pieces.
Kinesthetic Students will find a passage in their part of Tempered Steel that represents
aggressiveness and a passage that represents beauty and express what they feel is the emotion
presented in both passages.
Teaching Assessment
Students will be able to produce an aggressive sound while playing with clear articulations.
Students will be graded through a performance assessment through these criteria:
1
Throughout the
passage, there was
little indication or
distinction of
articulations
2
Student played
accents too forced
and began notes
with a wet sound
3
Student played
articulations with a
clear beginning to
the note and had a
clear distinction
between accented
and staccato notes.
Aggressive sound
Student used
enough energy and
followed the
accents written in
the music
Tone quality
Student played
without support or
direction in their
sound
Student played
with a focused and
resonant sound
Articulations
4
Student played clear
articulations and
accents throughout
the passage with
adding variety to the
notes when needed
and musical
expression
Played with a proper
balance of accents in
the music and
musical expression
to convey their own
message of
aggressiveness into
the sound
Consistently played
with a dynamic,
resonant sound and
gave edge to their
sound
Students will be able to differentiate between triple and duple meter while being able to feel
3/4 and 6/8 time simultaneously.
Students will take a pencil and paper test that is true or false.
3. 3/4 time and 6/8 time have the same subdivision (False)
4. This passage is both 3/4 and 6/8 time simultaneously (True)
5. Just like 3/4 time, there are 3 beats in 6/8 time (False)
6. This passage should be conducted in 3/4 time (False)
Students will recognize how human expression translates into musical ideas in the
contrasting sections of aggressive complexity and melodic beauty in Tempered Steel.
Students will write a journal entry to demonstrate their knowledge of how musical ideas
relate to different human expressions. The journal prompt: Find two contrasting sections from
Tempered Steel and write about the human emotion you believe is being portrayed through the
music. Use specific examples from the score in your answer and cite the measure numbers. (If
you do not wish to be restricted to only using examples from your individual instrument part,
you may listen to the recording or look at another instrument part. Make sure it is clear which
instrument part you are referencing in your answer).