STUDENT GUIDE

The Red Balloon by: Anne McGinty

Abby Giles

MUSIC 670 | Fall 2018

LEARNING GOALS
By the end of this course, you will:
• learn and apply the composers’ intent behind the piece to their playing.
• learn and demonstrate the correct style, tempo, and dynamics.
• understand and demonstrate the correct style of the piece with minimal missed notes
and correct rhythms.
• Will actively think about goals for themselves throughout this song, and they will write
down how they want to achieve them and what you need to do to get there.
• play through the piece with the correct style and while keeping constant air throughout
the phrases.
• play through the piece with the correct style and while keeping constant air throughout
the phrases.
• improve tuning through singing their parts, tuning individually by section, and listening
to their part of chords.
• play with the correct blend and balance by playing softer when they have the harmony.
• effectively play the transitions between sections in the piece.
• demonstrate good tone quality on their instrument by using open, clear tone and good
air support.
• effectively transition into the rit. and back to A tempo smoothly and maintaining tone
and balance.
• play the rit. using correct style, dynamics, and balance.
• use correct tone and pitch by tuning sections to a drone.
• play with proper balance and blend through not overplaying and causing the melody to
work harder than they need to and playing the correct dynamics.
• play smooth transitions between the sections by using the correct dynamics, style, and
passing the line from one section to the next.
• play through the piece with correct pitch, listening for in-tune chords, correct dynamics,
balance and blend throughout.
• apply musical expression to the song, “The Red Balloon,” by using dynamics, phrasing,
and interpretation.
• be able to identify and perform dotted quarter and eighth note rhythms.
Composer
Anne McGinty was born in 1945 and is a native of Findlay, OH. She received her
bachelor or music and master of music degrees from Duquesne University with emphasis in
flute performance and composition. McGinty has been active throughout her career as a flutist,
teacher, and clinician. She is a well-known composer and arranger of music for young bands.
McGinty has composed over 130 works for band ranging from Grades 1-5. McGinty operates
Queenwood Publications, which specializes in music for young musicians, with her husband,
John Edmondson. Along with The Red Balloon, her other original band works include Falling
Branch, Clouds, American Folk Festival, Excelsior, and Divertissement.

Composition
The Red Balloon was composed in 1992, and it is based on a painting which left an
impression on the composer even though she only viewed it once. The painting shows a
grandfather facing away from a small child. The two people and the background of the painting
were painted white-on-white. The only color in the painting is the red balloon, which the child
is holding. This composition is intended to not only suggest the flight of a balloon, but also to
encourage players to use imagination to visualize its journey in the air. The duration of this
work is approximately 2:30.

Historical Perspective
Program music can be defined as referential music, which is instrumental music that
describes, characterizes, suggests, interprets, or is inspired by a nonmusical subject or idea that
the composer indicates through a title and/or explanatory remarks. Program music became one
of the prominent forms identified with the Romantic Movement in the nineteenth century. Its
free expression and frequent references to extra-musical events, characters, or situations cause
it to be identified as program music. Many important works have programmatic subjects, such
as Tchaikovsky’s Overture 1812 and Romeo and Juliet, Schumann’s Carnaval, Berlioz’ Symphonie
Fantastique, Mussorgsky’s Pictures at an Exhibition, Paul Dukas’ The Sorcerer’s Apprentice and
Richard Strauss’ Don Juan and Till Eulenspiegel. Works for band programmatic in nature
include: Bassett’s Colors and Contours, Schuman’s George Washington Bridge, Dello Joio’s
Scenes from the Louvre, Colgrass’ Winds of Nagual, and Maslanka’s A Child’s Garden of Dreams.

Technical Considerations

Instrumentation

The instrumentation is suited for a young band with like-instruments paired together:
Flute Baritone Saxophone Triangle
Oboe Trumpet 1-2 Snare Drum
Clarinet 1-2 Horn Suspended cymbal
Bass Clarinet Trombone/Baritone Claves
Alto Saxophone Tuba Tambourine
Tenor Saxophone Bells Bass Drum
Woodwinds
Intonation of octave melodies in mm. 17-24 and mm. 63-70 will require attention. The flutes
need to be able to produce a good tone on D2. Clarinet 1 must be comfortable moving over the
register break but Clarinet 2 stays below the written B for the entire piece. Both clarinet 1 and 2
divide for a total of four parts at m. 70. Both alto and tenor saxophones need to be aware of
the low pitches (written D, E-flat and E for alto saxophone) that must be played piano. This will
be an issue if the band has an abundance of alto saxophones.

Brass
The range for all of the brass instruments is consistent for Grade two in this composition.
Trumpet 1 goes to a written E1 and is divisi for sections of the piece, for a total of three
trumpet parts. There is an optional trumpet solo in mm. 71-74, and low brass and woodwinds
are together and have the melody in mm. 37-42.

Percussion
The bell part in this piece can be challenging because of its many accidentals and exposed
writing. Sensitivity is required to play the snare drum and auxiliary percussion instruments.
Because of this, they may be challenging for some young players.

Articulation
Smooth, legato playing is required throughout by all wind and brass players. This is the primary
focus in order to properly convey the style of the piece. Although many notes are slurred,
attacks still need to be together and in the legato style of the piece. Brass players can use a
“doo” syllable to achieve this.

Harmony
Accidentals (both sharps and flats) are prominent throughout the piece and are used liberally in
all parts. Lydian mode is also prominent. This will most-likely be a new concept for young
players.

Rhythm
The rhythmic values in the piece are basic, and the dotted-quarter note is prominent in the
melody. Dotted-half, half, dotted-quarter, quarter and eighth notes are also common
throughout the piece.

Stylistic Considerations
The melody of this piece must have an airy, ethereal quality in which slurred phrases are
sustained fully with a relaxed tone quality in order to match the ideal of this piece. The melody
often ends with one instrumental color and is immediately passed on to another, requiring a
smooth connection of sound between the two phrases. This could depict a balloon floating
through the air. Articulation decisions need to be addressed in regard to the tenuto and accent
markings. Consider these markings to show stress and weight within the confines of the overall
impression of the piece.
 Dynamics change often, with added diminuendos and crescendos. Diminuendos often
continue until a new sound enters. Because of this, they need to be carefully considered. The
director needs to carefully articulate when they should start and end. Constant attention is
required to balance between the primary musical ideas and the accompaniment. The
percussion section provides different colors that provide variety, and they should be subtle and
not too overpowering to the melodic ideas. Bells provide a complementary color to the melodic
line as well as present melodic material alone.

Musical Elements
Melody:
The melody is often grouped in four-measure phrases. The flute and oboe first present the
melody line. The A theme is varied in terms of scoring, transposition, and a developmental
nature. Melodic lines sometimes come to a resting point before continuing a new voice.
Handing off the melody is a very important concept in this piece. A seamless effect is the goal
for this.

Harmony:
The Lydian mode is prominent throughout this piece. The composer uses this mode based on C,
G, D-flat, B-flat, F, E-flat, and G-flat. D major and E-flat major are used briefly.

Rhythm:
The dotted-quarter-and-eighth-note rhythm is found throughout the melody of this piece. Ties
over the bar line are found in the clarinet accompaniment figures.

Timbre:
Sensitive playing from the percussionists is required as well as a light, ethereal tone quality
from all of the wind players. Many different color changes occur as the melody passes from one
set of instruments to another. The characteristic tone quality of each set of instruments
changes the quality of the melody. An awareness of the paring or combination of instruments
and how balance contributes to the overall timbre of the combination is required.
Percussionists need to consider how their parts fit in with the rest of the ensemble.

Form and Structure:

Section Measure Musical Considerations

and Scoring
Section 1
A 1-9 Melody presented in flute
and oboe; elision with
section B of theme; mainly
stepwise motion; C Lydian
tonality
B 9-16 Skips are prominent in
melodic line; alto
 saxophone and clarinet add
diagonal harmonies; bells
and triangle add color to
accompaniment;
harmonically unsettled: A
Dorian, B-flat Lydian, A-flat
Lydian, D-flat Lydian
(implied); triton
relationship to G Lydian
arrival in m. 17
Section 2
A 17-24 Stepwise melody now in
oboe, clarinet, horn, tenor
saxophone, and bells; G
Lydian tonality (G major
triad in low brass and low
woodwinds, trumpet, alto
saxophone, and flute)
A 25-36 Stepwise melody in
trumpet; D-flat Lydian
tonality; clarinet has
accompaniment pattern
similar to mm. 1-9; four
measure extension in D
major moves upward from
trumpet, alto saxophone,
and clarinet to flute, oboe,
and clarinet; claves and
tambourine add rhythmic
element.
Transition
A’ 37-46 First phrase of stepwise
melody in low brass and
woodwinds with slight
rhythmic alteration; four-
part harmonies in horn,
tenor saxophone, trumpet,
and a lot saxophone, then
flute and clarinet; E-flat
major tonality followed by
shift to G Lydian with
repeated fragment from
phrase in oboe, clarinet,
 horn, tenor saxophone, and
bells used to slow forward
motion; six measures with
no percussion, then snare
drum, claves, and
tambourine help with poco
ritardando in mm. 44-46
Section 3
A 47-55 Return of section A;
stepwise melody in alto
saxophone with flute added
to second phrase; B-flat
Lydian tonality
B 55-62 Melody B in flute for two
measures, then in trumpet
for four measures, then
back to flute, oboe,
clarinet, horn, and tenor
saxophone for two
measures; harmonically
unsettled
Section 4
A 63-70 Varied form of first two
phrases from section A;
tonally unsettled; F Lydian
A 71-80 Second phrase of section A
melody in E-flat Lydian in
trumpet (optional solo),
followed by shortened
section B melody in clarinet
for two measures, then
trumpet for four measures
with an overlap of the last
two measures in flute,
oboe, and clarinet; ends in
G-flat Lydian with a tritone
relationship to C Lydian
arrival in m. 81
Closing Section
A 81-92 Return to C Lydian with the
harmonic movement
through F and B-flat Lydian
before returning to C
 Lydian; literal presentation
of first phrase of section A
melody; second phrase
varied with melodic line
passed from trumpet 1 to
bells to flute and oboe;
second phrase of section A
recalled by bell solo;
incomplete cadence in
melodic line.

Suggested Listening:
• Basset, Leslie. Colors and Contours. Deja View. North Texas Wind Symphony, Eugene
Migliaro Coporon, conductor. Klavier 11091. 1998.
• Cassette recordings to Queenwood Publications Beginning Band Books I and 2.
• Colgrass, Michael. Winds of Nagual. Hearts Music. Cincinnati Wind Symphony, Eugene
Migliaro Corporon, conductor. Klavier 11064. 1995.
• Dello Joio, Norman. Scenes from the Louvre. Teaching Music through Performance in
Band, Volume 1, Grade 4. The University of North Texas Wind Symphony. Eugene
Migliaro Corporon, conductor and Keystone Wind Ensemble, Jack Stamp, conductor. GIA
Publications CD-490. 1997.
• Maslanka, David. A Child’s Garden of Dreams. Emblems. Cincinnati Wind Symphony,
Eugene Migliaro Corporon, conductor. Klavier 11030. 1991.
• Schuman, William. George Washington Bridge. American Dreams. Cincinnati Wind
Symphony, Eugene Migliaro Corporon, conductor. Klavier 11048. 1992.

Additional References and Resources:

“The Basic Band Curriculum: Grades 1, 2, 3.” BD Guide, September/October 1989, 2-6.

Duarte, Leonard P., Daniel S. Hiestand, Carol Ann Prater, Doy E. Prater. Band Music That
Works, Volumes 1-2. Burlingame, CA: Contrapuntal Publications, 1987, 1988.

Dvorak, Thomas L., Cynthia Crump Taggart, and Peter Schmaltz. Best Music for Young Band.
Bob Margolis, ed. Brooklyn, NY: Manhattan Beach Music, 1986

Garofalo, Robert J. Instructional Designs for Middle/ Junior High School Band. Fort
Lauderdale, FL: Meredith Music Publications, 1995

Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill, 1988. Kreines, Joseph. Music
for Concert Band. Tampa, FL: Florida Music Service, 1989.
Queenwood Publications, Scottsdale, AZ

Rehrig, William H. The Heritage Encyclopedia of Band Music, Paul #. Bierley, ed. Westerville,
OH: Integrity Press, 1991.
INSTRUCTIONAL GUIDANCE AND ACTIVITIES

Warmup #1 (9 minutes)

1 minute- Breath in for 4, out for 4, in for 4 out for 8, in for 4, out for 16
1 minute- Do the same thing, only have them play Concert F when they breathe out in the
previous exercise.
1 minute- Have each section play concert F for 4, come in separately, starting with the tubas.
Ask students if they know why you asked them to do this. They are completeing this exercise to
improve tuning and tone.
1 minute- Now, ask students to
1 minute- Play a B flat major scale, having them play 4 quarter notes on the way up and then 4
eighth notes on the way down. Remind them to tongue it legato, just as they would play in the
song.
1 minute Play the B flat major scale with everything slurred.
1 minute- Have them tongue it, and this time remind them to use the same air that they used
when the notes were slurred.
1 minute- Play through it again, but this time add in dynamics, given by the director.

Transition: Let’s apply what we learned about tonguing, articulation, and constant air throughout
notes as we work on, “The Red Balloon”

Warmup #2

1. Start by having the ensemble repeat after you on the trumpet. Play concert f and start
with larger note quantities, and then break it down to working on articulation. Before
working on articulation, make sure that they are matching your tone quality. If time,
turn around and play a phrase and tell them the starting note, then have them try to
repeat it. What note have we been playing this whole time? This means that in addition
to listening to articulation and tone, we also need to be adjusting by tuning constantly.
2. Play a tuning note. Then, have all of the section leaders play the tuning note. The
ensemble will then play, and remind them to imitate the sound of their section leaders
and to not be louder than their neighbor.
3. Tune each section individually. If needed, have the principle player play and then match
their sound.
4. Which sections really matched each other well? Let’s try to imitate their sound.
5. Have the whole band play the tuning note together.
6. If there is still time in the warmup, then have each pick the root, 3rd, or 5th of a b flat
chord and play it together.

I want you to take a few seconds to breath and relax. I want you to think about what this
song is about. Think about a balloon floating on a nice day, and what that looks like. What kind
of movement does that balloon have?
Now, I want you to think about this as well play today. We’re going to start at the beginning of
the piece, and there are 3 things that I want you to keep in mind.
-focus on applying the tuning and tone that we worked on in warmup to all parts of the song
-if you aren’t the melody and the main focus, then back off on your sound so that we can hear
the melody and they don’t have to work as hard.
-think about a balloon floating through the air. Think about the trade-off between sections
when you are either getting or passing the melody, and think about how to use constant air and
your ears to achieve this. Also focus on the way a balloon moves smoothly through the air and
show this in passing the tune.

Warmup #3

T: I want us to start off by practicing our dynamics and tone, and so we’re going to do a fun
exercise!
I’m going to hold up a number between 1 and 5. 5 is the loudest you can play with good tone
quality and 1 is the softest you can play with good tone quality.
Start on the first note that you have at 17 and follow me dynamically depending on what finger
I am holding up.

Warmup #4

Perform a chromatic B-flat scale:

• Using a piano visual as a model, explain what a chromatic scale is by explaining the
difference between half steps and whole steps

• Students will spend time with small groups identifying aurally the half steps in their B
flat major scale
• In groups of 2-3 students with like instruments, students will learn the rest of the
required fingerings for their range on the fingering charts.
• As a group, the class will play their B flat chromatic scale slurred.
• The class will then play the chromatic scale with the notes tongued.
T: Did you have to use a different amount of air when you tongued vs. slurred the notes? You
shouldn’t have. This time apply the same amount of air that you used to slur the notes up the
chromatic scale to tongue the notes with a legato articulation.

Transition: Now, apply this air support and style while playing, “The Red Balloon.”

Warmup #5

Students will learn to listen and tune chords in this warmup exercise.
• Students will count off 1,2, or 3 in each row.
• 1’s will start on Concert B flat, which is the root of the chord.
• 2’s will play the 5th of the chord, which is concert f.
• 3’s will play the 3rd of the chord, which is concert d.
• Go around to each section and make sure that they know what their starting note is.
• Following the pattern below, students will play through this warmup exercise focusing
on proper tuning, tone, and pitch.

#1 #2 #3 (All together)

• Ask students if they know the volume that they should play each part of the chord at.
• Explain that the root (#1) is the most important part of the chord. Then, the order goes
in the order of the 5th and the 3rd. The Root of the chord should make up 50% of the
overall volume of the chord, the 5th should make up 30%, and the 3rd of the chord
should make up 20% of the volume.
• Students will continue to complete the same exercise, but they will go down a half step
each time.
Supplemental Materials

Activity #1

Journal: Students will journal after class and will respond to the following questions:
-Do you feel that you can describe and demonstrate ¾ time to a younger student? If so,
describe how you would do this.
-Do you think these exercises help you better understand the time signature and style of The
Red Balloon. If so, why? If it didn’t help you, what could you change to make it helpful for you
personally?
-What is another activity that you could create that would help you to actively understand the
time signature and style of the piece The Red Balloon, even before you ever play it?

Rubric for grading Journal Entries:

Rating
Criteria 5 points 3 points 1 point 0 points
Prompts All prompts are Two prompts At least one No prompts
addressed, showing are addressed, essay prompt is are submitted.
critical thinking skills. showing critical addressed.
Depending on what it thinking skills. Critical thinking
calls for, in-depth Student is skills are not
examples/explanation adequately demonstrated
are given for each detailed in the as the student
prompt answers given. didn’t embellish
on their
information.
Writing Student completes at Student writes Student does A complete
least 3 complete at least two not write in sentence isn’t
sentences for each complete complete given, and
prompt. There are sentences for sentences. there is
minimal grammatical each prompt. There are minimal
errors or mistakes. It There are a few several answers to the
is evident that the grammatical grammatical questions. The
student thought errors, but errors. The information is
about what they nothing major. information is not structured
wanted to say and not structured in a way that
how they wanted to in a way that allows the
structure the allows the reader to easily
information. reader to easily understand
understand what the
what the student was
student was getting across.
getting across.
Activity #2
Rating Scale- Drone Work
Student’s Name: Class Period
When you played, the passage: Rating
Improved Drastically|Improved a little|Didn’t Improve
m. 1-8 with C5 drone
m. 1-16 without a drone
m. 17-24 with G 5 drone
m. 25-32 with a D flat4 drone
m. 17-36 without a drone
m. 37-42 with an E flat4 drone

Activity #3

Worksheet:

Name: Date:
Melody/Harmony Worksheet

In which measures do you have the melody?

Which measures do you have the harmony?

Who plays with the melody with you in the sections that you have the melody?

Who plays the harmony with you when you have the harmony?

In the sections that you have the harmony, how do you support the melody lines?

Is there anything that you want to learn more about melody and harmony?

Activity #4

Journal: Students will journal after class and will respond to the following questions:
What surprised you when we changed seats? What did you hear that you normally don’t
notice?

How did this change the way that you played?

How will you continue to further apply this in your playing in the future?

Rating
Criteria 5 points 3 points 1 point 0 points
Prompts All prompts are Two prompts At least one No prompts
addressed, showing are addressed, essay prompt is are submitted.
critical thinking skills. showing critical addressed.
Depending on what it thinking skills. Critical thinking
calls for, in-depth Student is skills are not
examples/explanation adequately demonstrated
are given for each detailed in the as the student
prompt answers given. didn’t embellish
on their
information.
Writing Sentences are written Student writes Student does A complete
as complete using complete not write in sentence isn’t
sentences for each sentences for complete given, and
prompt. There are each prompt. sentences. there is
minimal grammatical There are a few There are minimal
errors or mistakes. It grammatical several answers to the
is evident that the errors, but grammatical questions. The
student thought nothing major. errors. The information is
about what they information is not structured
wanted to say and not structured in a way that
how they wanted to in a way that allows the
structure the allows the reader to easily
information. reader to easily understand
understand what the
what the student was
student was getting across.
getting across.
Activity #5

Directions: Complete this storyboard activity by writing down the measure numbers and
drawing a story that you imagine happening during those measures based on what the music is
doing. Be creative, and think outside of the box!
PRACTICE GUIDE

• Work on Phrasing: Practice playing four-measure phrases by breathing in the

appropriate places. Try to play 4 measures without breathing. Make sure you know who
has the melody with you and who you had it off to. If you are
• Drone Work: Warm up using a drone. Practice playing scales with the help of having the
drone on the root of the scale (first note of the scale). This will help you focus on tone
and pitch.
• Start your practice session with breathing. Before you even play, focus on your breath
support and breathing correctly. An example of the breathing that you can do would be
similar to the breathing warmups that we do before class. This will help improve your air
support as you are aware of how you are breathing right from the beginning. This piece
requires a lot of breath support, and you can directly apply how you breath during the
breathing exercises to how you play the piece.
o Breath in for 4, out for 4, in for 4 out for 8, in for 4, out for 16
o Do the same thing, only have them play Concert F when they breathe out in the
previous exercise.
• Practice in this sequence:
o With a metronome, count out loud and clap your rhythm.
o With the metronome, finger your part along to the beat.
o Play your part with the metronome.
o Sing your part along with the metronome.
o Play your part again.
o Reevaluate and continue to use this sequence throughout the piece.
• A practice tip that will help is to record your practice sessions and go back and identify
what you are doing well. Then, you can apply this knowledge to future practice and
performance.

The chart on the next page is something that you can do to focus on your practice goals:
Date: Goals/ Measure Time spent working Reflection: What
Numbers: on Goal went well? What do
you need to spend
further time on?
What did you do to
work on this goal?
GLOSSARY

Style- style is often reflective of the genre of music, the time period it was written in, and the
marking in the music

Tempo- the speed at which a piece of music is played. Sometimes the exact tempo is given at
the beginning of a piece of music with the number of beats to a minute, as measured by a
metronome

Dynamics- the levels of sound, loud or soft, in a piece of music

Blend- an ensemble’s ability to play together using the same tone quality, pitch, and dynamics

Balance- balance regards the ensemble playing with correct dynamics depending on whether
they are playing the harmony and melody in relation to the dynamic that is marked.

Chromatic Scale- a scale made up of the half steps of a major scale in succession of each other

Tone- relates directly to a sounds pitch, quality, and strength; you should play with a tone that
represents good sound quality on your instrument, and it should match across your section and
the band.

Pitch- quality of a sound governed by the rate of vibrations producing it; the degree of highness
or lowness of a tone

Phrase- recognizable musical unit, generally ending in a cadence of some kind, and forming part
of a period or sentence

Musical Expression- showing emotion and feeling though music, and this is often achieved by
dynamic contrast, style, articulation, and tempo

Melody- prominent part in a piece of music; what you want to be heard; the most important
part

Harmony- combination of simultaneously sounded musical notes to produce chords and chord
progressions having a pleasing effect; supporting part to the melody