Byron Coulter

MUS 3310

Concert Band Literature Compilation

November 22, 2013

Concert Band Literature Compilation

Grade 1

Ø Incantation and Ritual – Brian Balmages Ø Our Kingsland Spring – Samuel R. Hazo Ø Bells of Freedom – David Gillingham Ø An Irish Air – Robert Sheldon

Grade 2

Ø The Headless Horseman – Timothy Broege Ø As Summer Was Just Beginning (Song for James Dean) – Larry Daehn Ø Prospect: Hymn for Band – Pierre La Plante Ø Kentucky 1800 – Clare Grundman

Grade 3

Ø American Riversongs – Pierre La Plante Ø Mazama – Jay Chattaway Ø Loch Lomond- Frank Ticheli Ø Fantasy on “Yankee Doodle” – Mark Williams

Grade 4

Ø Variations on a Korean Folk Song – John Barnes Chance Ø First Suite in E-Flat – Gustav Holst Ø Puszta: Four Gypsy Dances – Jan Van der Roost Ø Molly on the Shore – Percy Grainger

Grade 5

Ø Toccata Marziale – Ralph Vaughan Williams Ø Suite of Old American Dances – Robert Russell Bennett Ø Ghost Train Triptych – Eric Whitacre Ø Tempered Steel – Charles Young

Grade 6

Ø Hammersmith: Prelude and Scherzo – Gustav Holst Ø Armenian Dances, Part 1 – Alfred Reed Ø Fantasy Variations on a Theme by Niccolo Pagnini – James Barnes Ø Rocky Point Holiday – Ron Nelson

Grade One Incantation and Ritual: Brian Balmages Instrumentation: Written specifically for a young band, all parts lay extremely well on the

instruments, and ranges are consistent with the average student ability in their first few years of

study. The score calls for two clarinet parts and two trumpet parts. The remaining instruments

have one part each. However, the alto saxophone and trombone parts split in several passages.

Percussion parts include bells and percussion 1-3. The third percussion part is optional, but will

add some color and style to enhance the overall feel of the piece.

Form & Analysis: The piece is divided into two sections: the Incantation and the Ritual. The

incantation is marked at quarter note=84 and is in the key of C minor. In measures 12-19, the

ritual theme is already heard and featured in the low brass and reeds. At measure 20, the ritual

section begins, with the tempo now marked at quarter note=158. There are ostinato patterns in

eighth notes and quarter notes that set the stage for the theme in the new tempo. The theme is

passed around to different instrument groups. A brief development section occurs, using call-

and-response type of orchestration. A quasi recapitulation brings the first theme back in the alto

saxophones and French horns with ostinato figures in accompaniment. At measure 71, a brief

codetta builds harmonic and rhythmic tension to the end.

Musical Challenges: Incantation and Ritual includes mainly minor tonalities. Accidentals are

rare and they are generally used as passing tones. Young players might have a slightly tough

time hearing the harmony at first. Rhythmically, there is no division smaller than an eighth note.

Therefore, rhythm should not be an issue. However, this is a great opportunity to work on

keeping a steady tempo and emphasizing the placed accents. In the “Incantation” section, the

woodwind timbres should remain dark and rich.

Needs and Demands: The piece doesn’t call for that many complex requirements as it’s a very

easy piece. However, percussion parts should be fully covered. This is a great piece for

introducing young players to a variety of topics, including minor tonalities, use of percussion to

create a certain style, different tone colors, etc.

Areas of Rehearsal Concentration for a Performance: Since the piece is not hard at all, rehearsal

time should be spent making the most out of the music. Examples include bringing out the

accents on eighth notes that have accents, shaping the phrases, and producing excellent tone

colors. In the development section, there is some augmentation in the harmony. This might be a

small area to focus on as the dissonance might throw off young performers.

Our Kingsland Spring: Samuel R. Hazo Instrumentation: Instrumentation is highly accessible and ranges are very limited. The most

demanding need would be for oboists to play an exposed and extended melodic passage with the

flutes early in the composition. This piece includes a vibraphone solo in the opening statement.

Form and Analysis: This piece begins with a light and spirited vibraphone passage with sustained

low reed pedals that suggest dance-like, jazz qualities. The A Theme then occurs in the flutes

with a repeat of the theme in both the flutes and the oboes. At measure 35, the tempo shifts to

half-time. This marks the start of the expressive and bold B Theme. More A Theme material

follows, still in the upper woodwinds. At measure 58, the double-time tempo returns with full

ensemble scoring. The serene A Theme returns at measure 64. At measure 80, a bold and

brilliant interlude takes over with colorful trills in the flutes and oboes. The double-time returns

once more at measure 96, followed by a coda (measures 102-112) at the original, slower tempo,

build the dynamic increases to build a final strong conclusion ending on an E-flat major chord.

Musical Challenges: There are no technical issues. Intonation, balance, and blend are highly

crucial in softer and more serene passages of the piece. Some parts have thin density, so tuning

can be a problem at first. The whole piece is in the key of E-flat major, which is a fairly easy key

for young bands to play in.

Needs and Demands: Our Kingsland Spring does not require any huge special needs or demands.

It’s important to keep in mind the possible issues related to intonation, tone, balance, and blend.

Areas of Rehearsal Concentration for a Performance: Working on lyricism and musicianship in

the ensemble will create a great opportunity for young players to develop their expressive

capabilities and phrase-shaping. The vibraphone passage should be steady and should have some

shape at the beginning over the sustained pedal voices in the clarinets and tenor saxophones.

Creating the shape and direction will keep the momentum growing and will be a little more

interesting to the audience.

Bells of Freedom: David Gillingham Instrumentation: The instrumentation for this piece is a little more challenging for that of grade

one. The requirement for flute players is to play up to C6. The chime part is a challenge. There

are four percussion parts. Percussion parts one and two can both either be played by a single

player or shared among multiple students, if desired. Percussion part three calls for snare drum

only.

Form and Analysis: This piece follows a standard march form. It has an eight-measure

introduction, a first strain, a second strain, a trio intro, a trio, a break strain, a final strain, and a

coda. The beginning until the trio is in the key of B-flat major. The trio introduction contains

modulatory key centers. Beginning at the trio, the key begins with E-flat major. The break stain

is in the key of C minor, and the final strain is centered on the key of E-flat major with an A-flat

major section in the very middle.

Musical Challenges: Because this piece is slightly longer than the average grade one work, it can

provide a mental challenge for young players and might create concentration issues. It also might

be a challenge for players to keep the tempo moving forward during the trio, when the dynamics

get softer.

Needs and Demands: This piece requires young players to grasp contrasting styles of

articulation. It is important that all players have a sense of not slowing down when they play

softer, which is a common tendency in young players.

Areas of Rehearsal Concentration for a Performance: It’s essential for the conductor to have the

ensemble focus on clear, uniform articulations. Articulations are an important aspect of any

march. Since the piece doesn’t contain any complex rhythms or extreme technical challenges,

young players should be able to create good, clear articulations and style at a faster pace.

An Irish Air: Robert Sheldon Instrumentation: The instrumentation is easily accessible and the ranges are limited. They are in

the capabilities of young players. There are no odd or unusual instruments that would be

unfamiliar to the conductor.

Form and Analysis: Based on the Irish folk song “Molly Malone”, Sheldon’s arrangement

includes an introduction, two versus, and a brief coda. The introduction contains the melodic

motive that is passed from unaccompanied alto saxophone and French horn material to flute and

trumpet melody with backup harmony. The first verse is in the key of E-flat. It features the

melody in different instruments. The second verse is in the key of F major. The first phrase is

featured in the low brass and the second phrase is featured in the alto saxophone and trumpet

with flute countermelody. In the coda, the melody is broken into small chunks and passes from

different instrument groups rapidly.

Musical Challenges: Playing beautifully and expressively, as always, is a challenge since it

requires strong breath support and long, sustained phrasing at soft dynamics. More specifically,

using musical expression with patience and really taking the time to stretch out phrases can be

challenging.

Needs and Demands: This piece requires an ensemble that can play with full air support at soft

dynamic levels. Dynamic contrasts are also essential in making this piece more effective and

interesting to the audience.

Areas of Rehearsal Concentration for a Performance: The production of the piano dynamic

should be stressed. Younger players often have difficulty using proper air speed. Proper breath

support helps to create a small and steady controlled air stream. Brass players should avoid

increasing mouthpiece pressure as it inhibits lip vibration. Practicing long tones is a great

exercise and it should be implied before rehearsing An Irish Air.

Grade Two

The Headless Horseman: Timothy Broege Instrumentation: Overall, instrumentation of The Headless Horseman is pretty easy and

accessible to the nature of younger, less experienced performing ensembles. In terms of timbre,

the introduction features dissonant tone clusters. For example, the clarinets and alto saxophones

play sustained perfect fifths separated by a half step. Trumpets also play fortissimo chords built

on the concert pitches E, F, and F-sharp. The trombone glissandos in the beginning require a

round, but strong sound rom the performers to make the sound effects accurate.

Form and Analysis: The Headless Horseman is in arch form, with a slow, brief introduction at

the beginning. This piece is also a programmatic work. The introduction, labeled “adagio

misterioso (quarter note=60)”, displays the building tension of a haunting feel. As Broege

describes, the fortissimo chords in the trumpets depict “the fearsome whinnying of the stallion on

which the Horseman rides forth to snatch the souls of the unsuspecting.” In section A, the

horseman begins his ride. The theme is heard in the upper woodwinds with repeated staccato

eighth notes with a second theme featured in the low brass. The snare drum has a repeated

motive of eighth note-sixteenth notes on every beat, mimicking the galloping of the stallion. In

section B, the meter shifts to 6/4. Theme B is a motive heard in the alto saxophones and brass

with a response in the upper woodwinds. In section C, a chorale section takes over with a dense

harmony at a piano dynamic. Section B returns with a minor altered fragment in the upper

woodwinds’ response, concluding with a grand pause in a 2/4 measure. Section A finishes the

piece, with a return of the eight-note accompaniment, a brief muted trumpet solo, and a

rhythmically altered version of theme A.

Musical Challenges: The Headless Horseman features minor keys, atonal motives, and tightly-

grouped chord clusters. This could be a challenge for young players at first. The perfect fifth

intervals separated by half steps in the clarinets and alto saxophones in the introduction could

include intonation issues at first. The precision and consistency of rhythmic patterns should be

maintained since many patterns are repeated.

Needs and Demands: While The Headless Horseman is a fairly simple piece, it requires a strong

baritone player to play the solo in measures 40-42. In measures 14-16, the low brass section

faces some potentially difficult chromatic parts. The piece will require a snare drum player who

can keep a steady and consistent pulse on the snare drum to represent the gallop of the horse and

demonstrate a range of percussive dynamics.

Areas of Rehearsal Concentration for a Performance: When rehearsing The Headless Horseman,

the conductor should attend to the details of potential intonation problems (such as the perfect

fifth intervals in the clarinets and alto saxophones in the introduction, the fortissimo chords in the

trumpets in the introduction, and the dissonant harmony in the chorale section). While it might

not be an overbearing problem, being able to work on the clarity of pitch will allow the

musicians to understand the relationships between distant intervals. Rehearsing rhythmic

accuracy in the inner and outer A sections with the sections that have the repeated eighth notes is

also crucial. Since the eighth notes are repeated for quite a while, the tendency might be to rush.

One solution might be to have the snare drum player play steady eighth notes to keep he pulse

while the players that have the repeated eighth notes loop their parts, focusing on rhythmic

precision. Finally, the low brass feature in the first A section should be bold and strong, but

should also have a clean and nice tone.

As Summer Was Just Beginning (Song for James Dean): Larry Daehn Instrumentation: As Summer Was Just Beginning presents challenges to multiple instruments in

achieving good tone quality and musicality in the upper ranges. The alto saxophones and French

horns carry the primary theme in the first sixteen measures, and phrases require both of the

instrument groups to play in a smooth, legato style from their concert B-Flat immediately up an

octave. When the clarinets have the secondary thematic material, they will need to work to create

smoothness in their eighth-note ostinato accompaniment passages. The clarinet parts are divided

into three, and are sometimes required to move between the chalumeau and clarion registers with

clarity. Clarinet 1 requires fluidity in range up to concert pitch c2. The score has parts written for

oboe 1 and 2, E-flat clarinet, and bassoon 1and 2. However, these parts are contained within

other parts of the score.

Form and Analysis: There are two sections of this piece. Both sections are in ternary form (ABA

and A’B’A’). In entire first half is centered in the key of B-Flat major. The A section is based on

an old British Isles folksong. The B section introduces the secondary theme with ostinato

accompaniment. The A section returns with an abbreviated version of the primary theme. The

second half of the piece follows almost the exact same format, but with different texture and

instrumental scoring. The first A’ theme is in the key of E-Flat major, with the trumpets and

upper woodwinds carrying the primary theme. The secondary theme is featured in the B’ section,

but it’s in E-Flat major. Finally, the A’ returns in the key of C major with harmonic growth and a

gradual expressive diminuendo to conclude the piece.

Musical Challenges: Since this piece is lyrical, the main challenge for players is to learn the

quality of expressive interpretation. As Summer Was Just Beginning provides moments of rubato

and legato-style playing. There are several ritardandos, a tempos, and fermatas in which the

conductor must lead the ensemble in a sensitive, musical manner. This provides good practice for

young players to build habits of watching the conductor to ensure that the ensemble moves

together confidentially and smoothly.

Needs and Demands: This piece will require performers who are capable of playing with strong,

sustained breath support and with a warm sound at soft dynamics. Performers will also need to

work to develop a uniform style of legato articulation and sostenuto playing.

Areas of Rehearsal Concentration for a Performance: Working on solid intonation in the French

horns and alto saxophones in the first statement of the primary theme is a must. Balance and

blend can also be a factor. It’s important to always hear the melody over the countermelody and

accompaniment. Working on the evenness and balance of all crescendos and decrescendos

should be done as well. Maintaining the pulse and subdividing while speeding up and slowing

down should be done by the conductor to assure that the entire ensemble is watching and

listening.

Prospect - Hymn for Band: Pierre La Plante

Instrumentation: Instrumentation and ranges are easily accessible for young players. La Plante

states that he believes that certain technical demands, such as excessive range, rhythmic

complexity, or superfluous notes takes too much time and energy away from the music-making.

Form and Analysis: Prospect is in strophic form. It contains three strophes, with each being

introduced by a short musical interlude. The final section is a triumphant coda. The first two

strophes are in the layout of aa’ba’ and are in the key of F major. The first strophe has a nine-

measure interlude followed by a sixteen-measure section. The second strophe is similar, but only

has an eight-measure interlude. The third strophe modulates from the key of F major to the key

of A-flat major. It has an eight-measure interlude, the sixteen-measure section from the first two

strophes (now in the key of A-flat major), and an eight-measure phrase leading to the coda. In

the coda, the section B motive from the first two strophes is played twice. Finally, the

progression of A-flat – E-flat7 – C-flat – F-flat – A-flat is outlined, building a final climax.

Musical Challenges: Listening carefully for intonation and balance in unison melodies and major

and minor triads can be tough, especially if the ensemble is less experienced. Dynamic range can

also be a challenge. An excellent interpretation should include shaping each melodic phrase and

having patient pacing of the composition as a whole, growing from the soft introduction to the

dramatic, maestoso conclusion. Players also need to listen to moving lines and know who has the

melody. The hymn tune “Prospect” is based on the major pentatonic scale and is represented in

the keys of F and A-flat major. Introducing students to the keys of F major and A-flat major

might even be a valuable teaching aid as they are the primary keys of Prospect.

Needs and Demands: Prospect requires excellent lyrical playing from the entire ensemble. La

Plante has created opportunities for the development of individual playing skills, including nice

tone, vibrato, strong legato technique, and strong breath support to perform four-measure phrases

at a slow tempo.

Areas of Rehearsal Concentration for a Performance: Since the piece is lyrical and sensitive,

some areas to work on would be tone color, intonation, balance and blend, and air support. The

coda section might need work at first. In the climax build, the trumpets and upper woodwinds

who carry the chords have dynamics of forte to fortissimo at a slightly high range. Therefore,

they might have a tendency to sound harsh and bright when playing strong. Focusing on round,

warm tone quality at a forte dynamic is essential.

Kentucky 1800: Clare Grundman Instrumentation: Kentucky 1800 contains standard concert band scoring. All parts are cross-cued.

Ranges are not extreme, but most instruments will play ranges a little bit more difficult than

those typically found in Grade 2-3 works. Therefore, this piece would be on the harder side of

the Grade 2-3 category.

Form and Analysis: Kentucky 1800 is a “rhapsodic tone poem.” It’s a musical collection of three

traditional folk songs that depict the pioneering spirit as Americans moved west. The folk songs

are The Promised Land, I’m Sad and I’m Lonely, and Cindy. The piece begins with a bold

introduction from D minor to G minor. The Promised Land appears in G minor with varying

styles until measure 32. Measures 32-36 are a modulation to A-flat major. Measures 36-38 are

the introduction to I’m Sad and I’m Lonely. The melody comes in at measure 38 and shifts

between different instrument groups until measure 54. At measure 54, the new tempo kicks in to

set up the melody for Cindy. It begins with a trumpet solo with French horn and alto saxophone

response. Cindy lasts until measure 90, where The Promised Land theme returns briefly. The key

modulates to G major with a poco ritardando (although the key signature indicates B-flat major).

At measure 98, the tempo broadens and dynamics increase as the final G major chord in the last

measure ends with a fermata.

Musical Challenges: The folk-song aspect of Kentucky 1800 requires students to display proper

phrasing and a lyrical style. The Promised Land has a flowing, lyrical verse and a marcato

chorus, so changing styles rapidly could be somewhat challenging. The transition to I’m Sad and

I’m Lonely should not be too difficult since there already exists legato style in The Promised

Land. It’s important that the accompaniment in Cindy does not get too heavy. The character

should remain light and rhythmically fun.

Needs and Demands: It’s essential that students are proficient playing in the keys of G minor, E-

flat major, A-flat major, and G major. To help accommodate this goal, the conductor should

review scales and technical studies with students on a weekly basis. Doing so will help students

play the piece with confidence.

Areas of Rehearsal Concentration for a Performance: Since this piece requires a high level of

musical expression and an artistic performance, the conductor should model, sing, or play

musical lines for students. A technique to apply is to ask them to play or sing back what they

heard the conductor perform. By doing so, the conductor can easily diagnose what the problems

are. Additionally, the correct interpretation of the singing/playing should allow students to gain

the correct information for the long run.

Grade Three American Riversongs: Pierre La Plante Instrumentation: Instrumentation is not unordinary. Scoring includes standard order with normal

intermediate band instrumentation. Ranges are accessible for all instruments.

Form and Analysis: American Riversongs is in ternary form. It contains three folk songs

reminiscent of a developing American nation when waterways were central to commerce and

expansion of cities. The folk songs are Down the River, Shenandoah, and The Glendy Burk, in

addition to a theme based on a Creole bamboula tune. Down the River is in 6/8 meter and in the

key of B-flat major. The style is bright and spirited. The theme has an antecedent/consequent

figure with the melody presented in the upper woodwinds and trumpets. Shenandoah is in the

key of E-flat major and contains meters shifting from 4/4 to 3/4. The Glendy Burk is the key of F

major and heavily features the brass section. Theme D is the bamboula tune featured in the

flutes, while theme C (The Glendy Burk) continues in the brass. A gradually-building coda

concludes the work.

Musical Challenges: A big challenge is to maintain an equal balance between three and

sometimes four moving lines as melodies and countermelodies are passed around constantly.

Clarity is the key in the loud tutti sections. Different variations of staccato interpretation (thick

and thin) need to be taken into account as certain sections require different styles.

Needs and Demands: A solid understanding of the concert B-flat, E-flat, and F major scales are

essential to all performers. Section one, Down the River, requires multiple note lengths

simultaneously. A lifted style in the melody helps to provide clarity. Section two, Shenandoah,

features lyrical, sustained lines that require rich timbres from all performers. Section three, The

Glendy Burk, contains rapid shifts in dynamics and style. Overall, the piece will require

musicians who can interpret style changes very well.

Areas of Rehearsal Concentration for a Performance: Overall, American Riversongs is not too

difficult. Practicing and rehearsing the style changes in the transitions is essential. Doing so

should create smooth transitions from section to section. Attention should be given to clarity and

balance at the end of the piece to help enhance the “layered” effect. This might require a bit of

rehearsal time, especially for less experienced bands playing this work.

Mazama: Jay Chattaway Instrumentation: Instrumentation for the winds is standard. There are extensive parts written for

the percussion section. A minimum of six solid players is needed, but eight members are

recommended, especially if the section is less experienced. The percussion parts include:

flexatone, tubular and wind chimes, many animal bells (including sleigh bells), vibra slap, finger

cymbals, tom-toms, two timpani, snare drum, two tambourines, shakers, suspended cymbal, two

bass drums, bells, and xylophone.

Form and Analysis: It is said that Mazama is not constructed as traditional Western music.

Therefore, the form could be interpreted in multiple ways. It can be seen, however, as an ABA’

coda format. There are distinct sections within each division. Section A features the opening,

mysterious chant and gradual increase of dynamics and tempo, eventually leading to a new

melody with two statements. The first half of section B is labeled “Faster, quarter note=126.”

This section alters features between the percussion and full band tutti. It has a compound meter

feel (tom-toms written in 12/8). The grouping is 3+3+2+2+2 with offbeat accents. The second

half of shifts back to simple meter with the four-measure punctuation pattern featured in the low

brass and low reeds. A percussion cadenza follows. Section A’ is similar to section A, but it’s an

abbreviated version. The coda section is labeled “Suddenly faster, quarter note=168.” It

concludes with a repetitive motive and a strong cadence.

Musical Challenges: Controlling the tone within various dynamics can be challenging. Since the

flute section plays a mostly unison melody at the beginning, good intonation is crucial when

playing the passage. Also, the range of that passage is low, so it will require a loose embouchure

and strong breath support while striving to produce a rich, full sound. The clarinet section at

measure 27 needs to be capable of independent playing. Being able to feel the subdivision in the

B section and not rush certain fragments of motives should help the overall tempo.

Needs and Demands: It is clearly obvious that this piece requires an experienced and large

percussion section. Overall, the piece has factors that can almost push it from a Grade Three

work to a Grade Four work. This piece calls for players who are capable of maintaining rhythmic

accuracy and certain players who can play the lyrical solos at the beginning with expression.

Areas of Rehearsal Concentration for a Performance: Rhythm and dynamics are the two

categories that require the most development and concentration. Technically, the most difficult

measures are measures 194-195. The conductor should allow the tempo not to become frantic.

Here, the fingers and tongue must coordinate repetitively a motive that requires awkward interval

jumps. Chattaway has created many different dynamic ranges and in many different scenarios,

including forte piano attacks, large changes within two or three beats, subito dynamic changes,

etc. Finally, the conductor should have the ensemble practice the chant with a dark, warm

singing tone with accurate pitch.

Loch Lomond: Frank Ticheli Instrumentation: Loch Lomond is scored for a full band. There is a part written for an E-flat

contrabass clarinet. Many composers don’t include E-flat contrabass clarinets in their scores.

Ranges for all instruments are mostly accessible.

Form and Analysis: Loch Lomond can be compared to a sonata allegro form. It begins in the

friendly key of B-flat major with a building introduction. The first statement is heard in the

French horns with moving lines in the clarinets, followed by the theme presented by the trumpets

with full band harmonization. The first statement remains in the key of B-flat. A canonic

interlude follows it with a slight increase in tempo, slowly modulating from B-flat major to E-flat

major. At measure 39, the second statement begins in the key of E-flat major with the melody in

the trumpets and countermelody in the clarinets and alto saxophones. A piccolo and clarinet duet

occurs at measure 56 in parallel twelfths (E-flat over D-flat). The development section begins at

measure 66, taking the piece through the keys of E-flat, A-flat, F, and D-flat major. In the

development, different instrument groups have the melody in different key centers. The

recapitulation (or final statement) occurs at measure 82, with countermelody in the piccolo, flute,

and oboe and a second countermelody (Danny Boy) in the alto saxophones French horns. The

final statement returns to the key of B-flat major.

Musical Challenges: Ticheli states in the score that “performers should play throughout in a

connected, legato style and try not to fall into the temptation of dragging below the tempo

markings. The music should flow, not float.” Since the piece is lyrical, younger performers

playing this piece might fall into this trap. Maintaining a steady pulse and subdividing is

essential in not only keeping the ensemble together, but also keeping the momentum going when

using rubato. Overall, equal balance is important to maintain. Some players might have the

tendency to play their part out too much and cover up what’s most important. Balance and blend

practice should always be implied.

Needs and Demands: A flute player who can play piccolo very well is required. At measure 58,

one flute player switches to piccolo to play the piccolo/clarinet duet in parallel twelfths. The

piece also requires strong lyrical playing from all ensemble members. An ensemble that has

players who can play smoothly with excellent intonation will be able to perform this at a very

high level.

Areas of Rehearsal Concentration for a Performance: Rehearsing measures 39-46 should be a

goal and the conductor should focus on maintaining an equal balance between the melody in the

trumpets and the countermelody in the clarinets and alto saxophones. Another area of rehearsal

concentration could include the balance of the three main ideas sounding in counterpoint with

one another from measures 81-89. Encouraging the players to play out moving lines will help

keep the tempo from dragging.

Fantasy on Yankee Doodle: Mark Williams Instrumentation: Instrumentation is nothing out of the ordinary. Ranges are very good for all

instruments at the Grade Three level.

Form and Analysis: Fantasy on Yankee Doodle is in Theme and Variations form. There is an

introduction, main theme, five variations, and a coda. The fanfare-like introduction features the

full ensemble. The main theme is given to the solo tuba, passed on to the oboe, and then given

back to the tuba for the last two measures. Variation one features the solo alto saxophone, which

presents the minor-mode melody with flute countermelody. Variation two features the full

ensemble with the theme shifting from almost all instrument groups, with the 7/8 meter being

introduced. Variation three is a slow, lyrical variation with solo cornet at the beginning. The

music builds to a climax in measure 115, with a diminuendo and fade-out to end the variation.

Variation four represents the percussion ensemble with fragments of the melody carried by the

full ensemble. Variation five presents the theme in augmentation by the full ensemble. The

percussion ensemble continues to carry active parts. Finally, the maestoso coda concludes the

piece to a dramatic full ensemble finish.

Musical Challenges: There are some challenging rhythms throughout the piece, including some

meter changes. The second variation uses 7/8 quite often. The solos for cornet, tuba, and alto

saxophone are sensitive and require good tone quality and accurate intonation at a soft dynamic.

Needs and Demands: This work is placed in the Grade Three category, but some of the musical

material may be more along the lines of a Grade Four work. The ensemble must contain good

soloists on tuba, alto saxophone, and cornet. The piece also calls for an extensive auxiliary

percussion section in addition to normal percussion instruments.

Areas of Rehearsal Concentration for a Performance: This piece requires both technical and

lyrical passages. Therefore, it might be beneficial for the conductor to reinforce the big

difference in style since the style changes back and forth between most variations. It’s important

for the ensemble to heavily emphasize the style of each variation, whether it’s legato, staccato, or

marcato. Doing so will create a greater dynamic and style effect. The conductor must listen

carefully for good balance and blend at various times, as well as execute confident cues and clear

patterns in the 7/8 section.

Grade Four Variations on a Korean Folk Song: John Barnes Chance Instrumentation: The instrumentation for Variations on a Korean Folk Song is standard. There

are additional parts for a B-flat contrabass clarinet. Six percussionists are needed, including at

least one mallet player who is competent enough to cover xylophone, vibraphone, and bells.

Ranges aren’t too extreme for this Grade Four work.

Form and Analysis: Composed in Theme and Variations form, Variations on a Korean Folk

Song contains five variations. The primary theme is based on the E-flat pentatonic scale.

Traditional harmonies are used throughout the work by the composer, including tertian and

quartal harmonies and extended use of the pedal point. The primary opening theme features the

clarinets on the E-flat pentatonic scale, followed by the alto and tenor saxophones and baritones

in the key of A-flat. Variation one is in the key of D-flat major and features rapid runs on

different beats from both the brass and the woodwinds at a vivace tempo. Variation two is lyrical

and begins with an oboe solo. The D-flat major pentatonic scale is still in place. Variation three

shifts to the meter of 6/8. The trumpets carry the melody in variation three at first, followed by

the alto saxophones and French horns with a transition to variation four. Variation four is in 3/2

time. The style is smooth and chorale-like. Variation five goes back to 3/4 time and begins with a

percussion feature. Temple blocks enter with the motive from variation one, followed by new

entrances of the primary theme occurring simultaneously. The closing statement leads to a modal

cadence in B-flat major.

Musical Challenges: The piece requires a wide variety of styles that range from expressive legato

playing to maestoso fanfares. Being able to play the correct styles at the dynamics written is also

important. In variation one, some instruments enter on beat three and some on beat two. It’s

important for the performers to know when their entrances occur and how their parts fit in with

the others. Variation one can be a mental challenge. In variation three, playing the melody in the

6/8 section too mechanical can be a tendency. The style should sing, and not work too hard. In

the final section (Con Islancio), the brass parts aren’t difficult. However, there are some runs in

the woodwinds that might require some additional outside practice.

Needs and Demands: This piece is generally suitable for high school bands and above. Some of

the upper woodwind parts may be a bit high and would require performers who have strong

embouchure ability and are capable of producing warm sounds.

Areas of Rehearsal Concentration for a Performance: Variation one might require some work,

especially for a high school band. Not only is it technically demanding, but there are times when

the entrances aren’t unison. After the first time it is played, the second entrance occurs on beat

two after the repeating entrance comes in on beat three. Attending to the details of all dynamics

is essential for the conductor and the musicians. When playing lyrical spots, the focus of dark,

warm tone should take place.

First Suite in E-Flat: Gustav Holst Instrumentation: As a British wind band classic, First Suite in E-Flat has standard wind band

scoring with limited split parts. Ranges for certain instruments can get pretty challenging,

especially for the high brass.

Form and Analysis: This suite has a different form for each movement. The first movement,

Chaconne, is in a Passacaglia form. It’s actually a theme followed by fifteen variations. The

theme and most of its variations are in E-flat major, with the exception of variations nine and ten.

These are in C minor and use an inversion of the theme. The second movement, Intermezzo, is in

modified binary form. It starts out in the key of C minor and then features the F Dorian mode.

The closing of the second movement is polymodal, with all three main ideas used in the

movement occurring simultaneously. The third movement, March, is in modified ternary form.

The march introduction is brief and is in the key of E-flat major. The A theme bounces between

C minor and E-flat major. After a brief transition in the key of A-flat major, the lyrical trio is

heard. Following this, the development begins with F minor and C minor key centers. At

measure 123, both the A theme and the trio melody are overlapped in a strong, march style.

Finally, the coda occurs. Centered in the key of E-flat major, the main theme from the trio is

heard in a ritardando, immediately followed by fast conclusion.

Musical Challenges: The sixteenth-note runs in the woodwinds that occur in the first movement

from measures 40-49 will require mental concentration and possibly outside individual practice.

In the French horn solo, the horn must leap to a high G at a soft volume in measure 58. This can

be troublesome in terms of intonation. The whole opening section in the low brass is very

exposed and delicate, so phrasing and intonation is going to be the biggest challenge in the first

movement. In the second movement, keeping a steady tempo with the eighth notes will be a

challenge. The tendency might be to rush. Also, making a difference in the light, detached style

and the gentle legato is important. The conductor should work to keep the tempo consistent

throughout the whole movement. Applying separated articulation is essential in the third

movement. Also, it’s essential for the brass to not play overly loud. When the trio kicks in, the

performers that have the lyrical melody should strive for eight-measure phrases and stagger

breaths.

Needs and Demands: This piece requires players who are technically proficient and have strong

range ability. Additionally, playing in tune and with good tone at soft dynamics is important.

Areas of Rehearsal Concentration for a Performance: In the third movement, if the players who

have the melody at the trio are not used to maintaining breath support for quite some time,

additional practice might be necessary. Not rushing the overall march tempo of the third

movement is also important. Accompaniment parts should never be too heavy. Achieving clear

and solid intonation (especially in the first movement) might require some tuning exercises.

Puszta - Four Gypsy Dances: Jan Van der Roost Instrumentation: The range for most instruments is very reasonable. There are parts written for

an E-flat clarinet and a string bass, which both contain important roles in the piece.

Form and Analysis: This piece is a dance suite. It’s a set of four gypsy dances derived from

Eastern European culture. Movement one Andante Moderato creates an image of Eastern

European flare. It has fluid motion that gives way to a dance melody. Movement two Tranquillo

is lyrical, reflective, and graceful with colorful instrument combinations. Movement three

Allegro Molto uses a duple meter, where Van der Roost uses different instrument combinations

to give interest to a single melodic line. There is a lyrical section in the middle of the third

movement. The fourth movement Presto opens with a bold and slow introduction. After a light

dance theme gradually increases in tempo, the slower tempo returns briefly. This is followed by

a fast and ponderous theme that concludes the piece.

Musical Challenges: In the first movement Andante Moderato, there may be a tendency for the

accompaniment lines to play too heavy. There is a section that features the mixolydian mode,

which might be a challenge for less experienced players. In the second movement Tranquillo,

understanding of phrase shaping will help the ensemble capture correct expression. Rubato

technique is implied at various times in the second movement, which should reinforce the

concept of watching and listening. In the third movement Allegro Molto, upbeat accompaniment

might have a tendency to not line up precisely. In the fourth movement Presto, the performers

might be confused when they see the sixteenth notes and thirty-second notes. Additionally, the

style in the fourth movement should remain light, even when the volume is loud.

Needs and Demands: When performing Puszta, it’s crucial to have an E-flat clarinet as it plays

an important role in the piece. Additionally, there is a part written for string bass and it’s

important that one exists in the ensemble because it’s different from the wind bass lines and also

plays an important role. Balance and blend can be a big factor when rehearsing the piece.

Areas of Rehearsal Concentration for a Performance: In the first movement Andante Moderato,

focusing on not rushing the thirty-second notes will help keep the opening steady and accurate.

The tempo pushes and pulls at times, so training the ensemble to watch the conductor carefully is

important. The second movement Tranquillo requires a good sense of inner pulse to keep the

tempo from rushing. Focusing on shape phrasing and direction as well as practicing rubato can

help the overall musicality. In the third movement Allegro Molto, practicing the upbeat

accompaniment slowly with repetition (maybe with snare drum taps or a metronome) might help

the precision line up. The tempo should be sped up only after the precision is accomplished at the

slower tempo. In the fourth movement Presto, the players should have a clear understanding of

the difference between sixteenth and thirty-second notes. More importantly, they should be lined

up precisely. Spending some time on keeping the style light may help achieve the goal of the

overall style.

Molly on the Shore: Percy Grainger Instrumentation: Instrumentation calls for general woodwind, brass, and percussion instruments.

There are also parts written for a double bassoon, a soprano saxophone, and a wide variety of

mallet percussion. The percussion writing is very standard. Instrument ranges are moderately

challenging, with high upper brass parts and a wide range for all of the woodwinds, especially

the clarinets.

Form and Analysis: Molly on the Shore actually contains two folk song melodies: Molly on the

Shore, along with a melody entitled “Temple Hill.” There are three eight-measure fragments

which make up “Molly on the Shore” and two eight-measure fragments that dominate the

melody of “Temple Hill.” The piece starts and ends in A-flat major, with modulating key

signatures and representations of different instrument timbres for different sections.

Musical Challenges: Compared to many other works by Grainger, Molly on the Shore requires

fewer musical styles. The tempo never changes. The dynamic range, however, is very extreme.

The softest dynamic listed is pppp. The loudest dynamic listed is ffff. Articulations require

performers to play very tuneful legatos and very brittle staccatos, and sometimes in a rapid

period of space. The melody at the beginning that is featured in the low woodwinds and string

bass is a challenge, and it might have the tendency to drag or be played too heavy.

Needs and Demands: Molly on the Shore requires a strong and technically proficient ensemble.

Most important, the entire clarinet section needs to have players who have fast fingers since all

of the clarinet parts contain technical and rapid finger movement. Generally speaking, the piece

requires the remaining woodwinds and even the brass players to have fast fingers in order to

keep the technique clean and quick.

Areas of Rehearsal Concentration for a Performance: It’s important to make sure that

accompaniment does not get too heavy at times. The style should be light and brisk and the

tempo should not slow down. Rehearsing the upper woodwinds at a slower tempo with their

descending chromatic, obbligato lines might be beneficial when working toward precision.

Dynamics should be rehearsed as well. For example, the first couple of sections of the piece

should not get too loud too quick. Instead, it should gradually increase. Practicing brisk style and

light articulations is one of the most important rehearsal elements.

Grade Five

Toccata Marziale: Ralph Vaughan Williams Instrumentation: The instrumentation is not complex. Some parts, such as the alto saxophones

and French horns, don’t have two parts since British wind band works in the early 20th century

were written and scored slightly different with less split part-writing. All performers playing

Toccata Marziale need to be comfortable with the full ranges of their instruments since the range

for all instruments is very wide.

Form and Analysis: Toccata Marziale is written in simple ternary form: ABA. Written entirely

in 3/4, it is mainly in the key of B-flat major, but accidentals suggest that there are many

modulations and other key areas. When the A Theme is played the second time, it’s in the key of

G-flat major. The piece is built on a two-measure motive that captures dynamic energy. Aside

from the initial main motive, there are five other musical ideas that occur during the piece. The

folk melody is passed around to various instrument groups at different times with the main

motive occurring in different instruments simultaneously. The tempo is the same throughout,

generally ranging from quarter note=104-112.

Musical Challenges: This piece is a technical workout. Many instruments are playing certain

motives that begin on different beats of particular measures, so each player must be extremely

confident with their parts and know which beats they enter. Since the piece is technically

demanding, there might be a tendency for all performers to lose energy and back down on

dynamics. Encouraging the ensemble to sustain the loud dynamics when loud dynamics are

written is important. Differences in articulations should help the ensemble make the piece more

effective.

Needs and Demands: The biggest demand for this piece is having technically proficient

woodwind and brass players. Mature players who can play at a high range are needed. Players

should be able to understand the nature of rhythmic complexity. This should help make

rehearsals and the overall performance less stressful and more effective.

Areas of Rehearsal Concentration for a Performance: The conductor should make an effort to

work with the ensemble to consistently observe a definite contrast among the indications of

staccato, marcato, and legato. Since this piece is a technical showcase for the wind band, one

idea is to introduce to the ensemble the historical concepts behind the word “Toccata.” The

conductor should carefully work on the dynamic contrasts. In measure 15, in the span of one

beat, Vaughan Williams asks the ensemble to decrescendo from forte to piano. There is a lot of

contrapuntal texture in this work. Therefore, players must be cautious of the sustained

crescendos and diminuendos to maintain proper balance.

Suite of Old American Dances: Robert Russell Bennett Instrumentation: Instrumentation is not complex. However, some parts require security in the

upper registers. Cornets have parts written up to C2, clarinets have parts written up to F2,

trombones/euphoniums have parts written up to A, and flutes have parts written up to B-flat 2.

Form and Analysis: Each of the five movements has its own unique character and dance. Suite of

Old American Dances depicts popular turn-of-the-century dance styles. The five dance

movements are entitled 1) Cakewalk 2) Schottische 3) Western One-Step 4) Wallflower Waltz

5) Rag. Bennett’s scoring in Suite of Old American Dances tends to be for one of three

instrument choirs: a predominant woodwind sound, a predominant brass sound, or a woodwind

sound with saxophone color added for emphasis. All of the movements are in rondo form.

Musical Challenges: Rhythmic precision is essential in the first movement. The first sixteenth

note should clearly be articulated with the eighth note following deemphasized. This might be a

challenge, and the tendency might be for performers to make the cakewalk motive a bit uneven.

Eighth notes should be articulated evenly. In the second movement, the articulations should be

light, but not too separated. The syncopated rhythms in the third movement might have a

tendency to be played too short, which can cause them to lose musical value. They should have

accents, but there should be more sustained weight. In the fourth movement, marcato accents

should not be too heavy. It’s important that the performers understand that there should be a little

bit of emphasis, but that there should be some value and the character should remain in a light

waltz style. The fifth movement contains cross-accents, which are accomplished by slurred

groupings of three eighth notes. A tendency might be to play these passages too heavy. Doing so

can cause the movement to lose its character. The biggest musical challenges in the fifth

movement are to not play out of character (too heavy) and to make sure that rhythmic precision

occurs.

Needs and Demands: Bennett’s dense scoring requires excellent intonation and special attention

to balance. It’s important for all players to make articulations light and emphasize syncopations.

Having the ability to keep from rushing certain figures is essential for the conductor and the

performers.

Areas of Rehearsal Concentration for a Performance: The conductor should spend time

rehearsing good tone quality while having the play fast. When musicians play fast, they tend to

sometimes lose their sense of dark, warm tone. Although most of the movements in this piece are

not lyrical, it’s always important to keep in mind that having a warm and open tone is important

as it’s reminiscent of Bennett’s composing style.

Ghost Train Triptych: Eric Whitacre Instrumentation: Ghost Train Triptych requires some extreme ranges for most of the wind

players. However, nothing is out of the ordinary for an average Grade Five level piece. Meters

and tempos fluctuate frequently to create the sound and feel of trains coming and going. The

scoring for the wind band is standard, with no unusual instruments needed. The use of the

percussion section is heavy, as it plays an important role in creating the train sound effects.

Form and Analysis: The form of this piece is in three movements, known as a “triptych.” The

term triptych comes from the Greek word “triptukhos”, meaning threefold. Ghost Train Triptych

is a programmatic work for wind band, meaning that it intends to tell a story. The rhythmic,

metrical, and episodic changes represent the stops of the Ghost Train. Much of the piece seems

transitional (slowing down or speeding up), but it really is part of the cyclical nature of the piece.

This is acknowledged through the identification of tempo and meter changes. The first is entitled

The Ride, the second movement is entitled At the Station, and the third movement is entitled The

Motive Revolution. Each movement represents a different event. The Ride represents the

supernatural machine that roars out of the night through forgotten towns and empty canyons. At

the Station represents the train coming to a halt and having the passengers depart, depicting the

reunion of family and friends and the architecture of the station. The Motive Revolution

represents the period between 1850 and 1870 when steam engines revolutionized transportation

and explains the cyclical treatment of musical motive. The train ends with a final heroic tribute

to the supernatural machines and the people who worked them.

Musical Challenges: There are many compound meters, changing meters, and changing tempos.

These factors might create the greatest challenge of this work. The piece also contains chord

clusters, bends, and falls to create train sound effects. Overall, the rhythmic aspects will be the

number one challenge for the performers. The conductor should focus on encouraging the

players to listen carefully to all parts and recognize who has the melody and when.

Needs and Demands: This piece definitely requires a rhythmically strong and stable ensemble.

The piece calls for a lot of percussion parts, so it’s important for the conductor to have a strong,

large percussion section. The second movement requires some improvisation from the piano and

solo saxophone. Therefore, it’s important that both the pianist and saxophonist have the ability to

improvise simultaneously within the jazz idiom.

Areas of Rehearsal Concentration for a Performance: Rhythmic accuracy and consistency is one

of the top priorities in this piece. The conductor should create exercises that include counting and

watching beat patterns. The performers should feel confident enough with compound meters to

the point where they can feel the pulse in time signatures such as 3/8, 5/8, and 7/8. Additionally,

the aspect of listening is important. Since there are many chord clusters and other interesting

effects, the players might have a tendency to think that the parts are written incorrectly when

they really aren’t. Therefore, the conductor should encourage the ensemble to be aware that

listening carefully to their own parts and that not getting caught up in the harmony is essential.

Tempered Steel: Charles Young Instrumentation: The instrumentation is standard for a mature wind band. No odd or unusual

instrumentation is present. Range can be a bit high for the brass, but it’s not overly difficult.

Form and Analysis: This piece is in sonata-rondo form. Tempered Steel has an exposition, a

development, a retransition, a recapitulation, and a coda. Surprisingly, Tempered Steel only uses

six pitches. They are derived from a six-note scale (hexachord) created from alternating

ascending perfect fifths and minor seconds (B-flat – F-sharp – C-sharp – D – A).

Musical Challenges: There are many rhythmic challenges. Throughout the work, players and the

conductor need to feel 3/4 and 6/8 simultaneously. The chimes in the opening section (beginning

at measure five) have a compound meter of three against two. This continues as the low brass

begins theme one. Playing in tune during the idiomatic soft solo section is essential. It’s

important for the conductor to encourage the principal solo players to not fall behind the tempo

markings in the soft, thinly-scored section.

Needs and Demands: Tempered Steel requires strong and aggressive playing from every section.

Strong, mature brass and percussion sections are needed. The percussion section is a partner with

the woodwinds and uses five players, plus a timpani player (six total). Solos are featured for

many principal woodwind players and will require confident playing.

Areas of Rehearsal Concentration for a Performance: Special attention should be given to the

principal woodwind players who have soft solos. It is important that they don’t play too soft that

they lose tone control and fall behind the tempo marking. Since this piece only contains six

pitches, the conductor might find it beneficial to introduce the ensemble to certain aspects of

music theory and the use of the six-note scale (hexachord).

Grade Six

Hammersmith - Prelude and Scherzo: Gustav Holst Instrumentation: Similar to the rest of Holst’s works, the instrumentation for Hammersmith is

standard with limited split parts in some instruments, such as the alto saxophones and French

horns.

Form and Analysis: Hammersmith is a single-movement work featuring the mature phase of

Holst’s composing style. It’s a symphonic tone poem for wind band. It’s constructed in the form

of an arch: ABCB’A’. The prelude begins featuring the tuba and euphonium in the key of F

minor. The “River Thames” ostinato theme is quickly established. The “Alleluia” theme begins

in measure four in the key of E major, played by the piccolo and then later heard by the

trombones. The B section begins the scherzo. The “Milkman Theme” is heard and it’s restated in

various keys. In section C, the woodwind theme occurs in augmentation. Following this, section

B’ is heard, which is similar to section B. The section A’ concludes the piece, similar to that of

section A, and it ends with a brass fadeout.

Musical Challenges: Hammersmith is a Grad Six work, composed for professional bands. The

piece requires a high degree of technique and musicianship, as well as a high level of

concentration from all players. There are moments where cross-rhythms occur. Counting

carefully is crucial. Intonation could be a factor in the beginning as the tubas and euphoniums are

required to play softly and slowly with small interval adjustments. Dynamics need to be heard

correctly.

Needs and Demands: This piece demands clarity and precision throughout. It requires mature

players who can perform solidly in tune and in time. Giving special attention to the specific

notations is also essential.

Areas of Rehearsal Concentration for a Performance: The intonation in the low brass in the

prelude might be a factor at first, and even more so with less experienced musicians performing

this work for the first time. The conductor should spend plenty of time making sure that

everyone is accurately in tune. The polyrhythms that occur could possibly trip up many

performers. Time should be taken to make sure that accurate rhythms are in place.

Armenian Daces, Part 1: Alfred Reed Instrumentation: Armenian Dances, Part 1 is a technically challenging work for all ensembles.

The ranges are slightly high, especially in the trumpets and upper woodwinds. As far as scoring,

nothing is out of the ordinary.

Form and Analysis: This piece contains a collection of five folk songs collected by Komitas

Vardapet (1869-1935). The overall form is through-composed. The first section, Tzirani Tzar, is

a moderately slow fanfare with the melody primarily given to the trumpets. The second section,

Gakavi Yerk is in the key of B-flat major and is a light dance with moderate tempo. The melody

shifts between the flutes/oboes and the trumpets, eventually modulating to the key of G major.

The third section, Holy, Nazan Eem features the English horn and alto saxophone at the

beginning and shifts meter groupings, alternating between 2+3 and 3+2 (in the meter of 5/8). The

melody is passed around between various instruments. The fourth section, Alagyaz is slow and in

the key of B-flat major. The melody is first heard in the upper woodwinds and trumpets, and then

accompaniment takes over in homophonic chords in the English horns, clarinets, and alto

saxophones. The fifth and final section, Gna, Gna, is in the key of G major and is the fastest

section of all five. The primary theme is paired in the alto saxophones and oboes. Three

development sections follow, introducing more and more material. At measure 381, the

recapitulation begins (still in the key of G major). The coda finishes the piece from measures

406-422 with the woodwinds presenting fragments of the beginning theme. A closing theme with

unison chords leads to a final cadence of G major.

Musical Challenges: Some sections of the piece require more work than others. The third and

fifth sections are probably the most challenging. The first section is at about a medium-difficulty

level. The second and fourth sections are definitely the easiest to perform. In the third section,

understanding mixed and asymmetrical meters should help the ensemble play smoothly, as well

as prevent the performers from becoming overwhelmed. In the fifth section, the oboes and alto

saxophones should strive to not rush the eighth note figures.

Needs and Demands: This piece is in need of a mature ensemble. Players who can subdivide

asymmetrical meters appropriately, blend well with their sections, and blend well with the entire

ensemble can get a quicker hold of the nature and style of this piece.

Areas of Rehearsal Concentration for a Performance: Time should be spent understanding how

the conductor will conduct and interpret the asymmetrical meter section. The tempo should not

be taken too fast, and it should be spaced out enough to feel the pulse. Practice of balance and

blend should be applied as there are many layers and parts occurring at different times.

Fantasy Variations on a Theme by Niccolo Paganini Instrumentation: Instrumentation is not complex. The work is written for a large concert band, so

the score includes symphonic instrumentation. There are parts for instruments such as English

horn, contrabass clarinet, and many pitched percussion instruments.

Form and Analysis: The form is in Theme and Variations. The primary theme is based on etude

24 from “Twenty-Four Etudes-Caprices for Violin,” by Niccolo Paganini. Barnes has created 20

variations on this one etude, which feature every section of the wind band. The introduction

features the full ensemble. The theme begins with an oboe solo, and it’s continued with the full

ensemble playing harmony. All of the remaining variations are organized in groups of different

tempo, meter, dynamics, and instrumentation. The full coloristic resources of the symphonic

band are fully exploited.

Musical Challenges: Great care must be given to observe all musical notation markings,

including tempo, dynamics, articulations, etc. The solo lines should always be heard through the

background texture. Precision in tempo and consistent pulse is also necessary.

Needs and Demands: This piece requires mature players from every section of the concert band.

The seventeenth variation features the entire percussion section, so a large percussion section is

necessary. A good oboe player is also necessary for the first variation and other various points in

the piece as the oboe part is featured dominantly.

Areas of Rehearsal Concentration for a Performance: Aside from working on observing the

specific notation markings to make this piece effective, balance and blend must also be taken

into account. Solo material must be clear and audible. Interpreting different styles appropriately

is also essential. Since the styles change extremely often, and since the piece is very long in

length, there may be a tendency for the ensemble to lose a sense of the appropriate style needed

in each variation.

Rocky Point Holiday: Ron Nelson Instrumentation: Rocky Point Holiday is a showcase for the wind band. There are many colors

and timbres in the percussion family. The score has parts written for at least 10 percussionists,

including a celesta, a piano, and an optional harp.

Form and Analysis: This piece is broken down into three sections, along with a brief opening

introduction at the beginning and a coda at the end. In section one, there are two themes: theme

A and theme A1. Theme A is fast, but the notes in the passages are long and lyrical and are

featured in the upper woodwinds. Theme A1 features syncopated rhythmic motives. Following

this, themes A and A1 are both restated. Then, a closing of section one with a modulation takes

place. After a four-measure transition, section two begins at measure 100. The introduction to the

second section features contrast in texture. Theme B is restated in section two with long and

lyrical melodic lines similar to that of theme A in section one. Theme B is then restated with a

rhythmic accompaniment change and a contrapuntal treatment of that theme. Section two closes

with theme B containing added motive material from theme A. Section three has a brief

introduction that features textural contrast with sixteenth-note arpeggios. Theme A returns in

section three, where it’s now in augmentation.. Theme A1 repeats, followed by a modulatory

transition. Following this, theme B reoccurs with interjections of melodic motives from theme A.

The closing features Theme A in augmentation with sixteenth-note figures, followed by a

dramatic ritardando into the coda. The coda is centered in the key of F major. It takes off quickly

to conclude the piece with a flashy, dramatic ending.

Musical Challenges: One of the biggest challenges of Rocky Point Holiday is maintaining a

dynamic balance between the percussion and full ensemble while clearly hearing the percussion

colors and rhythmic motives. Accurate articulations are also important. Many staccato, jazz-like

rhythms are featured at times, both for color and for transitional purposes. Dynamic contrasts can

also be a challenge.

Needs and Demands: Rocky Point Holiday is one of the most challenging pieces in the wind

band repertoire, so it requires a mature ensemble from all ends. It requires players who can drive

the tempo with a steady pulse, can interpret correct articulations with other ensemble members,

can play passages in tune while jumping from big intervals and octaves, and can play dynamic

contrasts gradually.

Areas of Rehearsal Concentration for a Performance: For melodic purposes, teaching the

phrasing long melodic lines, with focus on dynamic direction of longer notes can be useful. For

harmonic purposes, the conductor might need to spend some time rehearsing sections that create

energy through rapid modulations. For rhythmic purposes, the conductor should encourage the

ensemble to strive for continuity and unity in the short rhythmic motives. This should help the

ensemble play more clean and crisp, especially when those motives are accompanied by long,

sustained chords underneath.