The Red Balloon Anne McGinty
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M. 17-23: -Homophonic movement in all voices; Melody starting in upper woodwinds and moving to low brass and lower woodwinds. -m. 17-18, crescendo to forte in woodwinds, then quick diminuendo to piano by m. 19 when low voices come in at forte. -M. 19, low brass and bari sax have the melody until measure 22. -M. 22, flutes and clarinets have murmuring at a mezzo forte, bowls begin again until M. 24 M. 24-32: -A canon effect begins in the flutes, alto sax and trumpets for 2 measures, when the low brass begin with a new melody. Low woodwinds are staggered in by measure 27-28, and the melody is cycled back to the clarinets by measure 29. -M. 29, flutes have primary voice, clarinets and alto sax have accompanying movement. -M. 31, pots begin for 3 measures. M. 33-38: -Very homophonic movement in all woodwinds, at a forte. -Alto sax and flute have moving pitches and interesting rhythms. -Trumpets have only different rhythm at a mezzo forte -M. 38 is the only meter change in the whole piece, very strong chord but diminishes quickly to a piano. M. 39-41 -Final chant in lower woodwinds and brass. -Start at forte, diminuendo in m. 40 to piano. -Pots and Flute clusters begin at end of m. 40 (like beginning of piece) M. 42-48: -Clarinets and Oboe come in at m. 43 with a restatement of the original melody. -M. 47 Counter point in flute 1, oboe, and clarinets for 2 measures. -Fourth beat of measure 48, pots begin again. M. 49-53 -Bells join pots in their murmuring motive. -Flutes, oboe, clarinets have graphic notation (play many notes, fast). -Above woodwinds’ motive slows down and cuts off in m. 50. -Low winds and brass have one last chant motive leading into m. 52 -Variety of ad lib/murmuring/fading lines between all instruments. -Pots and bells are murmuring again starting in M. 53 til the end. -Cut off after the proper amount of fading. Suggested listening: - http://www.youtube.com/watch?v=uKCi0H8mb38 - http://www.youtube.com/watch?v=j1VCugNeomE Sources/Bibliography: -www.michaelcolgrass.com/music_compositions.php -www.windrep.org/Old_Churches -http://en.wikipedia.org/wiki/Gregorian_chant -Colgrass and Graphic Notation http://www.youtube.com/watch?feature=player_embedded&v=m979En1BSSE Llywn Onn Brian Hogg Group 2
Born in Yorkshire in 1953, Brian Hogg migrated with his parents to Australia in 1964 and has lived there ever since. After receiving a Bachelors of Education from a university around Melbourne, he has taught brass and classroom music for many years. He is very involved in the community and his involvement with the Salvation Army has led him to a position as a Music Consultant and is responsible for the publication of new music for bands and choirs in the Australia southern territory. Within the Salvation Army he conducts the Melbourne Staff Songsters, and a Youth Choir and Big Band. In addition, he has gained a reputation as being a clinician in music camps throughout Australia. He has written dozens of original compositions for band and have been recorded all across the world. These compositions have twice earned him the A.B.O.D.A’s Composer of The Year Award. Composition Information: This composition is based on a traditional Welsh folk song, “The Ash Grove.” The opening of this piece tries to create a picture of a quiet country scene. It should be played with the same kind of tranquility and simple beauty found in a morning countryside vista. This piece was composed in a way that shows off the abilities of the low brass section of the band, but is still relevant to the rest of the band. This piece is very tonal and rarely strays away from conventional chord progressions. Technically it is not difficult and instead, the focus should be on playing with good intonation and tone quality. Proper air support will be hugely important to the success of this piece of music. Historical and Stylistic Information: Llwyn Onn is based on the traditional Welsh folk tune “The Ash Grove.” The melody has been set to several sets of lyrics, however the most well-known and accepted English version was written by John Oxenford in the 19th century. The first published version of the melody was in 1802 in a book by Edward Jones who was a harpist. Some time later it appeared with text under the title “Llwyn Onn” and tells the story of a sailor’s love for “Gwen of Llwyn.” The song ends with Gwen passing away underneath the shade of the lonely ash grove. It has been published dozens of times in hymns, books, and even featured in the 1980 mini-series Pride and Prejudice. Here is the first stanza of text: Down yonder green valley, where streamlets meander, When twilight is fading I pensively rove; Or at the bright noontide in solitude wander, Amid the dark shades of the lonely ash grove; ‘T was there, while the blackbird was cheerfully singing, I first met that dear one, the joy of my heart! Around us for gladness the bluebells were ringing, Ah! then little thought I how soon we should part.
Form: Formal analysis below Suggested listening:
3. Cor Meiboion Treorci Choir: http://www.youtube.com/watch?v=kTR3rTX6ia0 4. Harp Heart Dreams: The Ash Grove http://www.youtube.com/watch?v=BfpOW3tzFqQ Sources/Bibliography: Brian Hogg: http://brolgamusic.com/?dt_catalog=brian-hogg Llwyn Onn: http://www.jwpepper.com/Llwyn-Onn/5362249.item The Ash Grove: http://en.wikipedia.org/wiki/The_Ash_Grove Frank Petersohn- Kritik & Anregung: http://ingeb.org/songs/allhailt.html GRADE III Cajun Folk Songs Frank Ticheli Biographical Information: Frank Ticheli was born in Monroe, Louisiana (1958) and received his master’s/doctoral degrees from the University of Michigan, where he studied with Leslie Bassett, William Albright and others. He has been the Professor of Composition at the University of Southern California’s Thornton School of Music since 1991. His works for concert band have become part of standard repertoire, and he has received an incredible amount of awards and honors. Some of his numerous successes include guest conducting at Carnegie Hall, American universities, and internationally. Awards include the Charles Ives Scholarship, Goddard Lieberson Fellowship, National Band Association/Revellie Memorial Prize and he’s been named a national honorary member of Phi Mu Alpha and Kappa Kappa Psi. Popular works of his include Blue Shades, Angels in the Architecture, and many more. Composition Information: Frank Ticheli wrote Cajun Folk songs as a tribute to the people of the Cajun culture. It was commissioned by and dedicated to the Murchison Middle School Band from Austin, Texas, and its director, Cheryl Floyd. The premiere was given on May 22 1990. Written in two movements, the first movement is entitled “La Belle et le Capitaine” and is the story of a girl who fakes her death in order to avoid being seduced by a captain. The second movement, “Belle” is the story of a man trying to save his sweetheart from death.
Cajuns are descendants of Acadians, a group of early French colonists who started settling in what is now Nova Scotia around 1604. In 1755 the British drove them out, which is when they resettled in South Louisiana. These early Acadians are the reason that nearly a million Louisiana residents speak French. The two folk songs in Cajun Folk Songs are original folk songs saved from commercialization by two men, Alan and John Lomax, when they went to Louisiana in 1934 to document and record folk songs in their original form. “La Belle et le Capitaine” is about a young girl who fakes death to avoid being seduced by a captain, told through a flowing Dorian melody. Technical Information : Time Signature changes: The changes are pretty frequent throughout this piece. A lot of attention will need to be paid in order to accurately pull off each change and the rhythmic feel involved as well. Sometimes reading music that is in 5/4 can be hard, especially for younger bands. Clarinet ranges are all pretty decent in my opinion. The only hard part might be the frequency in which they cross the break, but with enough repetition or experience that can be easily overcome. Balance in the first movement is tricky because of all the individual voices that need to be brought out. Intonation needs to be worked on, as well as all the different entrances. The conductor needs to give good cues after all the rests for different sections. Dynamics are also very important, making sure the piece starts soft enough to grow and that it doesn’t grow too quickly or drastically until the end. Form:
Movement 1: La Belle et le Capitaine -Quarter = 63, flowing, 2/4 . -M. 1-16 : -M. 1-7, Alto Sax solo (crescendo 3 measures, decrescendo 3) -M. 7-16, Clarinet 1 joins under continuing sax solo. -Meter change many times between 3/4 and 2/4. -M. 17-38 -Clarinet 1 and Trumpet 1 join Alto sax 1 in restatement of the original melody (Theme A) for duration of section -Trombone 1 , Trumpet 2, Tenor sax, alto sax 2 and clarinet 2 have the same countermelody that clarinets had in m. 7-16 -All other voices have tied half note movement. -M. 39-49 -Flutes enter with fragments of Theme A for duration -Clarinet 1 and 3 have parts echoing flute fragments in m. 40 and 41, as well as m. 43, 45 -Suspended cymbal roll beginning in m. 48 -Alto 1 comes in m. 44 with theme A again -M. 50-66 -Full texture – All wind players in. -Theme A returns in Oboe 2, clarinet 2, alto 1, Trumpet 2, Trombone 1, Euphonium. -Countermelody/same rhythm occurs in Flutes, oboe 1, clarinet 1, Trumpet 1,Horn 2 -Cymbal begins again in m. 53 -Rest of band is purely accompaniment. -M. 62-66, Flutes/oboe 1/clarinet 1/trumpet 1/ percussion 1 has fanfare movement, New rhythm entirely. Kind of sits on top of original melody. Crescendo little by little. -M. 67-end -Final statement of a fragment of Theme A at a forte -Quick decrescendo to mf, continued to mp 2 measures before end of section. -Alto sax 1 continues fragment of them in m. 72 while everyone else holds (except clarinet 2) -M. 73 diminuendo, smaller texture, only movement in Horn 1 and tenor sax. -Diminuendo to pianissimo. Movement 2: Belle -Quarter = 152 to 160, 5/4, Key of F -M. 1-4 -Piece begins with F drone in Tenor sax, bassoon and clarinet 1 -Sand blocks begin with continuo rhythm for ten measures -M. 3, oboe and alto sax join sand blocks with notation for 2 measures -M. 5-11 -Trombone 1 enters with muted F -Trumpet 1 enters, muted, with Theme A (new theme A) -Continuo continues. -Trumpet is only moving voice. -M. 12-21 -Theme B begins as flutes, oboes, clarinet 1 enters the piece. -Percussion 2 begins a new rhythm for the continuo. -Time Signature change from 2/4 at m. 12 to 5/4 immediately after. -Tenor Sax and Clarinet 3 have held note beginning at m. 15 (kind of an interlude as theme B rests) -m. 20, Clarinet 3, tenor sax begin original continuo for two measures (only moving part) -M. 22-27 -Flute, Clarinet 1, alto sax 1 restate theme A -Oboe and Clarinet 2 have continuo rhythm, no moving notes -No percussion -Clarinet 3 and tenor sax repeat original continuo rhythm in m. 26-27. -M. 28-30 - Tambourine enters -Flutes/Clarinets alto sax enters with transitional material (from Theme B) -M. 31-37 -Theme A returns in Low brass and tenor sax. -Continuo in upper woodwind voices, neighbor tones -Crescendo to measure 38 -Tonal center changes pretty obviously. Ab? -M. 38-52 -Theme A centered around a new mode, in the upper woodwinds, saxes, high brass and xylophone. -More involvement from all percussion parts -Low voices fill in melodic gaps -M. 44-52 rhythmic continuo in alto saxes, oboes, clarinet 3 even throughout time changes against a pretty bare texture. -M. 53-57 -Trade off of Theme A between upper woodwinds and low voices. -Transitional material, combined with yet another tonal change. -Very bare texture -M. 58-64 -Flute, oboe, xylophone have Theme A again -Rhythmic accompaniment by other woodwinds -Low voices play quarter notes that have a displacing effect on the melody. -M. 65-68 -Texture is more varied; Alto sax, tenor sax and French horns have fragments of the melody, which are continued in lower woodwind voices, and the trade off continues. -M. 69-73 -Trumpet 1 has Theme B melody by itself for 3 measures -Flutes, xylo join m. 72 with melody. -Dotted quarter accompaniment in saxes and clarinets -M. 74-81 -subito piano, crescendo poco a poco -Transition – nothing quite fits either theme. -Continuation of the trade-off theme between oboe/clarinet/alto sax and low voices -Hectic trade-off of eight notes (with increasing accidentals) between voices, crescendo and flurry of notes to m. 82. -M. 82-88 -Heavy accented homophonic rhythmic movement between almost all voices. -Large ritardando to measure 88. -M. 88-91 -Quarter = 88 -Theme A is augmented in the tenor sax, horn and euphonium. -Trills in upper woodwinds. -Fermata in m. 91 -M. 92-95 -Theme A returns in muted trumpet, like beginning for 4 measures -Tricky syncopated rhythm in bassoon -Consistent eighth rhythm in Percussion 1 (marimba) -M. 96-100 -Theme A is joined by Flute alto sax and trumpet 2 -Trumpet 1 drops out -Euphonium/Tuba pick up strange syncopated rhythm from bassoons -Castanets have the continuo rhythm from the beginning -M. 101-103 -Theme B in flute, oboe 1 and clarinet 1 -Rhythmic accompaniment in the form of the continuo in trumpets and percussion 1 -M. 104-119 -Things start to get pretty hectic -Variation on Theme B and some one Theme A, trade off between all participating voices. -Some voices just have the occasional drone. -M. 110, rhythmic continuo appears in woodwinds and castanets (flutes show up in m. 112) -Two measures before 119, percussion speeds up rhythm and crescendos at the same time. -M. 120-125 -FORTISSIMO. -Theme A in all high woodwinds, trumpet 1 and xylophone. -Full texture -All other voices have homophonic chordal movement -Ensemble pause on beat 3 of m. 125, EXCEPT alto and tenor saxes. -M. 126-End -Alto/Tenor sax trill -Variation material with staggered entrances by upper woodwinds and brass voices -Grand Pause, M. 130 -Ensemble Theme A fragment, Final measure has a gliss up to final note in some voices. Fff is the dynamic volume. Suggested listening: 1. La Belle et Le Capitaine
2. Belle
http://www.youtube.com/watch?v=M4IolCaJIJA Sources/Bibliography: -www.usc.edu/schools/music/private/faculty/ticheli.php -www.windrep.org/Frank_Ticheli -en.wikipedia.org/wiki/Frank_Ticheli -www.manhattanbeachmusic.com/html/Cajun_folk_songs_i.html Three Ayres from Gloucester Hugh Stuart
Biographical Information: Hugh Stuart was born in Pennsylvania in 1917, and died in New Mexico in 2006. He studied clarinet at Oberlin College in Ohio and received his Bachelor of Music in 1940. He also studied at the University of Michigan, Columbia University, and New Jersey State University. During his time in New Jersey (1948-1974) he worked as a music educator, conducted several ensembles and taught various clinics. Over his lifetime as an educator, Stuart wrote over 100 compositions, arrangements, method books, ensemble collections, solos and ensembles, and has worked clinics in 45 states. Composition Information: Three Ayres is a 3 movement suite based on an old 10th century couplet, “There’s no one quite so comely As the Jolly Earl of Cholmondeley”. The 3 movements are written in early English folksong style, and designed to capture the mood of the peasants and their lives on the fiefs of Wembley castle. The movements are named: The Jolly Earl of Cholmondeley, Ayre for Eventide and The Fiefs of Wembley.
An English Ayre refers to a genre of solo song, where a lute accompanies the main melody. Generally, they have a graceful, elegant melody, and are often strophic in form and written about love. Some are lively and rhythmic, while others are emotional and melodic. By the 17th century, the definition of ayre expanded to include various instrumental pieces like dance suites.The first movement, “The Jolly Earl of Cholmondeley”, is a fanfare-like movement that is meant to portray the lives and the business within the castles walls. The second movement, “Ayre for Eventide”, is meant to portray the sun setting in the evening. Ayre’s can be either a piece of English music or they can be sung and “eventide” is an old English word for evening. The third movement, “The Fiefs of Wembley”, features the flutes which are as close to a fife as possible. The word “fief” is another old English Term for fee or, according to feudal law, and estate in land grante by a lord to his vassal on condition of homage and service. Technical Information : -There may be difficulties in transitioning from cut-time to 6/8 -Articulation differences: keeping the staccatos strict and played the same length across the band -Mood changes (bouncy to romantic to marchish) -Following tempo changes -Blending with each other may prove to be difficult based on the difficulty of the band. Students may have a hard time consistently matching pitches and dynamics/colors with their melodic or countermelodic partner. -Endurance, especially in the second movement with all the sustained notes between parts. -Stylistic: keeping the dance-like feel of the third movement oppose to feeling like a march Form: Movement 1: The Jolly Earl of Cholmondeley -M. 1-8 -Cornets have the fanfare melody, rest of brass accompanies. -Percussion consists of only snare drum and bass drum. -M. 3-4, all accompanying brass has contrary motion within their quarter note countermelody while trumpets hold a dotted half note. -All start out forte, diminuendo to mezzo piano by end of measure 8. -M. 9-16
-M. 9 clarinet 1 solo has the melody, low reeds and brass accompany with one quarter note beat at the beginning of each measure (for 3 measures). -M.12, slight crescendo and flutes/oboe/cornets enter with a new melody. -Clarinet solo at m. 9 and the group melody at m. 12 seems like a call and response sort of theme for a bit. -M. 16, diminuendo back to mezzo piano with moving quarters in clarinets 2/3, tenor sax and trombone ½. -M. 17-24 -Return to clarinet 1 solo, same notes and accompaniment for four measures. -Response at measure 21 is one step lower than previously. -Countermelody at m. 21 is much more intricate in the cornet 2 and horn part. -Diminuendo through m. 24, sudden mezzo forte pick-up note in the flutes before m. 25 -M. 25-32 -New melody in the flute part. -occasional interlude/accompaniment by bass clarinet and bari sax -Long smooth lines by Clarinets, tenor sax and horns. -4 measure subdivision, repeated twice. -M. 33-42 -M. 33-36, exchange between saxophones/trombones/tuba and cornets/horns/baritone (fanfare melody). -M. 37-42, return to flute melody and accompaniment in m. 25-32 -M. 43-50 -Cornets have same melody that clarinet solo did in m. 9-16, all accompaniment has same rhythm. -Flutes come in at measure 47 with the same melody they had at measure 9 as well. -M.51-58 -Repeat of cornet solo and accompaniment at measure 43. -Flute melody comes back in, same as it was in m. 21 (step lower, intricate countermelody and everything). -M. 59-End -Return to beginning of movement – Trumpet fanfare, no woodwinds, BUT at mezzo piano not forte. -Last two bars slow down. Everyone joins in. Movement 2: Ayre for Eventide -M. 67-74 -Horns have the melody -Chordal movement in accompaniment (low woodwinds, clarinet 2/3, saxes, low brass). -Crescendo to m. 70, decrescendo to m. 75 -M. 75-83 -Horn melody continues -Accompaniment builds and diminishes with melody. -M. 83-91 -Flute melody at a mezzo forte -Clarinet countermelody moving in quarter notes – staggered entrances (Clarinet 1 and 2 beat 2 of m. 83, Clarinet 3 beat 3 of m. 84, etc) -M. 91-99 -Melody passed off to horns, countermelody in clarinet 1 and 2. - This section is similar to the beginning of this movement. The accompaniment has long, whole note passages, some with moving quarters eventually. -M. 99-107 -Key change (Concert Bb to Eb) -Return to the horn melody at the beginning, but this time even more people have the melody. -Accompaniment is again, whole note chordal movement. -Very dense countermelody, melody, and accompaniment texture. -Start at mezzo forte, diminuendo by 107. -M. 107-115 -New melody in the flutes and cornets -Contrary motion between melody line and counter melody (mostly high woodwinds, cornets and saxophones). -Very thick texture again, but there are really only 3 separate rhythmic lines that parts are categorized in. -M. 115-119 -Short interlude before final phrase -Flute melody is reiterated a third down from m. 107 -Texture is VERY much thinned out. -Rallentando begins in m. 117 -Caesura before final beat of m. 118 -M. 119-End -Pick-up in clarinets, tenor/bari sax, horns and low brass in m. 118 -piano! -Flute solo begins in m. 121 -Horn solo echoes flute solo in m. 123 -Diminuendo til end. Movement 3: The Fiefs of Wembley -M. 129-132 -Fanfare opening. -M. 133-140 -Flutes have the first melody of the piece -Clarinets, bassoon, tenor sax and triangle have downbeats for all 8 measures. |