The Red Balloon Anne McGinty

Historical and Stylistic Information:

“The melodic material in the Chant is derived from a ninth century Greek hymn of rogation. It is a modal movement reminiscent of the early church organum and should be done in a very sensitive manner, with the Jubilo contrasting with its explosive lower brass and percussion” (Program Notes). The instrumentation for this composition is a full wind band, including four horn parts along with three parts for clarinet, cornet, and trombone.

Technical Information :

The piece is either a Grade 3 or Grade 4, depending on the state. It is approximately six minutes in length. Students may find the mixing modes and normal key signatures to be confusing or difficult to grasp technically. Fingerings can be tricky, especially with upper woodwinds. Balance is an important aspect to consider with varying voices playing at any time, especially in solo/soli sections. Execution of ornamentation is crucial, but may be challenging. The syncopation in the fanfare/Jubilo must be clearly articulated, which includes accurate counting.

Form:
Suggested listening:

1) Hastings College Symphonic Band: Masque, http://youtu.be/mDZgAanVI84

2) Philharmonia A Vent (available via Naxos)

3) Southern Music Company http://www.youtube.com/watch?v=UAoSV8fI95k

4) UTEP Symphony Band http://www.youtube.com/watch?v=dULmRHm1HHY

Sources/Bibliography:

Wind Band Repertory Project: http://www.windrep.org/Chant_and_Jubilo

Southern Music Company: http://www.smcpublications.com/mcbeth.htm

Bai du:

http://hi.baidu.com/zhangyinan169/item/0aaa4df728b64a17ce9f3233

Four Scottish Dances

Malcolm Arnold

Jackie, Nat, Mary, Faithe

Biographical Information:

Malcolm Arnold was born October 21, 1921 in Northampton, England. He studied composition with Gordon Jacob at the Royal College of Music in London. Aside from composing, Arnold was a professional trumpet performer in the BBC Symphony and London Philharmonic Orchestra. From 1948 to the present, Arnold has been known for his conducting. He has received many honors and awards including an Academy Award for his music in the movie “The Bridge on the River Kwai”. He also distinguished himself as a prominent film composer, having written over a hundred scores to various screen works. Of all his work his works his writings for brass are the most highly acclaimed. Arnold passed away in 2006.

Composition Information:

This piece was originally published in 1957 by Carl Fischer Inc. The composition lasts approximately nine minutes long and is a grade VI. The orchestration utilizes an extended array of instruments, unlike previously reviewed literature (ie: six different types of clarinets). This piece was written and dedicated to the BBC Light Music Festival. “The first dance is in the style of a slow strathspey-a slow Scottish dance in 4/4 meter-with many dotted notes, frequently in the inverted arrangement of the "Scottish snap." The name was derived from the strath valley of Spey. The second, a lively reel, begins in the key of E-flat and rises a semi-tone each time it is played until the bassoon plays it, at a greatly-reduced speed, in the key of G. The final statement of the dance is at the original speed in the home key of E-flat. The third dance is in the style of a Hebridean Song, and attempts to give an impression of the sea and mountain scenery on a calm summer's day in the Hebrides. The last dance is a lively fling, which makes a great deal of use of the open string pitches of the violin (saxophones in the band edition)” (Program Notes).

Historical and Stylistic Information:

Each dance is based on original melodies with the exception of one melody composed by Robert Burns. The first dance represents a variation on the “Scottish Snap,” its name coming from the strath valley of Spey. The second dance is a traditional Scottish reel. The third dance, of Hebridean Song style, represents a nature scene with mountains and the sea. Finally, the piece concludes with the fourth and final dance, a “lively fling.”

The Strathspey: A scottish dance in 4, similar to a hornpipe, but played in a much slower manner, and makes much use of the scotch snap. Other scottish strathspeys that use the scottish snap include The Bonnie Banks of Loch Lomond, and Auld Lang Syne. The name itself originates from the name of the region in Scotland most associated with it, being the Strathspey region in the north-central highlands, along with Moray and Badenoch. The rhythmic tension of the snap generally places the strathspey at the beginning of a set of dances, so as to be followed by a reel, in a loose swung 2/2 to relieve the tension. This would often be followed by a jig as well, as a set of scottish country dances is meant to have equal numbers of strathspeys, jigs, and reels.

The Reel: Whereas the strathspey is commonly placed in a stately 4/4 time, the reel is placed in a more lively 2/2 or 4/4. The reel is also described as being similar to a hornpipe, but is distinct with primarily even beats, whereas a hornpipe has a set of strong and weaker beats. The musical content of a reel consists of continuous eighth notes with accents on the first and third beats of each bar. It generally contains 2 section (A and B) which are usually organized into AABB or ABAB, with each section consisting of eight bars. This set of 32 bars would be repeated several times until a new reel was introduced, or the reel is ended.

The third movement does not so much portray a dance, as much as it seeks to communicate the feeling and experience of the Hebrides. The Hebrides consist of two sets of archipelagos of the western coast of mainland Scotland, the Inner Hebrides and the Outer Hebrides. The Hebrides themselves consist of roughly 150 islands, 36 in the larger inner set and over a hundred in the outer set. A rather idyllic and naturally beautiful landscape, the Hebrides have been known to provide a great amount of inspiration to many artists throughout history.

The Highland Fling: The fling is one of the oldest forms of scottish dance, having been originally performed by returning warriors who danced upon their shields to celebrate their victories. The music to the dance is similar to a strathspey and a reel, as it is also in 4/4 time, but is much more jovial than the strathspey, whilst being slightly more serious in nature then the reel.

Technical Information :

“The first dance is in the style of a slow strathspey-a slow Scottish dance in 4/4 meter-with many dotted notes, frequently in the inverted arrangement of the "Scottish snap." The name was derived from the strath valley of Spey. The second, a lively reel, begins in the key of E-flat and rises a semi-tone each time it is played until the bassoon plays it, at a greatly-reduced speed, in the key of G. The final statement of the dance is at the original speed in the home key of E-flat. The third dance is in the style of a Hebridean Song, and attempts to give an impression of the sea and mountain scenery on a calm summer's day in the Hebrides. The last dance is a lively fling, which makes a great deal of use of the open string pitches of the violin (saxophones in the band edition)” (Program Notes).

Form:

Suggested listening:

1) Philharmonia Orchestra (available via naxos)

2) Royal Northern College of Music Wind Ensemble: Trevelyan Suite, http://youtu.be/wIrPjwYyB5Y

3) SYO Philharmonic: http://www.youtube.com/watch?v=YAAc5u_YEVQ

4) Texas Bandmaster’s Association Convention

Sources/Bibliography:

Four Scottish Dances,http://www2.okcu.edu/music/prgnotes.asp

Wind Band Repertory Project: http://www.windrep.org/Four_Scottish_Dances

Folk Song Suite

Ralph Vaughan Williams

Jackie, Nat, Mary, Faithe

Biographical Information:

Ralph Vaughan Williams lived from October 12, 1972 to August 26^, 1958. Growing up in Down Ampney, Gloucestershire, Vaughan Williams began his study of music at the early age of 6, learning the basics of piano and composition from his aunt. By the age of 7, he picked up violin as well. At 14, Vaughan Williams enrolled in the Charter House School. For further education, Ralph Vaughan Williams studied at Trinity College in Cambrige and The Royal College of Music under the instruction of Charles Villiers Stanford. He also studied with Bruch while in Berlin and with Ravel during his time in Paris. At the age of 41 World War One began, prompting Vaughan Williams to join the Medical Corps of the army. His exposure to gunfire during this period contributed to deafness in his older age, but also provided him exposure and experience with the Military Band. His experiences in the war helped develop his compositional style and helped him step into his more mature musical phase. Vaughan Williams continued to compose 3 more symphonies, bringing him to 9 symphonies total, before his death in 1958 at the age of 85.

Composition Information:

This piece was published in 1924 by Boosey & Hawkes Inc. It is approximately ten and a half minutes in duration and is a grade IV. A revised edition was later distributed by Hal Leonard in 2008. Vaughan Williams’ composition was commissioned by the band of the Royal Military School of Music and premiered July of 1923. H.E. Adkins conducted the premiere. “In three movements, the Suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. Historically, the suite is considered (along withGustav Holst’s two suites for military band) to be a cornerstone work in the literature, and one of the earliest “serious” works for the wind band” (Program Notes).

Historical and Stylistic Information:

As the Program Notes state, this piece includes folk songs from Norfolk and Somerset such as: Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. The piece is considered one of the first serious works for wind band, along with Holst’s suites for military band. It is also formerly known as the English Folk Song Suite.

History of the Folk Songs

Folk Song Suite makes use of several specific melodies in its 3 movements.

The first movement, March, Seventeen Come Sunday, takes it’s principal melodic content from the folk song of the same name, Seventeen come Sunday. The folk song is of english origin and found most of its exposure in its use by Vaughan Williams in his suite, as well as a setting of it by Percy Grainger. The song, like many folk songs of the time was printed on what was known as “broadsides,” wide pieces of inexpensive paper that were printed with a song, a rhyme, or possibly news, widely used in Britain, Ireland, and Scotland. The song originally spoke of a young soldier propositioning himself upon a young maid he met in town, who was indeed, seventeen come sunday. The movement also makes use of the melody from a tune known as Pretty Caroline, as well as Dives and Lazarus, which tells of the biblical story of the rich man and Lazarus.

The second movement, Intermezzo: My Bonny Boy, makes use of the that folk song, as well as a bit from the song Green Bushes, which had also been popular with broadside printers, much like Seventeen Come Sunday, and had also been used by Percy Grainger. The movement does not provide much elaboration from these folk songs, and is a good example of “elegance in simplicity.”

The third movement, March: Folk Songs from Somerset, including Blow away the morning dew, High Germany, and The Trees So High, with Blow away the morning dew being the primary melodic content. Also known as the The Baffled Knight, its content is similar in plot to that of Seventeen Come Sunday, with the knight in question not faring near so well as the soldier in the other story.

Technical Information :

Musicians must “approach articulations with lightness and buoyancy because thick scoring can lead to undue heaviness. Conductors should note a strong oboe or cornet is required for the exposed solo in the second movement” (Great Music for Wind Band).

Form:

1) Academy of St Martin in the Fields

2) National Youth Band of Canada

3) North Texas Wind Symphony: Toccata Marziale, http://youtu.be/sDJQhSs2ELE

4) University of Illinois Hindsley Symphonic Band

http://www.youtube.com/watch?v=w7IWiODxqD0

Sources/Bibliography:

Wind Band Repertory Project:http://www.windrep.org/Folk_Song_Suite

http://krex.k-state.edu/dspace/bitstream/handle/2097/360/ChrisVanGilder2007.pdf?sequence=2

GRADE VI
Russian Christmas Music

Alfred Reed

Biographical Information:

Alfred Reed was born on January 25th, 1921 in New York. He began musical training at the age of ten. Reed served with the 529th Army Air Corps Band during World War II. Following active duty, he studied composition at Juilliard under Vittorio Giannini. During this time he was also staff composer and arranger for NBC and later ABC. He went on to earn his Bachelor’s of Music in 1955, and his Master’s of Music in 1956, both at Baylor University where he was a member of Phi Mu Alpha. From 1955 to 1966 he was the executive editor for music publisher Hansen Publications. Alfred Reed worked with Clifton Williams at the University of Miami from 1966 until 1976, where he created the first college level music business curriculum in 1966. He was prolific and popular as a composer, he had composition commissions that would have taken him until the age of 115 to complete. Reed was also a very flexible composer, with over 200 works for concert band, wind ensemble, orchestra, chorus and chamber ensemble.

Composition Information:

Russian Christmas Music was commissioned by the city of Denver, Colorado to help promote Russian-American relations during World War II. Reed was a member of the 529^th Army Air Corps Band during this time. He used the Russian Christmas song “Carol of the Little Russian Children” as an introductory theme. The entire piece is based on Russian vocal traditions, such as the liturgical music of the Eastern Orthodox Church. This music was only vocal, no instruments were allowed in the services. The opening “Carol” is gentle and restrained. The “Antiphonal Chant” rises while the mood picks up even more for “Village Song.” The loud celebration is heard in the final “Cathedral Chorus.” The piece was originally performed on December 14th in Denver.

Historical and Stylistic Information:

The first movement of the work, “Carol of the Little Russian Children” is a 16^th century Russian folk song. The first phrase is as follows:

Snowbound mountains, snowbound valleys,

Snowbound plateaus, clad in white,

Fur-robed moujiks, fur-robed nobles,

Fur-robed children, see the Light.

The opening section is a slow, quiet passage opening with chimes, contrabass clarinet, and string bass. The second section, the Antiphonal Chant, is faster and louder beginning with the brass and having the woodwinds join in later. The third section, based on a Village Song, is much gentler in sound than the Antiphonal section. It uses a cantabile two-bar phrase that goes back and forth between woodwinds and brass. Underneath the textures is the string bass and bells, and the section ends with an English Horn solo. The fourth section, Cathedral Chorus, begins slowly like the end of the Village Song and then builds up to a climax with the brass. Then the feel of the piece dies down with the woodwinds. Finally, the piece has one more climax with the full ensemble.

In general, this piece is intended to imitate a choir in Eastern Orthodox liturgical music. This kind of music used the human voice exclusively, and the entire piece must be played flowing and smooth in accordance with that vocal style.
Technical Information :

-Blending in soli sections (clarinets, horns, upper woodwinds)

-Endurance is an issue. There are numerous extremely long notes, many that are in the low registers of the instruments.

-There are fast rhythms and trills, by the end of the piece clarinets and flutes especially have quite a bit of ornamentation to maneuver around. There are a considerable number of accidentals and sixteenth note runs.

-Sudden mood changes from section to section should be given careful consideration.

-There are time signature changes throughout the piece.

-This piece needs to be read in a very choral, smooth pattern. It was written to imitate a cathedral choir and bells, and must be played in a very smooth, dignified manner

-Meter changes: the conductor needs to be clear about how they plan to conduct each change so the band knows what to expect.

-Dynamic contrast: swelling up to forte and back down, needs to be controlled. Watch that the ensemble does not hit its loudest sound too quickly or the piece will have nowhere to go.

-Since this music is based on Russian Choral Music, attention must be paid to releases and phrasing. Cut offs need to be very precise, like a chorus of singers would cut off a note.

-The winds should strive for the warmest and open tone possible, as they mimic the human voice.

-The final chorus is the most exciting part of the piece, and it reflects the optimism about the War during that time in history. The band could try to reflect on those feelings as they play that chorus.

Section 1: M. 1-32

-Andante, Molto Sostenuto. Eighth note equals 72. Key of D minor. Begins with a chimes solo (imitate church bells). Clarinets come in on m. 4 with introductory theme. Pedal D in tuba, both continue until measure 12.

-M. 12 change to 4/4 meter, crescendo to m. 13 where the meter changes back to 3/4 . Oboes and Alto saxes come in with response from m. 13-22, and are joined in said melody by flutes, clarinets and bells in m. 17. Ensemble crescendo from measure 16 to measure 19, then diminuendo to measure 22. At measure 22, we go back to the mood from the beginning for 4 and a half measures with theme 1 in the clarinets and pedal D in the string bass and tuba. In the 5^th measure, brass join in to shift tonal center. Slow crescendo to m. 29, and then decrescendo to 2^nd beat of m. 31.

Section 2: M. 32-85

-G minor, 2/2, Con Moto, Half note equals 80. This section’s theme begins in the low brass, and is very chant-like in nature. The melody spans four bars, and is passed around from the low brass to the woodwinds and horns beginning in measure 37 until 40. Occasionally the time signature will change from 2/2 to 3/2. Brass picks up antiphonal melody again in measure 44 until measure 47 where the woodwinds pick it up again. Diminuendo and ritard to measure 55. At measure 55, clarinets come in with a moving melody, with a sustained D in the low voices yet again. Different voices come in at staggered moments with slightly varied versions of the clarinet melody. By measure 61, the upper voices come together and play a unified melody for measures before handing it off to the brass for 4 measures. Upper woodwinds enter m. 67 with frantic sixteenths, horns have contrasting triplets and trumpets/cornets/trombones have a solid quarter note melody for a good 8 measures (until m. 76 for everyone). At 76, homophonic melodic movement in woodwinds and horns, pedal G in low brass instruments. The melody is portrayed in the first two measures of 76, then repeated 2 times and shortened/repeated for 4 more measures. Low brass gets progressively more active over these 8 measures as well with plenty of sfz and crescendos. 2 measures before the next section, All voices hit a sffz and either hold that note, trill their note, or have moving thirds the bar before measure 86.

Section 3: M. 86-165

4/4, no key change, Moderate at quarter note equals 76. Quick decrescendo from ff to pp in the low brass voices. On beat 3 of measure 87, clarinets come in at piano. In M. 91, the English horn begins a 10 measure long solo, essentially by itself due to the clarinets cutting off in measure 93. In M. 99 tempo picks up temporarily to quarter equals 92, and the flutes/oboe have a quiet, quick soli as the English horn fades to pp. M. 102 clarinets return with a small chorale among themselves for four measures, at which point the English horn solo returns (M. 105). In M. 113, flute/oboe interlude returns for an extended soli, also accompanied by clarinet section and bass. Horn enters in M. 116 Horn solo enters on the “ta” of 2.

-M. 118 time signature change to 6/4, quarter equal 100, and played moderately with a singing style. String bass has a pizzicato moving eighth note line for eight measures as the clarinets/tenor/bari sax have a flowing, singing melody. Oboe/English horn enter on the 6 of measure 121 and join the melody line. M. 118-126 has a consistent 2 measure crescendo/decrescendo pattern, but ultimately decrescendos to pp by 126. Flutes/Bassoons/Horns enter at m. 126 with melodic line again for two measures but then drop out. At m. 128, bells enter with a solo line while clarinets continue melodic line through to m. 134. Basses re-enter with soli eighth note line at m. 134, clarinets continue same line with flutes. At m. 142, the movement calms down a bit. Dynamics vary a lot measure by measure with swelling figures. Everyone has a moving quarter note line (trading off in some circumstances), while the basses continue their pizzicato eighth note line. At M. 149, time change to 3/2, then immediately another time change to 4/4. Poco ritard beginning at m. 149, quarter note eventually equals 72. At m. 155, English horn returns with a solo line by itself again. Allow it to play expressively. Horn soli on beat 3 of measure 164 decrescendoing into m. 166 and the next section.

Section 4: M. 166-End

Key change to D major, 4/4, Broadly, quarter equals 56-60. Pedal notes on concert D for 3 measures. Trombones enter m. 169, echoed by Horns. Bells and Chimes have a solo beginning in measure 167 and continuing for what I can only assume is 17 measures until their rhythm changes since the score doesn’t say otherwise. For the most part, low voices tend to trade off held D pitches, while Trombones and horns have a bit of fun with these slightly syncopated sixteenth rythms. M. 181, Clarinets, flutes, oboes, English horn enter and join in the sixteenth/whole note texture. M. 185, time signature change to 6/4, homophonic movement in quarter note form in the woodwinds and bells. M. 188, Tremolo pattern in flutes/high double reeds. Large dense chord between all other voices. Moves by use of dotted half notes, then dotted eighth/sixteenth or eighth/rest. Bells and chimes are emulating church bells with contrary eighth note patterns every two measures. Timpani is beating out a pretty consistent roll/eight pattern. This pattern continues until m. 196. Trill and then rapid downward sixteenth passing off between upper woodwinds and saxes. M. 200, clarinets enter with chant-like melody again, chimes have a solo. 17 measures later, alto saxes , oboe, Eb clarinet have joined in. One measure after that, Flutes/oboes/bassoons have rapid triplet sixteenth pattern, with a crescendo and poco accelerando. Horns/clarinets/trumpets have upward moving steps to m. 219. M. 221, 3 different patterns. Sixteenth ornaments, moving eighths, or whole notes. Horns, as always, stick out and have a fanfare-esque triplet in the middle of random measures. Largely homophonic movement for quite a while. In m. 234, high woodwinds have same statement as m. 221. Clarinets have moving sixteenths, saxophones have a succession of triplets, molto crescendo from beginning of m. 234 and a poco ritard. M. 236 brass holds a single chord, Flutes trill triplets and clarinets/English horn/tenor sax/bass clarinet have syncopated rhythm. This pattern repeats itself for pretty much the rest of the piece. The only thing that changes is, of course, chordal movement, resolutions and entrances. 4 measures before the end, saxes/horns/cornets have an interesting quarter-half-dotted eighth/sixteenth idea that we haven’t seen yet and it’s repeated twice before reaching the final chord at a fff. Upper woodwinds grace note up into final note.

Suggested listening:

1. Choral version of Carol of the Little Russian Children:

http://www.youtube.com/watch?v=KuCHVDH8PUg

2. Tokyo Kosei Wind Orchestra

3. Drum Corps International - Santa Clara Vanguard 1987

4. Harmonie St. Caecilia

Sources/Bibliography:

1. http://en.wikipedia.org/wiki/Alfred_Reed

2. http://www.thelyricarchive.com/song/1367809-179732/Carol-of-the-Russian-Children

3. http://voices.yahoo.com/the-history-lasting-impact-alfred-reeds-russian-684604.html?cat=37

4. http://en.wikipedia.org/wiki/Russian_Christmas_Music

MARCH

National Emblem

Group 2
Biographical Information:

Born in 1914 in Cleveland, Ohio, Frederick Fennell studied at the Eastman School of Music and earned a Bachelor’s and Master’s degree in Music. Shortly after earning his Master’s degree he became faculty in the Eastman conducting program and founded the Eastman Wind Ensemble in 1952. In 1988 he was awarded with an Honorary Doctorate. He has served as a guest conductor at dozens of festivals all across America and has received several prestigious awards for his work. In addition to his work as a conductor, he also was an editor for military, circus, and concert marches for Theodore Presser Co., Carl Fisher, Inc., Sam Fox Publishing Co., Boosey & Hawkes, Inc., and the Fennell Editions for Ludwig Music. National Emblem is one of his best edited pieces of music.

• 
  Grade 4
  
• 
  This piece is played in cut time at a quick tempo, right up until the trio which uses a slower tempo. While the percussion parts are fairly standard, the challenge will be in keeping the tempo steady and consistent.
  
• 
  This march is based in Eb major, but there is frequent use of accidentals which could be tricky for players.
  
• 
  The high brass players must have the technical faculty to double tongue the background passages at letter “A” and at several places thereafter.
  

1. 
   Oakland University Wind Symphony: Michigan Music Conference, Produced by Michigan State University
   

1. 
   Sierra Nevada Winds: National Emblem March https://www.youtube.com/watch?v=TZgZaQiPME0
   

1. 
   US Air Force Heritage of America Band http://www.youtube.com/watch?v=U40OIESDwlU
   

1. 
   U.S. Marine Band: http://www.loc.gov/jukebox/recordings/detail/id/3809/
   

Sources/Bibliography: