Steven Moeller " Second Suite in f for military band"

Steven Moeller

1. 
   “Second Suite in F for military band” by Gustav Holst
   

Following his second suite in 1909, Holst composed the piece in 1911 and waited until 1922 for its premiere by the Royal Military School Band. The suite is based on folk songs and morris dances. Over time, this work has become a standard of the concert band repertoire. The piece’s for movements take the ensemble and the listener through a variety of moods and styles. Performance notes must be consulted for information on instrumentation and editing decisions made over time.

C flute and picc

Oboe

Solo Bflat Clarinet

Bflat clarinet 1-3

Bflat bass clarinet

Bassoon 1-2

Eflat alto sax

Bflat tenor saxophone

Eflat baritone saxophone

Bflat bass saxophone

Solo, 1, and 2 cornet

4 horns in f

Tenor trombone

Bass trombone

Euphonium

Basses

Drums

2. 
   “Elegy for a Young American” by Ronald Lo Presti
   

Lo Presti wrote this piece in commemoration of the assassination of President John F. Kennedy. As such, this Elegy is a lament for the passing of the American icon. The music reflects the multiple stages of grief. Feelings of shock and denial are reflected in the opening, followed by anger and remorse. Finally, the maestoso ending brings the listeners through the acceptance of this tragedy. No key signature is used, but rather all accidentals are written in.

3. 
   “Nilesdance” by David R. Holsinger
   

An ode to his rather rambunctious son, Niles, this work takes an unrelenting rhythmic intensity through all of its 5 minutes with not a single dull moment. The purveying 13.5 beat melodic dance is carried through the whole of the ensemble in various permutations. The piece begins with a grand fanfare figure that gives way to a driving and exciting work, perfect for an opener or a closer.

Piccolo, Flute, Oboe, Eflat Clarinet. Bflat Clarinet 1-3, Eflat Alto Clarinet, Bflat Clarinet, Bassoons, Alto sax 1-2, tenor sax, baritone sax, Bflat cornet 1-3, Bflat trumpet, Horn in f 1-4, Baritone, Trombone 1-3, Tuba, Piano, Percussion

I chose this piece because of its high level of difficulty for the whole ensemble, including myself. Our readings have mentioned that a director should seek music that challenges ensemble as well as themselves. This piece’s constant meter changes will challenge both my students and myself, as a conductor. The accented ostinato and melodic motive that carries through this entire piece will be spring boards for the teaching of ostinato and its power in music like this. This could also be used as a window into the music of Holsinger, who is a staple of the band repertoire.

4. 
   “Emmanuel Variants” by Robert E. Foster
   

Piccolo, Flute 1-3, Oboe 1-2, Bassoon 1-2, Clarinet 1-3, Bflat Bass Clarinet, Eflat Contra Alto Clarinet, alto sax 1-2, tenor sax, baritone sax, trumpet 1-3, horn in f 1-4, trombone 1-3, euphonium, tuba, percussion

I chose Emmanuel Variants because of its musical depth. The music is rated grade five, and depending on my ensemble and the program as a whole, may be the hardest piece we work on in a year. The Emmanuel carol that is heard throughout lends to a potential Christmas theme, while the great complexity of the piece makes it work well as contest tune. In a relatively brief five and a half minutes, this piece allows opportunities to work on all musical fundamentals as well as the teaching of theme and variation, fanfare style, texture variation, and melodic pass-offs through the ensemble. The rousing trumpet fanfare makes this piece a wonderful opener to any concert. The medieval nature of this piece lends to a theme of royalty that will continue in my next selection. The carol theme used also lends to standard 9 teaching opportunities.

5. 
   “Three Ayers from Gloucester” by Hugh M. Stuart
   

Continuing the royalty theme is this piece by Stuart: a multi-movement work with three contrasting movements. The main objective in teaching here is simple: style, style, style. This is piece is far less technically difficult than the Foster and is rated grade three. I justify the wide difficulty range with the assumption that the real level of my group is the higher end of grade four. In this way, the Foster will challenge them, while the Stuart is a mode for teaching style and other over-arching musical concepts. This work also gives several easier solo opportunities, allowing for players below the “first chair” to play solos if they desire. The middle movement, in its ballade nature, exposes sections and soloists in a unique manner. Intonation must be worked on great deal here. The final movement works well to close a concert if no other works are played. Its exciting and abrupt nature will be a satisfying end to our program.

6. 
   “Colorado Peaks” by Dana Wilson
   

Dana Wilson herself describes this piece as a reflection of the awe-inspiring Colorado Rockies. Rather than majesty, however, the piece shows a rugged and, at times, dangerous climb. The piece was commissioned by the St. Vrain Valley Honor Band in Colorado. The work is filled with gentle syncopation, simple chromaticism, and timbral variety. Calmer more lyrical sections reflect the inward growth of a hiking journey. Dana Wilson requests a “large wind ensemble”.

Piccolo, Flute 1-3, oboe, clarinet 1-3. Bflat bass clarinet, bassoon, alto sax 1-2, tenor sax, baritone sax, trumpet 1-3, horn 1-4, trombone 1-3, baritone, tuba, percussion.

I included this piece for a number of reasons. Dana Wilson is a rather recent addition to the collection of important composers for band, and this is one of her more accessible works. It gives the opportunity to work on articulation and syncopation, both of which are vital to build up in the early high school years. Additionally, one use the distinctive imagery in the music to discuss programmatic composition and what musical elements make this piece reflect that which it seeks to reflect.

7. 
   “Down a Country Lane” by Aaron Copland, transcribed by Merlin Patterson
   

Originally written by Copland in 1962 for piano, this piece evokes visions of a quite stroll through a woody, rural area. Copland’s intent was to add a quality work to the beginning piano literature. The piece serves the same purpose for band, allowing for a simple window into the music of Aaron Copland for a young band to peer through. The composer’s specific instructions for mood and tone lend to the ability for any ensemble to evoke the images intended by the composer. As an arranger, Patterson specializes in the works of Copland, making this as authentic a transcription as is possible. Copland. Himself, praised the transcription as “A careful, sensitive, and most satisfying extension of the mood and content of the original.”

Flute 1-2, oboe, clarinet 1-3, Eflat alto clarinet, Bflat Bass clarinet, Bassoon, alto sax 1-2, bflat, saxophone, baritone saxophone, trumpet 1-3, horns 1-2, trombone 1-3, baritone, tuba, string bass, vibraphone

I chose this piece because, as I mentioned above, it is an accessible look into the music of Copland, a monument in the world of American music. Its simple technical requirements leave room to work on balance, blend, intonation, and phrasing. Taking a step outside the notes and rhythms is vital for high school bands and it is too often lost. A piece such as this can be good for bands of all levels to focus on the elements of music that give it its true life.

8. 
   “Chester” by William Schuman
   

This work is the third movement of Schuman’s work New England Triptych based on the music of William Billings. Schuman later extended the movement into an overture for band. It begins as a chorale before being broken down into pieces in an intense development that comprises most of the piece. The given chorale is presented in five variations with a coda. The harmony of this piece begins in very traditional tonalities and expands to near atonality by the latter half.

Piccolo, Flute 1-2, oboe 1-2, Eflat Clarinet, clarinet 1-3, Eflat alto Clarinet, Bflat Bass Clarinet, Bassoon 1-2, alto sax 1-2, tenor sax, baritone sax, bass sax, cornet 1-3, horn in f 1-3, trombone 1-3, baritone, string bass, basses, percussion

This piece is standard in the band repertoire, as well it should be. There is so much to teach in this piece that I would almost fear leaving things out when I worked on this with a group. It allows for cooperative lesson planning because of the time period in the life of the man who inspired the piece. If the ensemble knew enough about musical styles, they could be asked to analysis the varying styles in this work. The rather advanced use of harmony lends to theory teaching opportunities. It is also technically difficult and makes for a wonderful contest tune to show off a skilled group of young musicians.

9. 
   “English Folk Song Suite” by Ralph Vaughan Williams
   

One of the most famous works by Vaughan Williams, this work was premiered under the baton of Lt Hector Adkins in 1923. It comes to us in three movement: the March, the Intermezzo, and another March, each subtitled with an English folk tune. The original publication included a fourth movement, now published and performed separately. The folk songs are set rather faithfully with little tampering. The work is also available for orchestra, arranged by Gordon Jacob.

Concert flute and piccolo, oboe, E-flat clarinet, solo B-flat clarinet, 1st B-flat clarinet, 2nd B-flat clarinet, 3rd B-flat clarinet, E-flat alto clarinet, B-flat bass clarinet, 1st bassoon, 2nd bassoon, E-flat alto saxophone, B-flat tenor saxophone, E-flat baritone saxophone, B-flat bass saxophone and contrabass clarinet, solo and 1st B-flat cornets, 2nd B-flat cornet, B-flat trumpets, 1st and 2nd horns in F, 3rd and 4th horns in F, 1st trombone, 2nd trombone, bass trombone, euphonium, tuba, string bass, 1st and 2nd percussion (timpani, cymbals, bass drum, snare drum, triangle).

Here I continue the theme of my choosing standards for band, as I believe it is vital to expose young students to this music. An orchestra teacher may be looked down on for never exposing their students to the works of Mozart. How then can a band teacher exclude Ralph Vaughan Williams? Additionally, one could use this piece to teach about folk songs, English style, and the beginnings the modern concert band. Several solo opportunities are also present. The irregular phrasing in the first movement allows for teaching of phrase lengths and analysis of this in other pieces.

10. 
    “The Gallant Seventh” by John Phillip Sousa
    

Composed to honor the 7^th regiment of the New York National Guard, this is one of Sousa’s most famous marches. This was also one of Sousa’s later marches. It is his only march to have two breakstrains.

Sousa is a prolific composer for band and his influence is, in large part, responsible for the existence of the modern concert band. His many works are played on nearly every concert band program to this day and will likely live on for generations to come,

*unable to find specific instrumentation. All sources found say “standard modern instrumentation”

What is a band without a march? No high school student should go through a program having never played a march, much less one written by Sousa. That alone is reason enough to play this piece. Of course it allows the teaching of march style, band history, and form. Marches make wonderful openers for concerts and contest selections. I chose this particular march because it is widely considered one of Sousa’s best.

11. 
    “Irish Tune from County Derry” by Percy Grainger
    

This piece is a setting of a tune from the county of Derry in the north of Ireland. The arraignment highlights the brass and woodwinds in turn with beautiful, flowing melody throughout. The tune Grainger sets here is Londonderry Air, more famously known with lyrics as “Danny Boy”.

*unable to find specific instrumentation. All sources found say “standard modern instrumentation”

Once again, I have chosen a work by a powerhouse composer that is more accessible for a younger band. Ideally, these students would later go on to play a work of his such as Lincolnshire Posy. This piece allows for much work on phrasing and intonation as well as the unique style of Grainger’s music. Having students bring out the reedy, vibrato sound that Grainger valued in a wind ensemble, is a valuable tonal palate to be familiar with. This piece makes for a wonderful moment of rest in an exciting concert program as well. It can be played by students of nearly every high school age. The piece also allows a discussion of Irish/European folk tradition.

12. 
    “Movement for Rosa” by Mark Camphouse
    

This piece was commissioned by the Florida Bandmasters Association Honoring Civil Rights heroine Rosa Parks. Is comes to us in three sections, beginning with a reflection of Rosa’s birth, followed by the years of racial strife and the quest for equality, closing with a moment of quiet strength and serenity. The work closes with an ominous reminder of racism’s lingering presence even today. The hymn “We Shall Overcome” can be heard hinted at in the first three sections, then in its entirety in the final movement.

Piccolo, Flute 1-2, oboe 1-2, clarinet 1-3, Bflat bass clarinet, bflat contrabass clarinet, bassoons 1-2, alto sax 1-2, tenor sax, baritone sax, trumpets 1-3, horn in f 1-4, trombone 1-3, euphonium, tuba, piano, percussion.

This piece would be challenge for a high school group. The highly exposed solos and moments of intricate harmony necessitate a band with strong awareness of intonation and several very strong solo soloists. This being set, I hope to be fortunate enough to work with such a band that is up to the challenge of this piece. It allows for some cross circular teaching due to its ties to the civil rights movement, which I could potentially bring in the history teacher for. Its inspiration also makes it a wonderful programmatic work for certain, appropriate occasions.

13. 
    “Foundry” by John Mackey
    

This work celebrates a percussionist’s ability to make almost anything an instrument. Mackey refers to many pieces of percussion in the score as “found” percussion. Many of the parts are for traditional instruments, but many others call for mixing bowls and pieces of wood. Mackey has a great talent for writing pieces for all levels of ensemble, and this works wonderfully for an older middle school band or a young high school group.

Two flutes, oboes, bassoon, 3 clarinets, 2 alto saxes, tenor sax, baritone sax, 3 trumpets, 2 horns, 3 trombones, euphonium, tuba, A LOT of percussionists.

I chose this piece as an active way to occupy my likely very large percussion section. I distinctly remember aiding with the freshman band class a high school and there being 10 or more percussionists in the group. This work calls for at least twelve, making it possible to occupy all the players with a piece they will enjoy. It is also a great gateway into the music of John Mackey, who is quickly joining the ranks of master band composers whose music simply must be played by every band student.

14. 
    “Sleep” by Eric Whitacre
    

Commissioned by a lawyer/mezzo-soprano in 1999 as a choral piece. “Stopping by Woods on a Snowy Evening” by Robert Frost was the text that Whitacre chose to set. To Mr. Whitacre’s chagrin, he did not secure the rights for this poem and was banned from using it until the year 2038. At this time he chose to write a band arrangement and rewrite the choral version with new text. The piece still contains the characteristic “stopping” of the original text though.

Flute 1-2, Oboe 1-2, Bassoon, Clarinet 1-3, Bass Clarinet 1-2, Alto sax 1-2, Tenor sax, Baritone sax, trumpet 1-3, trombone 1-2, bass trombone, baritone 1-2, tuba 1-2, percussion.

A wonderful opportunity to discuss dissonance, this piece is a must for high school ensembles. Many modern composers use dissonance for a more harsh effect, whereas Whitacre uses it in a unique and beautiful way. This piece would surely be accompanied with lessons in theory and the use and effect of dissonance. It is very thickly orchestrated too, which makes it work well for a large band that is ready for more independence. Its lack of technical difficulty also lends to opportunities for intonation work.

15. 
    “Air for Band” by Frank Erickson
    

Written rather early in Erickson’s Career, this piece was composed specifically with education in mind. He built in learning opportunities for a young ensemble. This being said, it is by no means unsophisticated. The melodic lines are beautiful and vocal in nature. Erickson later revised the piece in 1966.

Flute, Oboe, Bassoon, Clarinet 1-3, alto clarinet, bass clarinet, alto sax 1-2, tenor sax, baritone sax, trumpet 1-3, horn 1-2, trombone 1-3, baritone, tuba, string bass.

Admittedly, one might be more inclined to include this work on a middle school repertoire list. I have included it here with the thinking that I may enter a situation where the musicians coming into my high school ensemble are simply not ready for some of the other works include above and below. In this situation, Air for Band could allow me to give these students meaningful and accessible music that provides many opportunities for education. Tuning, phrasing, balance, and legato style are all teachable with this piece. The doubling also makes it possible for a smaller band to play and sound full. Additionally, this piece could be used to give a more average young high school band a break from their other, more difficult works.

16. 
    “ Dusk” by Steven Bryant
    

Bryant describes this piece as a choral-like reflection of the calm of dusk, illuminated by the final rays of sunlight on the horizon. The duality of this brief time in the evening is expressed in the competing sweetness and ominousness of the music. The piece was commissioned by the Langley High School Wind Symphony. The piece was revised n 2008, and this is the version we will see most often.

*unable to find specific instrumentation. All sources found say “standard modern instrumentation”

Yet another slower, more sparsely orchestrated work for a band with strong tone control and intonation. I have included this work with the idea that it would work well in a program with longer, more difficult works to give both the ensemble and the audience a palate-cleanser. Teaching opportunities include intonation, phrasing, breath support, blend, and confidence in exposed passages.

17. 
    “An American Elegy” by Frank Ticheli
    

American Elegy is meant to be an expression of hope. Commissioned in honor of those who lost their lives in the Columbine tragedy in 1999, Ticheli wrote this piece as a tribute to the strength and courage of those who faced the tragedy. He has said he hopes the work is a reminder of the fragility and preciousness of life and the connection in all of us as human beings. He goes on to say that no other work has come from him with such speed and clarity due to its profound meaning to him. In the middle of piece Ticheli includes the Columbine Alma Mater, which he also composed for this occasion. The final off-stage trumpet suggests a heavenly messages from those lost on that fateful day.

Flute 1-2, oboe 1-2, clarinet 1-3. Bass clarinet, Eflat contrabass clarinet, Bflat contra bass Clarinet, Bassoon 1-2, alto sax 1-2. Tenor sax, baritone sax, trumpet 1-3, horn in f 1-2, trombone 1-3, euphonium, tuba, bass, percussion.

The programmatic themes of this work lend to many teaching opportunities. The ensembles I direct will be comprised entirely of students born well after the tragic events that inspired this music. Playing this music will allow me to teach them about the event, possibly bringing in aid from the history teacher. We can discuss the power of music in situations such as this. Additionally the music is, in itself, beautiful and adds to any program or contest.

18. 
    “On a Hymnsong of Philip Bliss” by David R. Holsinger
    

Radically different from the music one would expect from Holsinger, this work forgoes the frantic tempos and time signatures and unrelenting rhythmic motives in favor for a restful, gentle, and reflective mood. The piece is based on the 1876 Philip Bliss- Horatio Spafford hymn, “It is well with my Soul”. The work was presented as a gift to SGCA concert band in honor of the retirement of their principal.

Flute, Oboe, Clarinet 1-3, Bass Clarinet, Bassoons, alto sax 1-2, tenor sax, baritone sax, trumpet 1-3, horn 1-2, trombone 1-3, baritone, tuba, percussion.

What better way to practice a difficult key than with a beautiful work by a prolific composer for band. D flat comes much easier in a tune at 76 bpm than it does in the practice room, I find. For this reason, I include this piece for practice in a difficult key, while being able to learn beautiful music. As with most slow pieces, I can also use this to teach intonation, balance, blend, and harmony.

19. 
    “Pageant” by Vincent Persichetti
    

Beginning with a slow homophonic section, Pageant incites listeners’ interest immediately before bringing them through a lively “parade” section, introduced by the snare drum. The American Bandmasters’ Association commissioned this piece which turned out to be Persichetti’s third work for band. It was premiered in 1953 by the University of Miami Band, with the composer conducting. The opening Horn melody is used to foster the long phrases that follow. The melody is passed through small choirs of instruments before tone center shifts and we land on a B flat major chord. Then comes the snare drum, setting up the rhythmic feel of the following section. Here we see the use of polytonality.

To say that there is a lot to teach from this piece would be a great understatement. Just about all fundamentals that directors hope their students learn can be found in this piece, from style, to articulation, to balance and blend, the possibilities are nearly endless. Not to mention the fact that Persichetti’s importance to band music cannot be overstated. This selection was a no-brainer as it fits nearly every criteria of good high school band repertoire.

20. 
    “Variations on a Korean Folk Song” by John Barnes Chance
    

Based on the Korean folk tune “Arirang”, this works brings the listener to the country landscape of Korea. After an inicial presentation of the tune, five variations are heard. This first is a vivace thriller that makes use of the woodwinds. Then we hear a larghetto inversion in several soloists. Then we hear an Allegro conbrio march in 6/8. Penultimately, the tune is heard in a sostenuto woodwind voicing. Finally we hear the con Islancio presentation of the now very familiar tune.

Piccolo, Flute 1-2, Oboe, eflat clarinet, Clarinet 1-3, eflat alto clarinet, bass clarinet, contrabass clarinet, Bassoon, alto sax, tenor sax, baritone sax, trumpet 1-3, horn 1-4, trombone 1-3, baritone, tuba, bass, percussion.

This work allows for the teaching of many concepts. The Korean culture is very rich and can be quite interesting. The pentatonic scale can be introduced for this piece and used to great effect. Theme and variation form could also be taught here.

JW pepper

Physical scores for 1-7

http://illinoiscmp.weebly.com/uploads/4/1/0/7/41075753/elegy_for_a_young_american_plan.pdf

http://ericwhitacre.com/music-catalog/wind-symphony/sleep