Analysis in simple and understandable point forms

Piece A
(INTRO) Instead of using the usual timpani roll to lead to a majestic introduction opening, the composer choose a suspended cymbal to appropriately bring in a more lyrical brass chorale tune with a block chord accompaniment by the lower brasses. The 3rd trumpet here plays an important role to support the other trumpets that are having the main melody. The phrase structure here is in simple periodic form- 2 bars of antecedent (Ascending feel) and follow by 2 bars of consequent (descending feel). At measure 5 this tune moves on to be a more tutti texture using the higher sounding flutes and clarinets on the melody and some elision melody from the trumpets. He then intelligently brings in the timpani to lead to this forte passage. Still legato style although the dynamic increase by increasing the texture only.

(A) Measure 9: Suspended chord leading to the presto section helps to emphasize the arrival of a more exciting tempo and contrasting articulated tune. Melody here starts with the trumpet using scale like variation to create the tune, all in stepwise ascending and descending motion. The antecedent and consequent here is link by the block chord movement of the lower brasses in contrary motions. Trumpet tune is in staccato with a little slur somewhere to spice up the descending phrase. The lower brass link is again written in a creative way, using first link in a straight/ stable crotchets and second link using syncopations to create a contrasting mood. Measure 19 is the same thing but now the trombones and euphonium play the melody, accompanied by woodwinds. The use of higher sounding instrument, as an accompaniment is quite creative here (hahahaha ok lah I mean in term of educational point of view). The only sustained note here in the section is the chime semibreve note hidden inside this orchestration.

(B) Measure 27: Driving decorative ostinato (repetition and succession of equal sounds) like tune of the flutes in staccato mark the arrival of theme B.Triangle add on the texture and follow by claves rhythmic texture - Expressive clarinet tune in contrast, a full clarinet sounding tone is needed here in order to sounds good. The saxophone ensemble accompanies melody with a driving syncopated phrase

Trombone adds on to the texture before Measure 42 as a slight hint to the trombone melody coming ahead. Measure 42 with a brass questioning and the woodwind answering with slight elision.

Measure 50: A full tutti, similar technique use again in the brass melody (contrast in straight and syncopated phrases) so in order to make this repetition style sounds interesting, a new slur 1 and tongued 2 kind of elision counter melody is added here. Snare drum part has similar rhythms with the woodwind to enhance the clarity in articulation. Basses, cymbal and chimes have sustained notes to support the tune. (Please try to show your sustain notes)- How? Don’t ask me liao. I have shown you many time how to do it...:P


(A2) Measure 52: A recap of the presto section -diminutions in length with some simple alterations.
Repetitive figures in the trumpet creates suspend on what coming next. The motif of this section then breaks into fragment of chime-liked effect (Sfz notes) leading to the next chapter.


(C) Measure 72 – Adagio expressivo!!!!!! 0_0Slower tempo but don’t melt very single notes and slow down the tempo. Be sure of the Phrase structure here and knowing where to take put breath marks. Express the phrase not the notes and have direction in your playing. Inner voices ascending notes make slight crescendo where necessary. I will be conducting the phrasing and the internal dynamic and its important to look at me during each entry.
Players have the dynamic bare bone, but you all don’t know where the music is going to or coming from, and you might not understand your particular roles or job at the time. Either playing the main melody, the counter melody, the harmonic backing, giving a rhythmic or harmonic twist. (Trade secret…hahahha) please look at me.

This section is very tricky in term of breath marks and phrase structure.But the harmonic progression if you listen carefully its the exact chromatic movement/progression as the chorale section at the introduction. One must understand that it’s different from the simple periodic form as before. Here the flute melody is introduced in a double periodic phrase structure-consists of 2 simple periods. (Ok difficult; please ask me to explain this during practice) or easy, don’t breathe in between the slur….hehe that will make it simple. In the inner voice we have the euphonium. Measure 75- Clarinet enters as an elision consequent melody follows by a horn counter melody. Horn player please make an effort to show the different in tone colors between the A and A flat note here. Ok difficult again. Please ask me to explain.
I might invite trombone or tuba here example to crescendo an inner part, not because intellectually it is such and such a harmonic progression, but because emotionally the chromatic movement demands that.
Measure 80- has the most beautifully written melodies (trumpet and clarinet with a added on texture from the flute entry.) Horn and saxophone as the inner voice (counter melody) Listen and make colors with the Flat and natural notes here. Takes a lot of sensitive playing and imagination to do that well.
Go listen to the recording.


(B2) measure 90 same as before. Full tone in the melody and connect the slur notes well to make good legato playing.


(A3) same…. with some changes in tempo at the last chime effect part…a molto rit.breathe after the crescendo femata. Very dangerous place. Die die must look at the conductor.I scare too this part.damn..conducted wrongly in montage.

Measure 130
Coda- largo (very slow) to a sudden fast tempo. All melodies and motif of the piece are pull together consecutively here. Thick texture, but I would like to bring out the horn and saxophone.
A little harmonic twist- 142 in the lower brasses.

Please show a well play and organize Subito (Sudden) forte piano in the last chord. Band majors do work on this with the band during your warm up session.

Simon foo
Thanks. All the best and God bless.


Remember:

Subito piano is more effective if preceded by a crescendo
subito forte is more effective if preceded by diminuendo
the first fortissimo is the smallest, the last is the biggest

The purpose of dynamic change is to sustain interest on the part of the listener, as well as to create a mood. Obviously, the wider the dynamic range of the band, the better prepared they are to do both.


“One of the biggest problems with the wind band is one of its greatest strengths, its brilliance, produced by all of these dominant colours. There are some pastel shades, low flutes, bassoons, some saxophone, horn and euphonium scoring, but on the whole we are lucky to have a glittering range of bright colours, which can and often does get very tiring to the ear. We have two jobs in my view, whether with the orchestra, band or choir. Believe that our biggest job is CONTROL of this brilliance.”
By Tim reyish.

WALTER BEELER, one of the great band trainers of the last century said:

Restraint is especially important in fast music; the spirit begins to suffer if played too loud. The audience tires, the players tire and it becomes a very determined piece. It's hard for a band to play with restraint because speed and excitement always tend to increase the volume. But if we rely on articulations, accents and rhythm (rather than volume) to bring about a condition of brightness, it will definitely be more musical.