Mus 412 Repertory Project

MUS_CLAS 412 Instrumental Methods and Conducting Sunderman
Conservatory of Music ⬥ Fall 2020
Instrumental Repertory Project

Amanda Herold, Sam Burr, Bridget Haines, Brian Buechele, Logan Shippee, Eric Gabriel,
Summer Burton, Abel Rose, Allie Charney
Section I: References
Music Lists - State and Association Lists
Pennsylvania Music Educators Association Selected Music List - Band and Orchestra
https://www.pmea.net/adjudication/selective-music-list-band-and-orchestra/
Maryland Music Educators Association Selected Music Lists

https://www.mmea-maryland.org/music-lists
Florida Orchestra Association Concert Music List

http://myfoa.org/mpamusic
University Interscholastic League Prescribed Music List

https://www.uiltexas.org/music/pml
Louisiana Music Educators Association Band Prescribed Music List

https://www.lmeamusic.org/assessments/district-large-ensemble-assessment/band-performance
requirements/
Music Resellers and Rental Houses
1. JW Pepper
2. Midwest Sheet Music
3. Luck’s Music
4. Alfred Publishing
5. Hal Leonard Company
Music Publishers
1. Arrangers Publishing
2. Ashley Music
3. Berklee Press
4. Leonard Bernstein Music Publishing
5. Fred Bock Music
6. Boosey & Hawkes
7. Boston Music
8. Centerstream Publications
9. Le Chant du Monde
10. Cherry Lane Music
11. Chester Music
12. Choudens
13. Curnow Music
14. De Haske Publications
15. Dots & Lines
16. DSCH
17. Editions Durand
18. Editions Max Eschig
19. EMB
20. Faber Piano Adventures
21. Fleamarket Music
22. Mark Foster Music
23. Gentry Publications
24. Guitar World
25. G. Henle Verlag
26. Hinshaw Music
27. Homespun
28. Hot Licks
29. Hudson Music
30. Lauren Keiser Music
31. Robert King
32. LeDuc
33. Edward B. Marks Music
34. Modern Drummer Publications
35. Music Minus One
36. Musicians Institute Press
37. Novello
38. Pavane Publishing
39. Peermusic Classical
40. PWM
41. The Richmond Organization
42. Ricordi
43. Lee Roberts Publications
44. Rock House
45. Rubank Publications
46. Editions Salabert
47. Schaum Publications
48. G. Schirmer, Inc. (Associated Music)
49. Schott Music
50. Second Floor Music
51. Shawnee Press
Important Clinics, Conferences, and Resources for New Music
1. Pennsylvania Music Educators Association (PMEA)

2. Midwest Band and Orchestra Clinic
3. Percussive Arts Society International Convention (PASIC)
4. College Band Directors National Association (CBDNA)
5. World Association for Symphonic Bands and Ensembles (WASBE)
6. American Bandmasters Association (ABA)
Important/Influential Wind Bands, Orchestras and Conductors in our field
Orchestras (including influential scholastic orchestras in secondary and higher education)
1. Berlin Philharmonic
2. The Orchestra Of The Age Of Enlightenment
3. Vienna Philharmonic
4. Royal Concertgebouw
5. Dresden Staatskapelle
6. London Symphony Orchestra
7. Bavarian Radio Symphony
8. Budapest Festival Orchestra
9. Saito Kinen Orchestra
10. Cleveland Orchestra
11. Chicago Symphony
12. Boston Symphony
13. New York Philharmonic
14. Los Angeles Philharmonic
Orchestral Conductors (including influential scholastic orchestral conductors in secondary and

higher e ducation)
1. César Leal
2. Marin Alsop
3. Gustavo Dudamel
4. Nadia Boulanger
5. Charles Dutoit
6. Christian Thieleman
7. Leonard Bernstein
8. Alan Gilbert
9. Mirga Grazinyte-Tyla
10. Simone Young
Wind Bands (including influential scholastic ensembles in secondary and higher education)
1. University of North Texas Wind Symphony

2. Eastman Wind Ensemble
3. Dallas Wind Symphony
4. Tokyo Kosei Wind Orchestra
5. Osaka Shion Wind Orchestra
6. Military Wind Ensembles
a. Marines
b. Navy
c. Army
d. Air Force
7. Midwest Winds (Air Force)
8. Brooklyn Wind Symphony
9. Northwestern University Symphonic Wind Ensemble
10. Berlin Philharmonic Wind Ensemble
11. Peabody Conservatory Wind Ensemble
12. Sunderman Conservatory Wind Symphony
Wind Conductors (including influential scholastic wind conductors in secondary and higher education)
1. Jerry Junkin
2. Frederick Fennell
3. Russell McCutcheon
4. Donald Hunsberger
5. Cynthia Johnston Turner
6. Ray. Cramer
7. Colonel John Bourgeois
8. Mark Scatterday
9. Frank Battisti
10. Eugene Migliaro Corporon.
Notable Reference Books for Wind Band and Orchestra Music
1. Teaching Music through Performance – Band, Orchestra, Wind Band, etc. Series
2. The Wind Band and Its Repertoire - The Donald Hunsberger Wind Library 3.
Best Music for Young Band - Thomas L. Dvorak
4. Best Music for High School Band - Thomas L. Dvorak
5. Chamber Orchestra and Ensemble Repertoire: A Catalog of Modern Music - Dirk Meyer
6. Accessible Orchestra Repertoire - Daniel Chetel
Section II: Repertoire Selection Guide by Amanda Herold
Criteria 1 2 3
(poor) (average) (excellent)
Form and Organization – i s there structure? Are there clear rises

and falls throughout the piece? Think about phrases and motives.
Harmonic Structure - Is the composer intentional with their

harmonic choices? Is there variety and interest in those choices?
Rhythmic Structure - Is the composer intentional with their

rhythmic choices? Is there variety and interest in those choices?
Orchestration - Does the composition reflect craftsmanship

in orchestration? Is there a balance between transparent
and tutti scoring? Is this present between solo and group
scoring?
Style - Is the work consistent in style? Does the notation match
the composer’s intentions?
Section III: Music – String Orchestra
Title Dragon Dances
Composer Soon Hee Newbold
Arr./Trans./Ed.
Ensemble String Orchestra
Grade 2
Length/Movements 2 Minutes
Publisher FJH Music Company
Important Ranges No shifting
Special Optional Violin Three part, Optional Piano Part, pizzicato section
Requirements
Soon Hee Newbold is a popular American composer specializing in music for developing string orchestras.
She has lots of experience working in the film scene in Hollywood and her compositions often feature
soundtrack like themes and melodies. Newbold’s works are composed with the developing string player in
mind and centers on specific skills and techniques that the musicians may need to work on. Her own
upbringing as a violinist has translates into her compositions being quite idiomatic for beginning musicians.
This piece was composed in 2003 and is very repetitive in nature. There are two primary themes, one repetitive
ostinato and one more song-like melody. Both of these themes move through the ensemble offering time for
each section of the ensemble to function in a primary role. While repetitive, there are moments of contrast that
keep the listeners engaged throughout the brief but exciting piece.
This piece would be quite easy to pull together with a middle school orchestra. There is no shifting in any of the
parts and only features one primary extension in the violincello part. The pizzicato section at the end of the
piece offers a great opportunity to introduce and practice the technique with a developing orchestra. There is an
optional violin three part which would be great for a beginning ensemble with too many violins.
-annotation by Bridget Haines

Criteria 1 2 3
Form and Organization - is there structure? Are there clear rises and falls throughout the X
piece? Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their harmonic choices? Is there variety X
and interest in those choices?
Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is there variety X
Orchestration - Does the composition reflect craftsmanship in orchestration? Is there a X

balance between transparent and tutti scoring? Is this present between solo and group
scoring?
Style - Is the work consistent in style? Does the notation match the composer’s intentions? X
Title Wired
Composer Lauren Bernofsky
Arr./Trans./Ed.
Grade 3
Length/Movement 2:30
s
Publisher FJH Music
Important Violin 1 and 2: E4-B5, Violin 3 (or viola): A3-D5, Viola: B3-D6 Cello:
Ranges
E2-D4 Bass: E2-B3
Special
Requirements
American composer, Lauren Bernofsky, writes a variety of music for solo players, chamber ensembles,
choral groups, operas, and films, much of which has been performed around the globe. Bernofsky attended
the Hartt School, New England Conservatory, and Boston University, the latter at which she received her
doctorate in composition, studying under Lukas Foss.15Bernofsky went on to teach at the Peabody Institute
and Interlochen Center for the Arts, and she continues to guest-conduct and lead clinics at schools and
regional string festivals.16
Bernofsky’s focus on incorporating popular music stylistic components, like the catchy repeating melody and
percussive, driving accompaniment, makes Wired relevant and engaging for young players. As Bernofsky
notes in the score, she “wanted to write a piece that not only reflected current pop music culture, but also
reflected [her] own compositional style.”17After reflecting on the music that
15
LaXUeQ BeUQRfVk\, ´LaXUeQ BeUQRfVk\: CRmSRVeUµ (2020).
16
FUaQk HackiQVRQ, ´LaXUeQ BeUQRfVk\,µ The FJH MXVic ComSan\ (FJH).
17
LaXUeQ BeUQRfVk\, WiUed ( FRUW LaXdeUdale: FJH, 2013).
she personally enjoys playing, Bernofsky recalls that she simply loves making lots of sound with her violin
on quick, repeated notes.18These “quick, repeated notes” form the basis of Wired, and, though easy to
play as individuals, when played as a group, it makes for a sensational and full orchestral sound.
The quick sixteenth note rhythms in the violins and violas, introduced in the first measures, drive the piece
forward and function as a sort of instrumental metronome for the basses and cellos, who unconventionally
carry the melody upon their first entrance. The polyrhythms between the upper and lower voices become
more evident toward the middle of the piece when the cellos and basses take on a syncopated rhythm and
countermelody, while the upper voices simultaneously play the first melody. Wired is a Level 3 piece with
basic rhythms, save for a trickier syncopated rhythm that occasionally appears in the lower voices, and lots
of repetition, yet creates an impressive sound that builds in intensity.19
-annotation by Allie Charney
18
See NRWe 14.
19
See NRWe 14.
Title Take Five
Composer Paul Desmond, Dave Brubeck Quartet
Arr./Trans./Ed. Bob Cerulli
Grade 3
Length/Movements Ca. 2:40
Publisher Alfred Publishing
Important Ranges
Special Drum Set

Requirements
Paul Desmond (1924-1977) and Dave Brubeck (1920-2012) met while Brubeck was auditioning for a spot in a
military band that Desmond was already a part of. Desmond – an alto saxophonist – helped form the Dave
Brubeck quartet in 1951, where they each composed and improvised music for jazz ensemble. Desmond
continued his piano and saxophone career playing with the likes of Gerry Mulligan and Chet Baker throughout
the rest of his musical career.
Take Five is one of the more famous jazz standards of the 20th century. Known for being written in 5/4, the piece
offers a more captivating swing feel whilst still remaining true to classic jazz listeners. The piece has been
scored for piano, jazz ensemble, and string orchestra with drum set. Recognizable in the key of E minor, the
piece has a perpetuating bassline that grooves with the drum kit to open. From there, the ensemble enters,
introducing main melodies and offering easy jazz listening.
Scored for string orchestra and drum set, this piece relies heavily on a steady tempo from the drum set and bass
section. The piece offers both arco and pizzicato at varied dynamics and style differences for dramatic
effect between the two techniques. The largest challenge of the drum kit performer is to accompany the strings
and add to the swing of the 5/4; overpowering the group can be easy.
-Annotation by Eric Gabriel

Criteria 1 2 3
Form and Organization - is there structure? Are there clear rises and falls throughout X
the piece? Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their harmonic choices? Is X
there variety and interest in those choices?
Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is X

there variety and interest in those choices?
Orchestration - Does the composition reflect craftsmanship in orchestration? Is X
there a balance between transparent and tutti scoring? Is this present between solo
and group scoring?
Style - Is the work consistent in style? Does the notation match the composer’s X
intentions?
Title Goin’ To Boston
Composer American Folksong
Arr./Trans./Ed. Arr. Carrie Lane Gruselle
Grade 3
Length/Movements 1:55/1
Publisher Alfred Music Publishing
Important Ranges Violin: D4-B5, Viola: D3-B5, Cello: D3-D4, SB: A2-B3
Special pizzicato
Requirements
Arranger Carrie Lane Gruselle is an American music educator with an emphasis on the Suzuki method. She has
written string methods books. She arranges many different compositions, and they are performed across the
world. https://www.midwestclinic.org/2014_clinician_Carrie_Lane_Gruselle.html
The piece is an American Folksong and has been a staple in orchestral music for quite some time. The
arrangement makes the piece of music accessible and easier to read for musicians. The melody is a common
tune in American with some complex rhythms. The melodic structure allows for musicianship of the individual
sections to show off their skills.
The piece is in D major and modulates to C major and then back to D major. The piece is in ABA form. The piece
moves and is reminiscent of people moving and journeying to a new life in the city. The piece be a little difficult
at some points because of the use of pizzicato at some points. The piece is very short but there is still a lot of for
the string orchestra to do to show off their mastery of music and their instrument.
-annotation by Brian Buechele

Criteria 1 2 3
Form and Organization - is there structure? Are there clear rises X
and falls throughout the piece? Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their X

Rhythmic Structure - Is the composer intentional with their X

Orchestration - Does the composition reflect craftsmanship in X

orchestration? Is there a balance between transparent and tutti
scoring? Is this present between solo and group scoring?
Style - Is the work consistent in style? Does the notation match X

Title The Sound of a Sound
Composer Richard Meyer
Arr./Trans./Ed. N/a
Grade 3
Publisher Highland/Etling Publishing
Important Ranges Violins: D4-D5, Violas: B3-D5, Cello: C3-D4, Bass: G2-G3
Special Requires pizzicato glissando, rapid gliss on fingerboard, pizzicato, Bartok

Requirements pizzicato, voice (scream+gurgle)
Richard Meyer is an American music educator and composer of over 190 compositions and arrangements.
Meyer’s work is in orchestral for beginning to more advanced repertoire. Meyer is a composer who composes to
help facilitate educational value, as seen with his string methods books and sight-reading books that he has co
authored. https://www.alfred.com/authors/richard-meyer/
The piece is a fun ode to the fun noises that students can make while learning their string instrument. It also
allows for students to learn different, and new techniques while having fun. This piece is fast and allows for
creative freedom while performing. The piece shows off the interesting elements of orchestral music. It shows
that orchestral music does not have to be strict and uniform. It juxtaposes the fun noises with clean rhythms,
modulations, and ritards.
This piece starts in C major and modulates to d minor and back to major. The piece requires different
techniques and quick tempi changes. This can be done with any size string orchestra. It is in ¾ and as a result it
is dance. In all, this piece is fun energetic and allows for the students to express themselves in different ways
while learning more about their instrument. The piece is in Verse-form.

Criteria 1 2 3





Title Asturias
Composer Isaac Albéniz
Arr./Trans./Ed. Stephen Chin
Grade 3.5
Length/Movements 6:40
Publisher Everything String
Important Ranges Requires shifting in upper strings.
Special Utilizes following string techniques: glissandi, harmonics, tremolo, trills,

Requirements pizzicato, and sul ponticello
Isaac Albéniz was a Spanish composer and pianist who was a leader of the Spanish nationalist school of
musicians. He was born in 1860 in Camprodón, Spain and later died in 1909 in Cambo-les-Bains, France. He
studied at the Leipzig Conservatory in 1875-76 and later studied in Brussels when he ran out of money. His
fame comes primarily from his piano pieces, which utilize melodic styles, rhythms, and harmonies of Spanish
folk music.3
Asturias, named Leyenda (Legend) by Albéniz, was originally a piano piece that has been frequently transcribed
for other instruments, such as guitar and orchestra. The piece captures a “pure Andalusian flamenco” with its
rhythm of the bulería, a fast flamenco form, and the marcato and staccato markings that resemble the footwork
of a flamenco dancer.4 The

piece is written in E minor but has hints of B Phrygian implemented throughout.
The technical and musical demands for performers are reasonable but will require an emphasis on string
techniques. These include glissandi, harmonics, tremolo, trills, pizzicato, and sul ponticello. Additionally, the
Violin I and II range can be extensive at times, going to a G two octaves above the staff for Violin I and an E
above the staff for Violin II. Although these notes do not reflect the general tessitura and provide fingering
guidelines, performers should be prepared for meeting those notes with ease as the tempo is Allegro.
-Annotation by Amanda Herold
3
Barulich, Frances. "Albéniz, Isaac." Grove Music Online. 2001.
4
Schwarm, Betsy. “Asturias.” Britannica.com. Encyclopædia Britannica, November 24,
2016. h
ttps://www.britannica.com/topic/Asturias-by-Albeniz.
Criteria 1 2 3
Form and Organization – i s there structure? Are there clear rises X



Orchestration - Does the composition reflect craftsmanship X

scoring?
Title Adagio for Strings

Composer Samuel Barber
Arr./Trans./Ed. n/a
Grade 4
Length/Movements 7-8 Minutes, one movement
Publisher G. Schirmer, Inc.
Important Ranges V1: Bb7, V2: F6, VA: D6, VC: G5
Special Isolated higher shifting in all parts except Double Bass

Requirements
Samuel Barber is one of the most prominent American composers of the mid-nineteenth century. His
compositions were inspired by a vocal lyricism and his compositions were widely performed very shortly after
they were composed. Barber was a heavily sought-after composer for commission work and produced many
operas, and large multi-movement works. Barber was unusual from other composers of the time in that he was
not interested in the experimental techniques that were popular among American composers of the time
making his work worth exploring in the context it was created in.
This work is an exercise in patience and focus featuring 4/2 meter and slow-moving melodies. While not
technically demanding, the challenge comes in the expressive dynamics and sustained long tones. This piece
was actually arranged from the second movement of one of Barber’s string quartets and has widely been used
in funerals and memorials. The piece is also one of the reasons that Barber gained international recognition
when this work was premiered on an NBC broadcast in 1938.
This work’s largest challenge is to remain expressive interest throughout the entire duration of the piece. It is
an excellent exercise in dynamics, requiring musicians to play the whole range of dynamic levels. All parts have
significant challenges in shifting and require some experience to master. This piece would be well suited for a
very fine high school orchestra, or an auditioned group.

Criteria 1 2 3

scoring?
Title Serenade for String Orchestra
Composer Norman Leyden
Arr./Trans./Ed.
Grade 4
Length/Movements 11:00/ 4 Movements
Publisher Colla Voce Music
Important Ranges
Special Solo Violin Part

Requirements
Norman Leyden was an accomplished conductor, composer, and clarinetist. Leyden’s most famous composition
was the theme music for the radio series “I Sustain the Wings”. Leyden Continued to write for radio programs as
well as composing for Disney and other popular musicians. Leyden spent the rest of his life conducting and
performing, most notably serving eight seasons directing the Indianapolis Symphony Orchestra’s Prairie Pops.
(Norman Leyden - Wikiwand, n.d.)
Serenade for String Orchestra is a good exploration of Baroque and classical styles. The four movements: I.
Prelude II. Fugue III. Nocturne IV. Cakewalk are short and contrasting which allow for comparison and easy
study from the conductor and performers.
As an Intermediate piece, Serenade for String Orchestra provides an introduction for a younger group to the
styles of Fogue, Nocturne, and Cakewalk. The simple rhythms and harmonies within the piece lend itself to
score study that still make it valuable to perform with an older group.
-annotation by Logan Shippee

Criteria 1 (poor) 2 (average) 3 (excellent)
Form and Organization X Wonderful

- is there structure? structure with clear
Are there clear rises
direction.
and falls throughout
the piece? Think
about phrases and
motives?
Harmonic Structure - X Simple
Is the composer Harmonic
intentional with their
structure. Not the
harmonic
choices? Is there most interesting
variety and interest but still nice.
in those
choices?
Rhythmic Structure - Is X Little variety

the composer within movements.
rhythmic
choices? Is there
variety and interest
in those
choices?
Orchestration - Does X Really nice

the composition orchestration.
reflect
Moments for solos
craftsmanship in
orchestration? Is and full group.
there a balance Beautiful
between Moments
transparent and tutti throughout
scoring? Is this
present between solo
and group scoring?
Style - Is the work X Consistent

consistent in style? within
Does the notation
movements.
match the composer’s
intentions? Variety between
movements.
Title Canon and Gigue
Composer Johann Pachelbel
Arr./Trans./Ed. Arr. Max Seiffert
Ensemble String Orchestra with harpsichord
Grade 4
Length/Movement 6:15/2
s
Publisher Luck’s Music Library
Important Violin I, II, and III: G3-D6 Cello: D2-G3

Ranges
Special Requires harpsichord

Requirements
Johann Pachelbel, renowned organist, composer, and teacher, was a key figure in the Baroque music
scene. His works are extensive, ranging from sacred and secular vocal music, to string chamber music, to
keyboard variations. Born into a middle-class family in Nuremburg, Germany, Pachelbel received musical
training from a young age, then eventually moved to Vienna where he worked a number of jobs as a
church organist. Pachelbel is perhaps most well-known for the Canon in D, as well as for his chorale
preludes and fugues.1
Both movements of Canon and Gigue are set in the key of D major, creating a buoyant, light-hearted
mood with a melody that is recognized widely. “The overwhelming popularity of [Pachelbel’s] canon for
three violins and continuo has given him a name more familiar than that of any of his German
contemporaries . . .”2Today, “Pachelbel’s Canon” is often played at weddings ceremonies, graduations,
and even funerals. A canon refers to a compositional technique wherein one voice plays the initial melody,
followed by an imitation of that melody by the other voices. A gigue is a dance that was common during
the Baroque era.
1
BaVil Smallman, and Wend\ ThRmSVRn, ´Pachelbel, JRhann,µ The O[foUd ComSanion Wo MXVic ( O[fRUd:
2011). 2 EZald NRlWe, and JRhn BXWW, "Pachelbel [Bachelbel], JRhann," GUoYe MXVic Online (2001).
The primary difference in the canon and gigue emerges from the contrasting tempi. While the canon is set
at a slow quarter equals 56, the much shorter gigue is played at dotted quarter equals 100. The canon
begins with a basso continuo in the harpsichord and cello, followed by the first violins, who are the first to
enter with the theme. The piece begins with a very simple melody, then it gradually builds to more complex
rhythms and melodies in all three violins parts; however, “[f]rom a technical point of view, [Pachelbel’s]
music for strings makes no virtuoso demands and never exceeds the third position.”3The cello holds a
steady pulse of quarter notes throughout the entire canon, playing the roots of the two-measure chord
progression: I-V-vi-III, IV-I-IV-V that repeats for the entire canon. The AABB gigue is set in 12/8; although,
given the scherzando tempo marking, it is best counted in four.
- annotation by Allie Charney
3
EZald NRlWe, and JRhn BXWW.
Title Libertango
Composer Astor Piazzolla
Arr./Trans./Ed. Martin Way
Ensemble String Quartet, String Orchestra
Grade 4
Length/Movements 5 Minutes, one movement
Publisher Hal Leonard
Important Ranges Shifting needed for violin 1 and cello
Special none
Requirements
Astor Piazzolla was an Argentinian composer who specialized in composing tangos at the crossroads of jazz and
classical music making him one of the creators of a genre of tangos known as Nuevo Tangos. His compositional
style included 17th and

18th century

baroque elements of counterpoint and a passacaglia style bass line as well
as harmonies guided by tendencies found in jazz music. Aside from composing, Piazzolla led and conducted
many ensembles from smaller chamber groups to larger orchestras. He was also an avid performer on the
bandoneon, which is an instrument that is similar to an accordion, and would often perform with the ensembles
he led, similarly to the way in which a big band leader would function in the ensemble. His experience as a
performer within these ensembles, leads to compositions being well thought out and featuring unique and
important roles for every ensemble member.
This piece was composed in 1974 and is a perfect example of what this Nuevo Tango style was, featuring a more
flowing continuous form and various ostinati. The parts are repetitive but require facility of the ensemble and
get passed throughout the sections of the ensemble. The piece was composed in a period of time in which
Piazzolla was wealthy enough and recognized enough to have the freedom to take more artistic liberties in his
compositions.
The piece is technically demanding but easy to learn due to the repetitive nature of the melodies and ostinati.
The violin one and cello parts require shifting into third position and the other parts remain in first position
throughout the piece. Many of the accompanimental ostinati feature syncopated rhythms. There are occasional
divisi parts but primarily on sustained notes. This piece would be well suited for an average high school string
orchestra.

Criteria 1 2 3

scoring?
Title Serenade for Strings, Op. 22, Movement 1
Composer Antonín Leopold Dvořák
Arr./Trans./Ed. Jeremy Woolstenhulme
Grade 4.5
Length/Movements 4:20/1 Movement
Publisher Neil A. Kjos Music Company
Important Ranges Highest notes - 1st Violin: C6, 2nd Violin: G5, Viola: E5, Cello: A4, Str. Bass: D3
Special 8 - 1st violin, 8 - second violin, 5 - viola, 5 - cello, 5 - string bass

Requirements
Antonín Leopold Dvořák was born September 8, 1841 in Nelahozeves, near Prague, in the Austrian Empire. He
died May 1, 1904 in Prague. He displayed distinct gifts in music at a very young age. He was already a very
talented violin student at the age of six. The first public performances of his works were in Prague in 1872.
Dvořák wanted to expand outside of Prague, so he submitted the score of his “First Symphony” to a competition
in Germany, but did not win. In 1874, he submitted a piece to the Austrian State Prize for Composition. Johannes
Brahms was the leading judge and was very impressed by him. Dvořák won in 1874, 1876, and 1877. After this
Dvořák began composing more and traveling and performing often. In 1891, Dvořák was appointed as a
professor at the Prague Conservatory. In 1892, he moved to America and became the director of the National
Conservatory of Music of America in New York City.
Serenade for Strings, Op. 22 originally comprised of five movements. When Dvořák composed this piece in
1875, he was in his mid 30s. He finished the manuscript less than two weeks before its premiere in Prague in
1876. This piece made his growing reputation even better. This movement reflects the joy Dvořák was feeling
during this time of success. The movement sounds happy and is elegant and graceful. This type of elegance and
grace takes an experienced player. The piece is full of extreme dynamic markings, especially pp. Also, the piece
is not written for a full orchestra, the players must be confident and independent.
The piece is written for eight first violins, eight second violins, five violas, five celli, and five string basses. The
viola part is mostly written in divisi, at times the first violin is written in divisi. At measure forty-three, the cello
part splits into cello one and cello two. It returns back to one part at measure fifty-four, then splits again at
measure seventy-eight. This arrangement of the first movement of Serenade for String, Op. 22 has been
transposed from the original key of E Major to G Major. This piece remains around the same metronome
marking throughout the piece, quarter note equals seventy-six to eighty-four, or moderato. Most of the piece
remains in 4/4, at times it changes to 2/4. This movement is in standard ABA form.
-annotation by Samantha Burr

Criteria 1 2 3
Serenade for Strings, Op. 22 (poor) (average (excellent
) )
Form and Organization - is there structure? Are X

there clear rises and falls throughout the piece?
Think about phrases and motives?
Harmonic Structure - Is the composer intentional X

with their harmonic choices? Is there variety and
interest in those choices?
Rhythmic Structure - Is the composer intentional X
with their rhythmic choices? Is there variety and
Orchestration - Does the composition reflect X

craftsmanship in orchestration? Is there a balance
between transparent and tutti scoring? Is this
present between solo and group scoring?
Style - Is the work consistent in style? Does X

the notation match the composer’s
intentions?
Title Holberg Suite
Composer Edvard Grieg
Arr./Trans./Ed.
Grade 5
Length/Movements 20:00/5 movements
Publisher Lckǯ Mic Liba
Important Ranges Violin 1- highest C7 Cello- highest G5
Special Several movements have split parts within sections

Requirements Movement V. has a violin and viola solo
Edvard Hagerup Grieg was born in Bergen, Norway in 1843. He began playing the piano as a child, and
generally g bad gade i chl becae he aǯ ieeed i ahig he ha icǤ Giegǯ cleǡ a iliiǡ iied he Gieg fail ad iced Edad Giegǯ
aide f ic, leading to Grieg attending the music conservatory in Leipzig, Germany.4 Grieg was diagnosed with
tuberculosis, leaving him with only one functioning lung before graduating in 1862. Grieg performed his first
concert after graduating, and lived in Copenhagen and later Oslo while also traveling extensively throughout
Europe. Collaboration with Henrik Ibsen let to the composition of the successful Peer Gynt Suite, which led to
some fame as Grieg continued to travel, compose, and now conduct orchestras. Grieg died in Bergen in 1907.5
The Holberg Suite has 5 movements: Praelude, Sarabande, Gavotte, Air, and Rigaudon. It was originally written
for piano, but the orchestration for strings is the more famous version of the piece.
There are numerous instances where each typical section of the orchestra (Violin 1, Violin 2, Viola, Cello, Bass)
are split into two separate parts, so strong players for all of those parts are required. The first movement has an
eighth note two sixteenth note motive, which requires a firm grasp of bow control to sound clean and in time.
The fourth and fifth movements go very high for the 1st violins, often staying around G6 for an extended period
of time, and going up to a C7 in one instance in the Rigaudon (Mvt. V).
-annotation by Abel Rose
ȃAboutȱEdvardȱGriegǯȄȱGriegȱMuseumǯȱKode Art Museums and Composer Homes. Accessed November 1,

4
2020. https://griegmuseum.no/en/about-grieg.
5
BrensilverǰȱDavidǯȱȃEdvardȱGriegǱȱBiographyȱ&ampǲȱHistoryǯȄȱAllMusicǯȱAccessedȱNovembe
rȱ1ǰȱ2020ǯȱ https://www.allmusic.com/artist/edvard-grieg-mn0000198512/biography.
Holberg Suite- Edvard Grieg 1 2 3

(poor) (average (excellent
) )
Form and Organization - Is there structure? Are there clear 3

rises and falls throughout the piece? Phrases and motives?
Harmonic Structure - Is the composer intentional with their 3

harmonic choices? Is there variety and interest in those
choices?
Rhythmic Structure - Is the composer intentional with their 3

rhythmic choices? Is there variety and interest in those
choices?
Style - Is the work consistent in style? Does the notation 3

match theȱcomposerȂsȱintentionsǵ
Impact - Is the piece memorable or distinct in some way? Does 3

it make a statement?
Orchestration - Does the composition reflect craftsmanship 3

in orchestration? Is there a balance between small group and
tutti scoring? (also range, tessitura, idiomatic for
instruments?)
Title Study
Composer Pavel Haas
Arr./Trans./Ed. Arr. Lubomir Peduzzi
Grade 5
Length/Movement 8:30/1
s
Publisher Boosey and Hawkes
Important Violins: G#3-A6, Viola: D

2-G#3, Cello: F#2-C#4 Bass: E2-E4
Ranges
Special
Requirements
Composer Pavel Haas (1899-1994), born into a Jewish family in Brno, Czech Republic, attended the Brno
Conservatory for composition and later studied under acclaimed composer Leos Janacek before being
sent to the Theresienstadt concentration camp (in Terezin) for Jews. At the camp, Haas composed music
under the direction of Karel Ancerl who conducted a group of imprisoned musicians in occasional concerts
at the camp.20
Haas’s Study, though not very widely known nor performed, is a valuable piece to learn for both technical
and musicological purposes. The premiere took place in the concentration camp when Germans were
filming the Nazi propaganda film, Der Führer schenkt den Juden eine Stadt ("The Führer Gives a City to
the Jews") in which the camp was portrayed as a place of wonder and fun, full
of music and dancing. The music playing in the background of this film -- which was never officially
released -- was a small chamber group of prisoners playing Haas’s Study. A month later, Haas and the
other musicians and artists in the Terezin concentration camp “were taken to Auschwitz where
20
LXbRPtU SSXUQì, ´PaYeO HaaV: ´JaQiĀeN·V MRVW TaOeQWed SWXdeQW,µ MXVicRORgicaO AQQXaO ( BUQR: ReVeaUch GaWe,
2015).
Haas died in the gas chambers.”21Remnants of the original score were later found by Ancerl, the
music director who survived the Holocaust, then restored and edited by Lubomir Peduzzi.22
Study revolves around the main idea, or idea fixee, referencing a recurring melody in Haas’s opera,
Charlatan. When the piece arrives at the alla breve about halfway through, the idea fixe appears in a
fugal form with both violin parts, viola, and cello playing independently, while the bass drops out and
returns during the homophonic section. The quick tempo, shifting meter, and unexpected melodic leaps in
this piece make it a virtuosic selection, best played by experienced instrumentalists.23
21
LXbRPiU PedX]]i (AUU.), SWXd\ ( BRRVe\ aQd HaZNeV, 1943).
22
See NRWe 17.
23
See NRWe 17.
Title Romance in C
Composer Jean Sibelius
Arr./Trans./Ed.

Grade 5
Length/Movements 5:00 / 1 Movement
Publisher Breitkopf and Haertel
Important Ranges N/A
Special Rhythmic notation, Divisi String bass

Requirements
Jean Sibelius was a Finnish composer, born on December 8th, 1865. He was an orchestral composer who
stretched the idea of triadic harmony, who the tone color of the orchestra is, and the musical process and
structure. He composed with the intention of capturing what Finnish national temperament was, while
celebrating nationalism and political struggle and focusing on strong emotions like despair. By the end of his
career, he was influenced by German and French modernism, which ultimately made him unpopular in Europe,
but was better received in America and England. This caused him to not write many new pieces for the last 30
years of his life. He died September 20th, 1957.
Romance in C is 67 measures long, and is in the key of C major. The piece is very heavily scored, the entire
ensemble playing the entire time. This piece was premiered in 1904, shortly after his wife and close collogue
moved him way from the city to try and curb alcoholism, as well as the death of his youngest daughter. The
minor tonalities and switching between major and minor display the strong emotions he wished to capture, but
could be related to his own experience. The piece begins with the with a statement of the melody, then the other
instruments are come in to harmonically support, as well as adding the viola to the melody. The next section of
this piece is tutti, switching into a minor tonality, which then quickly moves back in c major, with the violins and
viola carrying the melody, and the Cello and Bass supporting. The cello and bass then lead the next section, once
again in a minor tonality, then goes back to the section before. The ending slowly fades until just the lower
voices holding a C major chord.
The rhythms in this piece range from whole notes to 16th note triplets, as well as has some phrases tying over
the bar line. This requires the performers to be confident in their playing, but also have a strong sense of pulse,
due to the rubato style as well. The performers will need to be attentive to the conductor as well, due to the
frequent use of fermatas in rest and on bar lines. The string bass has a 3 split divisi part at the end, as well as
solo moments throughout the piece. This requires the bass players to be confident in counting rhythm, as well
as have confidence in their playing.
-annotation by Summer Burton

Criteria 1 2 3
Form and Organization - is there structure? Are there clear X

rises and falls throughout the piece? Think about phrases and
motives?

choices?

choices?

orchestration? Is there a balance between transparent and
tutti scoring? Is this present between solo and group
scoring?

Section III: Music – Full Orchestra

Title The Moldau
Composer Bedrich Smetana
Arr./Trans./Ed. Arr. Richard Meyer
Ensemble Full Orchestra
Grade 2.5
Important Ranges Highest notes for brass instruments are: Tpt 1: F#5, Tpt 2: C#5, Hn: B4, Tbn:
D4, Tuba: D3
Special Requires Eb Alto Saxophone part

Requirements
Bedrich Smetana was a Bohemian composer of operas and symphonic poems, as well as founder of the Czech
National School of Music. He was born in 1824 in Leitomischl, Bohemia, Austrian Empire and died in 1884 in
Prague after being incarcerated in an asylum. He is most well-known for his opera The Bartered Bride and
his symphonic cycle Má vlast (“My Homeland), which portrays the history, legends, and landscape of
Bohemia.1
The Moldau is the second movement of Má vlast. The Moldau is a symphonic poem that evokes the flow of the
Vltava River.2 The piece is very programmatic with the theme of flowing water beginning in the woodwinds and
then expanding to the rest of the ensemble. While the woodwinds represent this water motif, the strings
supplement with lush melodies and the brass hold a majestic and noble fanfare-like quality. The piece is in E
minor and remains in 4/4 with horizontal hemiolas placed within the composition
Although The Moldau will not be incredibly technically demanding for an ensemble, this piece brings a
multitude of musical ideas and discussion for the classroom. For an appropriate performance, performers will
need to understand each theme of the piece and how it relates to the overall work. Additionally, time will need
to be devoted to learning the hemiolas within the piece.
1
Ottlová, Marta, Milan Pospíšil, John Tyrrell, and Kelly St Pierre. "Smetana, Bedřich." Grove Music Online. 28
Sep. 2018.
2 Betsy Schwarm, “The Moldau,” Britannica.com (Encyclopædia Britannica, November 7,

2016), https://www.britannica.com/topic/The-Moldau.
Criteria 1 2 3




scoring?
Title Tragic Overture
Composer Johannes Brahms
Arr./Trans./Ed. Vernon Leidig
Ensemble Orchestra
Grade 3
Publisher Highland/Etling Publishing

Important Ranges Trumpets: G5, F Horn: E5, Trombones: F4, Tuba: D3
Special 1 - Flute I, 1 - Flute II, 1 - Oboe, 1 - Bb Clarinet I, 1 - Bb Clarinet II, 1 - Bassoon, 1 -

Requirements Bb Bass Clarinet, 1 - F Horn I, 1 - F Horn II, 1 - Bb Trumpet I, 1 - Bb Trumpet II, 1 -
Trombone I, 1 - Trombone II, 1 - Trombone III, 1 - Tuba, 1 - Timpani (A-D), 8 -
Violin I, 8 - Violin II, 5 - Viola, 5 - Cello, 5 - String Bass
Johannes Brahms was born May 7, 1833 in Hamburg, Germany. He died April 3, 1897 in Vienna, Austria. Brahms
was a pianist, composer, and conductor during the Romantic period. Many times he is referenced as one of the
“Three B’s” (Johann Sebastian Bach, Ludwig Beethoven, and Johannes Brahms). Brahms composed works for
symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. He premiered many of his own
works and worked with many other famous artists of the time such as Clara Schumann and Joseph Joachim.
Brahms’s First Symphony, Op. 68, appeared in 1876. He wanted to retire in 1890 after the premiere of his
Second String Quintet, Op. 111, but continued to compose until 1896.
Tragic Overture was composed in 1880. This piece represents contending forces in the human struggle and
ends with victory over fate. This piece was written in contrast to Brahms’s other piece, Academic Festival
Overture. Brahms said about the two pieces, “one laughs while the other cries”. The main theme is first heard in
the strings, but is passed around throughout the ensemble. This arrangement of the piece is meant for
intermediate orchestras. The themes are the same, but are meant to be played by performers of all levels.
This arrangement of the Tragic Overture has a standard instrumentation for a full orchestra (two flutes, one
oboe, two Bb clarinets, one bassoon, one Bb clarinet, two F horns, two trumpets, three trombones, one tuba, one
timpani [A-D], eight first violins, eight second violins, five violas, five celli, five string basses). The piece is
marked quarter note equals 104, Allegro non troppo. The Tragic Overture is in 4/4 throughout the entire piece.
The strings have the main theme in the beginning and then it is passed throughout the ensemble. Many of the
parts are doubled by other parts and instruments.

Criteria 1 2 3
Tragic Overture (poor) (average (excellent
) )





intentions?
Title Millennium
Composer Richard Meyer
Arr./Trans./Ed.
Ensemble Symphony Orchestra
Grade 3 (ME)
Length/Movements
Important Ranges Trumpet- highest G5 Violin I- highest F6
Special
Requirements
Richard Meyer was born in 1957, and received his Bachelor of Arts degree from California State University.
Meyer has taught middle school instrument music for over 16 years and currently conducts the Pasadena
Youth Symphony Orchestra. Meyer has composed and arranged over 190 pieces and has won multiple
composition contests, notably winning the National School Orchestra Association competition contest at least
twice.6
Millennium was the winner of the 1998 National School Orchestra Association Composition Contest. The piece
is in G major. It starts off with a Grave introduction at quarter = 66, and moves to quarter = 120 twelve
measures in. Millennium features both dramatic, up-tempo sections and lyrical soaring melodies. At times, it
sounds like a movie score. The piece makes good use of the woodwinds, brass and percussion, giving them more
or less equal importance with the strings.
There is a solo in the trumpet I and trumpet II parts at the beginning of the piece, and a clarinet and flute solo at
measure 105. However, in general, throughout the piece, there are multiple instruments playing together on the
same parts and the piece is usually thickly scored. The bassoon I and II and bass clarinet I and II have exactly the
same parts, allowing for flexibility in instrumentation. The opening whole notes in the violins use harmonics.

ȃRichadȱMe¢eǱȱComoeȱ ȦȱAangeǯȄȱAcceedȱNoembeȱ1, 2020. https://www.hebu
6
music.com/en/musician/richard-meyer.600/.
Millennium- Richard Meyer 1 2 3

) )


choices?

choices?

match heȱcomoeȂȱinenionǵ


instruments?)
Title An American In Paristm Suite
Composer George Gershwin

Arr./Trans./Ed. John Whitney
Grade 3.5
Publisher Alfred Publishing- Belwin Orchestra
Important Ranges highest notes for brass instruments are: Trpt 1: B above staff, Trpt 2/3: A Above
the Staff, Hn 1 : Bb above staff
Special Optional saxophones , brass mutes

Requirements
George Gershwin was an American composer born in Brooklyn, New York on September 26th, 1898. He began
his career in the Tin Pan Alley of New York, composing for Broadway and vaudeville. He was one of the most
popular composers of his time by the age of 30. His infamous piece Rhapsody in Blue allowed for him to work
with many professional orchestras at the time. His other larger works are Concerto in F, An American in Paris, a
and Porgy and Bess. Porgy and Bess was the first integration of jazz on the prestigious classical stage of opera. It
is said that his greatest achievement was the blending of many musical genres, by studying classical technique
and learning how to integrate it into folk and jazz repertoires. He died at the age of 39 on July 11th, 1937, in
Hollywood, California.
An American in Paris was originally published in 1929 by Warner Brothers music. Gershwin composed this
programmatic piece during a three-month trip to Europe, accepting acclaim as a musical celebrity. This piece
captures the He integrated a 12- bar blues as the harmonic backbone in the middle of the piece. This was his
first primarily orchestral work. This particular arrangement into a suite is designed to allow for less
experienced performers to be able to have accessibility to this landmark piece. While it does remove the taxi
horns reminiscent the city, it captures the familiar themes of the piece. It begins in Concert F, with a lively
section depicting the everyday busyness of a metropolitan area, and then moves into a more reminiscent and
reflective blues section, This then moves into a spotlight for trumpet, and quick finale that slows down into a
restatement of the motif seen throughout the piece.
The jazz harmonies, and optional saxophone, create a challenge for performers that may not have experience in
this style. At first, layered harmonies and 12 bar blues could be difficult for performers to understand aurally if
they have not studied within this genre. The performers will also need confidence in faster runs and
articulations, as these techniques are different than the traditional orchestral piece. Because of the optional
saxophones, the balance of the ensemble could be altered due to this inclusion. It is important to note that there
are also multiple shifts in time signature and key, meaning the performers will need to be focused on both the
conductor for these changes, but also maturity on their own parts and instruments.

Criteria 1 2 3

motives?

choices?

choices?

scoring?

Title Donzon No. 2
Composer Arturo Marquez
Arr./Trans./Ed.
Ensemble Orchestra
Grade 4
Publisher Peer Music Classical
Important Ranges NA
Special Piano
Requirements
Arturo Marquez is a Mexican Composer who has studied composition in Mexico and France before receiving a
Fulbright Scholarship to obtain an MFA degree from the California Institute of the Arts. Marquez’s compositions
were mostly popular in Mexico until he started with his Danzon series; based on the Latin ballroom scene.
Danzon No. 2 is so popular that it often called the second national anthem of Mexico. (Arturo Márquez, n.d.)
Danzon no. 2 is one of the most famous contemporary Mexican Classical works and is selected for performance
all over the world. The piece is based on the traditional Cuban dance Danzon but has since become an important
part of the culture in the Veracruz region of Mexico. The main drive of the piece is the constant rhythm that
maintains interest through shifting instrumentation and articulation.
Donzon No. 2 is a plain fun piece to play but has demanding moments throughout the piece. The rhythm is the
drive of this piece and so a strong percussion section is required to keep the pulse of the music going. A strong
solo clarinetist, violin, flute, and trumpet are needed to perform the thinly scored solo moments. This piece
also demands quick movement from every section of strings including the standup bases.

Form and Organization X This piece has

- is there structure? an engaging
melodic/rhythmic
the piece? Think line. The piece is
about phrases and built with clear
motives? moments of
intensity and
sonority
that make it a
very compelling
listen.
Harmonic Structure - X Simple but

Is the composer effective harmonic
harmonic
structure.
choices? Is there
in those
choices?
Rhythmic Structure - Is X The rhythm keeps

the composer this piece driving.
The composer adds
rhythmic
choices? Is there interest with
variety and interest articulation and
in those orchestration.
choices?
Orchestration - Does X Good variety in

the composition orchestration that
reflect
features many
craftsmanship in
orchestration? Is groups within the
there a balance ensemble.
between
transparent and tutti
scoring? Is this
present between solo
and group scoring?
Style - Is the work X Consistent with
consistent in style? Danzon Style
Does the notation
intentions?
Title Hoe-Down from Rodeo
Composer Aaron Copland
Arr./Trans./Ed.
Grade 5
Length/Movements 4 Minutes, One Movement
Publisher Boosey & Hawkese
Important Ranges Trumpet 1: up to C#6, Violins shifting into fifth position, Cellos and Violas
reading treble clef.
Special Full orchestra + piccolo, English horn, bass clarinet, four horns, piano,
Requirements expansive percussion
Aaron Copland was a prominent composer in America throughout the 20th century and is often accredited to
have been one of the primary developers of the “Western American” sound in orchestral music, due to his
frequent use of American folk tunes in his compositions. Copland was a large part of the Hollywood film scene
and composed lots of scores for early American movies in an attempt to make classical music more accessible to
the average American citizen. Copland’s composition style was heavily influential on developing the “Western
American” sound.
This movement is one of many from the ballet Rodeo composed in 1942 and features two primary themes in a
classic ternary form style piece. The work is fast-moving and rhythmically intricate featuring a few syncopated
rhythms. The harmonies are widely orchestrated and pastoral in style but not too dense or complicated. The
dynamics are purposefully indicated to create moments of contrast within the two primary sections and
Copland is careful in the way he orchestrates by creating good variety between tutti moments and solo sections.
This piece is certainly challenging in many ways. The instrumentation is expansive, especially in the woodwind
section and percussion section, requiring a larger ensemble. The range is demanding for the soprano voices of
the ensemble and requires experience in the strings in shifting. The rhythms are reoccurring throughout the
piece so once they are learned, the rest of the piece becomes easier. This piece would be well suited for an
auditioned youth symphony or a very fine high school group.

Criteria 1 2 3

scoring?
Section III: Music – Wind Band

Title Midnight Sky from “Midnight Suite”
Composer Brian Balmages
Arr./Trans./Ed. N/a
Ensemble Concert Band
Grade ½ to 1
Publisher FJH Music Company Inc.
Important Ranges Ranges are Transposed for their instrument: Upper woodwinds: Bb4-G5,
Clarinets: C4-A4, Sax: G4-D5, Brass: Trumpets/Horns: C4-G4, Tbn/Euph: Bb2-G3
Tuba: Bb1-F3
Special Bass Clarinet and Bassoon

Requirements
Brian Balmages is an American composer who has composed works for elementary schools to professional
ensembles. Mr. Balmages guest conducts around the world and teaches at Townson University. Mr. Balmages
has composed pieces for brass, woodwinds, etc. He is a younger composer being born in 1975, but he has
accomplished a lot during his time. Mr. Balmages composes work that can build up musicianship skills, to pieces
that are very difficult. h
ttps://www.brianbalmages.com/biography
The piece Midnight Sky is a piece that is short and works on building musicianship skills for younger bands. The
piece is in Bb Major and it does not modulate. The form for the piece is in AB or binary form and the song picks
up in rounds from the upper winds to the brass. The piece is from a larger song cycle titled “Midnight Suite” and
each piece is this cycle uses the harmonics for text painting of the piece and it creates imagery around the idea
of a “midnight sky” and the beauty, madness, and the mission of this time of night. This piece uses the harmony
and overlapping rounds to convey the complexity and beauty of a midnight sky.
The piece works on musical expression and it is evident through crescendos, decrescendos and changing tempi.
The piece does not require a large ensemble but works well with more instruments to allow for layering and the
understanding of a larger work. The parts are usually playing together in their sections, ie. upper winds
together, low brass, etc. The common rhythmic and melodic theme is always consistent through this piece and is
not too complex. This is a great piece to work on blend and musical expressions with your band.

Criteria 1 2 3





Title Korean Folk Rhapsody
Composer Folksong
Arr./Trans./Ed. Arr. James Curnow
Grade 2
Publisher Hal Leonard Corporation
Important Ranges Flute
Special Horn solo

Requirements
James Curnow is an American arranger who is also a music educator. He has composed over 200 compositions
for concert band and orchestra. He has traveled the world to learn different cultures and different music
styles. He composes mainly for concert band and brass band.
http://c-alanpublications.com/brands/Curnow%2C James.html
This piece is a Korean Folksong, originally as Ahrirang. The song originally goes as (according to the English
translation):
Ahrirang, Ahrirang, Ahririo,

As you proceed along the Ahriran pass,
Blue the sky with its myriad starts, so
Sadness fills my heart with its myriad woes.
You can hear this in the beautiful tune that uses each instrument to tell a story through phrasing of different
instruments. The theme of this piece is told first by the French horn and then it switches from instrument to
instrument as in the act of telling a story. The piece melodious and uses different styles to tell the story.
This piece is in F major and in 3/4 . There are staccato markings that help tell the story told in the original folk
song. The upper instruments play as a metronome almost but as stated before, they take the melody. The piece
is in ABA’ form.

Criteria 1 2 3





Title Darkland’s March
Composer Randall Standridge
Arr./Trans./Ed.
Grade 2
Publisher Grand Mesa Music
Important Ranges Trumpet Parts within the staff
Special Oboe, Bass Clarinet, Tenor and Bari Sax, Tuba

Requirements
Randall Standridge is an avid composer across all levels of band music, especially focusing in commissioned
work. Standridge has been long steeped in the concert band world, serving twelve years as Director of Bands at
Harrisburg High School in Arkansas, which has led to a clear understanding of many different styles of Concert
Band composition and is reflected in his own works. He is a composer who has begun to bridge into the creation
of educational materials for ensemble development which has been reflected in his commissioned works,
showing a prioritization of educational elements in his compositions for developing band.
This piece was composed as movement one in Standridge’s work, Darkland Symphony. The movement has
many traditional compositional elements of a Concert March, including a trio creating a ternary form piece, but
is in minor creating moments of mystery throughout the piece. The rhythms are repetitive throughout the piece
and across sections, creating a unified sound. The harmonious are clear and logical which aids in an ease of
learning.
This piece is a great way to change up the traditional concert march portion of a concert program. The work
heavily utilizes scoring by section, which provides comfort to developing players as they grapple with some
more complicated rhythms. The piece features a diversity in articulation markings that will challenge players
but result in an exciting final product. This work would be great for a middle school concert band with little part
rewriting to accommodate for a more expansive instrumentation.

Criteria 1 2 3

scoring?
Title Aurora Borealis

Composer Anthony Susi
Arr./Trans./Ed. N/A
Grade 2.5
Publisher C L Barnhouse Company
Important Ranges 1st Trumpet: G5, 2nd Trumpet: E5, F Horn: Db5, Trombone: F4, Euphonium:
A3, Tuba: C3
Special 10 - Flute, 10 - Clarinet, 10 - Trumpet, 6 - Trombone, 4 - Tuba, 4 - Bells, 4 -

Requirements Crash Cymbals
Anthony Susi has been teaching in Connecticut schools since 1985 at the middle school, high school, and
collegiate level. He often participates as a conductor at honors band festivals for middle and high schools for
Connecticut, Massachusetts, and Rhode Island. Susi has presented at many state conferences and has written
articles that have been published in CMEA, Band World, MEJ, and SBO. These articles were about music
pedagogy. Susi has composed and recorded five CDs. He has also been featured on “Best of CT” compilation
discs and the soap opera, “As the World Turns”. Susi still actively performs on guitar, keyboard, and vocals.
Aurora Borealis depicts the “dazzling dancing lights of the magical spectacle in the sky which has fascinated
mankind for centuries”. There are many technical features throughout the piece that help depict this magical
occurrence in nature. Some of these technical features include: trills and rolls, chromatic lines (reflects the
shooting rays of light), and bright brass fanfares (reflects the shade of green and pink). The theme varies,
changes, and evolves throughout the piece to reflect the “many forms the lights appear from patches or
scattered clouds of light to streamers and arcs”.
This piece is written for a concert band, with a large instrumentation. Most of the parts are doubled by other
parts/instruments. There are many players on each part as well. Most of the parts are written in divisi as well.
The piece stays in 4/4 throughout and begins at Andante, quarter note equals ninety-six. At measure ten the
temp changes to quarter equals 108, Moderato. The tempo changes again at measure thirty-three, Allegro,
quarter note equals 126. There are varying dynamic and articulation markings such as fp with crescendos and
decrescendos as well as many accents throughout the piece.

Criteria 1 2 3
Aurora Borealis (poor (average (excellent)
) )




intentions?
Title The Willows of Winter
Composer BJ Brooks
Arr./Trans./Ed.
Grade 3
s
Publisher Grand Mesa Music
Important (Clarinets and Horns feature their lower registers) Clarinet 1: F3-A5 Clarinet
Ranges
2: F3-F5 French Horn: E
4-F5
Special
Requirements
BJ Brooks is an award-winning composer for instrumental ensembles, solo players, and electro
acoustics. Brooks is currently an Associate Professor of Music Theory and Composition at West Texas
A&M University where he continues to write and publish instrumental music. His works have been
featured in conventions, like TMEA, and in clinics, including The Midwest Clinic. Brooks adjudicates
concert ensembles and marching bands across the Southwest.11
The Willows of Winter is featured in the critically-acclaimed series, Teaching Music Through Performance
in Band. The composition was originally written for piano, then Brooks arranged it for band seven years
later where it was premiered by the Wichita Falls (Texas) Community Band. Impressively enough, “The
Willows of Winter is the composer’s first published work for band . . .” and was inspired simply by
improvising at a piano.12
11
´BLRJUaSK\: BURRNV, BJ,µ IQWeUQaWLRQaO SRcLeW\ fRU CRQWePSRUaU\ MXVLc (2011).
12
RLcKaUd MLOeV, aQd LaUU\ BORcKeU, ´TKe WLOORZV Rf WLQWeU,µ Teaching MXVic ThURXgh PeUfRUmance
in Band (CKLcaJR: GIA PXbOLcaWLRQV, 1997).
The Willows of Winter utilizes the keys of Eb major and F major, so instrumentalists must be familiar with
the corresponding scales. The expression marking at the start of the piece indicates that it should be
played “freely,” and the composer incorporates occasional rallentando and ritardando markings that remind
the players and the conductor of the tempi liberties to be taken. Throughout the piece, Brooks “. . .makes
use of nonharmonic tones, especially suspensions at cadences.”13The tension built from these recurring
dissonances helps keep the piece moving forward to the climax, which occurs around the three minute
mark. The eight-measure clarinet solo in the middle of the piece should be performed by an experienced
player as it functions as a precursor to the climax of the piece and, if played confidently, contrasts nicely to
the full sound of the band.14

13
RLcKaUd MLOeV, aQd LaUU\ BORcKeU, Teaching MXVic ThURXgh PeUfRUmance in Band.
14
BJ BURRNV, The WillRZV Rf WinWeU ( GUaQd MeVa, 2005).
Title Peacemaker
Composer Karl L. King
Arr./Trans./Ed. James Swearingen
Grade 3
Publisher C L Barnhouse Company
Important Ranges In transposed keys Upper woodwinds: Eb4-Eb6, Clarinet: F4-D6, Trumpets:
D4-Bb5, Fr. Horn: C#4-Cb5, Trb: Eb3-Db4
Special March with bassoon and bass clarinet and string bass
Requirements
Karl L. King born 1891 in Ohio developed an interest in band music through the cornet and later the baritone.
King was a circus musician and performed with Barnum and Bailey’s “Greatest Show on Earth”. He is one of the
most prolific band composers having composed 291 works, including 185 marches, which this is one of them.
King composed pieces for the professional band scene as well as for younger bands.
https://barnhouse.com/composer/karl-l-king/ J ames Swearingen is an arranger who is known for his
marching arrangements. h ttps://barnhouse.com/composer/james-swearingen/
Peacemaker is a fast paced march that embodies how King composed many of his marches, and it is arranged
for a concert band. That is able to showcase the parts of a concert band and is a triumphant piece that that
allows concert bands to be able to create a marching sound, through a solid bass line that is the accompaniment
for the upper instruments.
This piece is in Ab major and it does not modulate. The piece is at march tempo and requires the band to keep
the steady time to give it the march feel. This piece is consistent of a march in that the higher brass has a
consistent important role in the piece with the woodwinds being accompaniment. The piece is in a Ternary or
ABA’ form that allows for the different sections to be showcased and for the band to show off their
musicianship. The pieces different articulation and uses for expression in the march style. The orchestration
calls for a lor of instruments for the band to create a loud march feel.

Criteria 1 2 3





Title Star Ship
Composer Yukiko Nishimura
Arr./Trans./Ed.
Ensemble Wind Ensemble (a String Orchestra arrangement also exists)
Grade 3 (ME)
Length/Movements 4
Publisher Southern Music Company
Important Ranges Picc/Flute 1- highest G6 Trumpet 1- highest A5
Special Harp, (opt. Eb Alto Clarinet)

Requirements
Yukiko Nishimura was born in Japan in 1967, and graduated from Tokyo National University of Fine Arts and
Music in 1990. She studied composition with Dr. Alfred Reed at the University of Miami School of Music and
with Dr. Richard Danielpour at the Manhattan School of Music. Nishimura has given concerts entirely of her own
music, and written compositions for silent films, incdg ǲEdǯ ͻ Faeeǡǳ for string quartet, which
13
premiered in 2005 at Gettysburg College.
Star Ship, or ǲHoshi no Fune,ǳ is written with an old Japanese tale in mind, that of Altair and Vega, lovers
who live on opposite sides of the Milky Way and can only visit each other once a year, on July 7th. They each
ride a ship to meet each other on that night, but if it rains, they cannot see each other because the river of
light in the sky is swollen.14 The

pieces starts off Andantino, at quarter = 72, and is generally lyrical and
soaring.
While there are no actual solos, there are many soli moments in this piece where a particular instrument or a
few instruments are more exposed. From mm23 to mm26 and mm37-40 in particular, horns 1 and 2 are
exposed or have an independent part. There are several places where the piece calls for only one euphonium or
one tuba player to play. The trumpets do not play very much, so they will benefit from clear cues for their
entrances.
13
ȃBiography.Ȅȱyukikonishimura.com.ȱAccessedȱNovemberȱ1,ȱ2020.ȱ
http://yukikonishimura.com/spring/english/title_e.html.
14
ȃStarȱShip:ȱProgramȱNotes.ȄȱSouthern Music Company.
Star Ship- Yukiko Nishimura 1 2 3

) )

choices?

choices?

match theȱcomposer’sȱintentions?


instruments?)
Title Prairiesong
Composer Carl Strommen
Arr./Trans./Ed.
Grade 3
Length/Movements 7:30 / 1 movement
Publisher Alfred Publishing- Belwin Band
Important Ranges Highest notes for brass instruments are: Trpt 1: A above staff, Trpt 2/3: G
above staff, Hn 1: G above staff, Baritone: F above staff
Special Recommends 4 tubas, alto clarinet

Requirements
Carl Strommen is a living American composer, based in Long Island, New York. He has 702 titles registered
with the ASCAP, and has arranged and composed for ensembles of all kinds. He began his composing education
by arranging for his high school jazz band, and evolved from there. He has been writing pieces based in
education since the 1970’s. His pieces have been performed in many school ensembles, with the goal to teach
students musical concepts, but also becoming an example for younger composers. He is currently an adjunct
professor of orchestration and composition at Long Island University in the master’s program.
Prairiesong was written as a commission for the Wantagh High School Symphonic Band, with the goal of
capturing the scenery of the “Big Sky”. Due to its publication in 2002, this piece was composed soon after the
terrorist attacks 9/11 in New York city, which could have led to a celebration of New York, and America’s unity.
It has been compared to the style of Aaron Copland for its orchestration, and Americana focus. The piece in
concert F major begins with a soloistic high woodwind section, which then builds into a lively feel with the
entire ensemble. This overall lively piece also has an expressive legato section, which features trumpet and alto
saxophone soloist, which then transitions into a hoe down section, which has a large portion of the ensemble
clapping and building into full low brass and reed feature, before the group ends with an abrupt run by every
member of the ensemble.
The instrumentation of this song can be challenging due to the large tuba section and part written for the alto
clarinet, but this piece also requires autonomy for each player. While there are full band sections, many of the
piece highlights smaller groups, soloist, or duets. The clapping section of the piece may also challenge students
regarding balance and blend, as the larger clapping group combined with percussion may overpower the
melodic voice. The faster tempo may lead to technical challenges for wind instruments, particularly the lower
voices, given the nature of the 16th runs that do appear in almost every part.

Criteria 1 2 3

motives?

choices?

choices?

scoring?

Title A Symphonic Portrait

Composer Irving Berlin
Arr./Trans./Ed. Hawley Ades
Ensemble Wind Ensemble
Grade 3.5 (M)
Length/Movements
Publisher Shawnee Press Inc.
Important Ranges Flute 1- highest Bb6 Cornet- highest Bb5
Special Eb Clarinet, (opt. Eb Alto Clarinet, Eb Contralto Clarinet)

Requirements Cornets and trumpets need cup mutes
Irving Berlin was born Israel Beilin7 (also spelled Baline) in 1888 in Tyumen, Russia. When he was five his
family fled Russia for New York City due to persecution for being Jewish. Beilin worked as a street singer and
singing waiter in NYC, and took the surname Berlin when his original surname was misspelled as such on his
first published sǡ ǲMa S IaǤǳ Berlin generally learned music by ear, and continued to write his a cǡ c ǲAaǯ
Ra Ba,ǳ which was a popular Tin Pan Alley tune.8 Berlin then began to write for musicals and later movies,
and in 1919 founded the Irving Berlin Music Corporation to publish his own music. Berlin would write many
popular musicals and be nominated for nine Academy Awards before his death in 1989.9
A Symphonic Portrait is a compilation of other songs and pieces Berlin previously wrote, and is generally
upbeat and fast-paced. The piece does not have movements, but it does have section titles throughout- ǲTǯ B
L S Bǳ a measure 19, ǲSa W Mcǳ a ǡ ǲAaǯ Ra Baǳ a mm101ǡ ǲEa Paaǳ a ͵ ǡ ǲW Caǳ a ͺǡ
and ǲG B Acaǳ a ʹ Ǥ
There are several sections where the entire ensemble or large sections of the ensemble are homorhythmicǤ Iǯ
rare for certain instruments have unique or isolated parts compared to the rest of the ensemble, such as in the
Aaǯ Ra Ba c a a ǡ ca, tenor saxes, cornets, and trombones pass around a sixteenth, dotted quarter,
sixteenth motive that eventually most of the ensemble has together. The end of the piece, still in cut time, has
drag triplets against the melody, giving the section a hemiola feel.
The Eb Alto and Eb Contralto clarinet parts are either covered by Bassoon 1 or the Bass clarinet and Contrabass
clarinet.
7
MaslonǰȱLaurenceǯȱȃOvertureȱǻIrvingȱBerlinȱBiographyǼǯȄȱAccessedȱNovemberȱŗǰȱŘ0Ř0ǯȱ
https://www.irvingberlin.com/overture.
8
ȃIrvingȱBerlinǯȄȱEncyclopædiaȱBritannicaǯȱEncyclopædia Britannica, inc., September 18,
2020. https://www.britannica.com/biography/Irving-Berlin.
9
ȃIrvingȱBerlinǯȄȱBiographyǯcomǯȱAǭEȱNetworksȱTelevisionǰȱJuneȱŗǰȱŘ0Ř0ǯȱ
https://www.biography.com/musician/irving-berlin.
Symphonic Portrait- Irving Berlin 1 2 3
) )


choices?

choices?



instruments?)
Title A Zillion Nickels
Composer Samuel R. Hazo
Arr./Trans./Ed.
Grade 3.5
Important Ranges Trumpet 1: A6
Special Contralto Clarinet, String Bass, extensive percussion section

Requirements
Samuel R. Hazo is a well-known composer among band directors and has served almost as much time
composing as he has teaching. He is extremely responsive to the world around him and has been commissioned
to write many works as memorials to large events including the Sandy Hook shooting in Newtown, CT and the
impact of Hurricane Sandy in 2012. This piece is actually one of those pieces, commissioned by a few high
schools in the northern New Jersey Area as a way to commemorate the damage done to the shores of New
Jersey by Hurricane Sandy. Hazo is also a skilled percussionist which is emulative in many of compositions,
featuring exciting and varied percussion parts.
The piece’s title comes from a quote from the composer’s father in which he stated the ocean off of the Jersey
Shore looks like “a zillion nickels”. This piece is a feature piece for the percussion section featuring simple but
soaring and interesting melodies in the woodwinds and brass. The challenge of the piece is reflected in the
expressive markings and articulation markings. The piece is in a traditional ternary form and is in a triple meter
that occasionally switches to a syncopated duple feel.
This piece has an extensive percussion scoring and will require extra practice with the director as a section. The
woodwind and brass parts are often quite unified which will result in the piece initially coming together quite
quickly. A bulk of the rehearsal time will be spent on balance as there are many sustained notes across the
ensemble while there is a rhythmically interesting part happening within a small section. This piece would be
best suited for a fine high school orchestra.

Criteria 1 2 3

scoring?
Title Moorside March
Composer Holst
Arr./Trans./Ed. Gordon Jacob
Grade 3.5 (M)
Length/Movements 4
Important Ranges 1st Cornet-highest C6
Special (opt. Eb Alto Clarinet)

Requirements
Gustav Holst was born in Cheltenham, England in 1874. His father taught him piano as a child, but even then
Holst suffered from neuritis in his hands, making long hours of practice difficult. Holst attended the Royal
College of Music, studied composition with Charles Stanford, and befriended Ralph Vaughan Williams. Around
this time, due to the neuritis in his right hand worsening, Holst switched his focus from the piano to the
trombone, which he had also played in his youth.10 During

and after college, Holst played trombone in
orchestras and after college, taught at several different schools. Holst began composing his most famous work,
The Planets, in 1914, and in 1920 began teaching theory and composition at the Royal College of Music. Holst
died in 1934.11
Moorside March was composed in 1928 for the British National Brass Band Championship and arranged for
wind band by Gordon Jacob in 1960.12 The

tempo at the beginning of the piece is Allegro, and the first theme
introduced uses six measure phrases, while the second theme uses more typical eight measure phrases. At
rehearsal L it is marked Con larghezza, which means broadly, and the final two measures are Allegro vivace.
There is a short Cornet solo midway through the piece, and later on a tenor sax solo overlapped with a
trombone solo and short tuba solo. The piece alternates between primarily quarter note and eighth note
sections and more lyrical half note and whole note sections, and generally the individual parts for each
instrument are straightforward.
10
LaceǰȱIanǯȱȃAȱBiograph¢ȱofȱGustavȱHolstǰȄȱŘŖŖŝǯȱhttpǱȦȦwwwǯgustavholstǯinfoȦbiograph¢Ȧindexǯphp
ǵchapterƽŗǯȱ 11
CummingsǰȱRobertǯȱȃGustavȱHolstǱȱBiograph¢ȱǭȱHistor¢ǯȄȱAllMusicǯȱAccessedȱOctoberȱřŗǰȱŘŖŘŖǯȱ
https://www.allmusic.com/artist/gustav-holst-mn0000099034/biography.
12
ȃMoorsideȱMarchǯȄȱWind Repertory Project, October 6, 2020. https://www.windrep.org/Moorside_March.
Moorside March- Gustav Holst 1 2 3

) )

choices?

choices?



instruments?)
Title Concertango
Composer Luis Serrano Alarcon
Arr./Trans./Ed.
Ensemble Wind Band, Jazz Trio.
Grade 4
Length/Movements 26:00/ 3 Movements
Publisher Piles
Important Ranges
Special Jazz Trio, Solo Alto Saxophone.

Requirements
Luis Serrano Alarcon is a living composer who has a long history of writing award winning pieces for the
whole spectrum of instrumental ensembles. At only forty-eight years old, Luis Alarcon has cemented himself
as one of the premier Spanish composers, conductors, and teachers in the world.
Luis Serrano Alarcon describes Concertango as a work of “fusion”.(Concertango, n.d.) Indeed, Concertango
is composed with the unusual pairing of Wind ensemble and jazz trio. This pairing, along with the solo Alto
sax, combine the traditional concerto form with traditional Spanish tango in a way that will be sure to excite
the performers and audience alike.
The major barrier to performing this piece lies in the Jazz trio and Solo Alto sax part. The whole piece is rated at
a level four while the Solo Alto part is rated at level six. If the ensemble does not have access to strong drums,
piano, standup bass, or alto sax players, the performance of this piece is not advised.

Form and Organization X Some subtle

- is there structure? structural
moments. Could
the piece? Think do with more
about phrases and variety.
motives?
Harmonic Structure - X Very engaging

Is the composer harmonic structure.
harmonic
choices? Is there
in those
choices?
Rhythmic Structure - Is X Different

the composer section explore
different
rhythmic
choices? Is there rhythmic riffs in
variety and interest interesting ways.
in those
choices?
Orchestration - Does XThe saxophone

the composition is front and
reflect
center for the
craftsmanship in
orchestration? Is entire time but
there a balance there is good back
between and forth
transparent and tutti relationships with
scoring? Is this
present between solo the whole group.
and group scoring?
Style - Is the work X The additional of
consistent in style? the Jazz trio gives
Does the notation
this piece a
intentions? consistent
improvisational
style that works
well.
Title Shrine of the Fallen
Composer Brian Balmages
Arr./Trans./Ed.
Grade 4
Publisher FJH Music
Important Ranges Highest notes for brass instruments are: Trpt 1: B above staff, Hn 1 : A above
staff Bari/Euph: D above staff
Special Contra Alto Clarinet, Contrabass Clarinet, String Bass, 4 part harmony
Requirements
Brian Balmages is a living American composer who is based in Baltimore, Maryland. He is currently the
Assistant Director of Bands and Orchestras at Towson university, and has been a staple in many educational
ensemble repertoire. He is also the Director of Instrumental Publications for The FJH Music Company, which
keeps his finger on the pulse for composing for the modern ensemble. When he is not teaching or composing, he
is conducting in ensembles throughout the US, Canada, Australia, and Italy. His compositions are used in many
performing groups, from beginning bands to professional orchestras.
Shrine of the Fallen was a commission by the Dauphin Community Band in Canada. The piece was written to pay
homage to the Ukrainian people in Dauphin, but to bring to light the civil unrest and violence that occurred in
Kiev in 2014. This piece tells the story of young soldier who dies on land in which he is unfamiliar. The folksong
Plyve Kacha and the Ukranian national anthem are utilized to show the struggle between the everyday person
and the government, but also the pride these individuals had for their country. The piece begins slowly, with
focus shifting from one soloist to another, as well as one chamber group to another. It then builds into a tutti
section, in which the two folk tunes counter one another, leading to the climax of the piece. The group slows into
a focus on the French horns, leading to most of the group to sing in 4-part harmony, asking “who will bury me?”
Shrine of the Fallen is heavily scored, including uncommon instruments such as contra alto and contrabass
clarinet, as well as a string bass. Given this instrumentation, it may be difficult for some groups to have all of the
required parts. The solo sections, as well as the counter melodic section, requires every individual to be
autonomous with their parts, but also be able to listen and balance with others. The singing at the end could be
challenging for groups that do not have experience in ear training, or have lowered confidence in their ability to
sing. The content and basis of this piece may also be emotionally difficult for some groups to process, and
should be kept in mind when programming.

Criteria 1 2 3

motives?

choices?

choices?

scoring?

Title Cyprian Suite
Composer Carol Barnett
Arr./Trans./Ed.
Grade 4

Important Ranges (concert pitches) High winds: highest note = Bb6, Clarinets: highest note = Eb6,
Saxophones: highest note = D6, Horns: highest note = G5, Trumpets: highest
note = G6 Low Brass: highest note = F4
Special
Requirements
Carol Barnett is a successful composer and flutist who graduated from the University of Minnesota. Barnett
has written an extensive amount of choral music, as well as pieces for wind bands and orchestras. Barnett
is also involved as “. . . a charter member of the American Composers Forum and has served on its
board.”4She has additional experience playing keyboard and singing backgrounds vocals for Ben Pena, a
Mexican guitar player. Barnett’s music is performed all throughout the country and internationally.5
Each of the four movements in the Cyprian Suite is inspired by a Cypriot folk song, since in 1999, Barnett
traveled to Cyprus where she studied Greek traditions and music. The first movement is titled “Servikos,”
which is a Serbian-style dance. The second is “Aya Marina,” which is about a mother praying to Saint
Marina to bring her daughter sweet dreams. The third, “Exomologhisis,” meaning
4
Carol Barnett, C\pUian SXiWe ( New York: Boose\ and Hawkes, 1999).
5
´Carol Barnett,µ Morning Star Music, (ECS).
“confession,” is about a man asking forgiveness from a priest for having love affairs. Lastly, movement
four, “Agapisa Tin,” is a mournful complaint of a man whose lover did not reciprocate his feelings.6
The first movement of Cyrprian Suite is playful with a dark undertone, brought out by the minor tonality.
The percussive nature of the first movement is established in the first eight measures, during which only
the snare drum and high toms are played. In the second, lullaby-esque movement, the 6/8 and 9/8 meter
help create a lilting flow. The dynamics remain quiet for nearly the entire piece, never exceeding a
mezzopiano, save for two measures. The quiet dynamics along with Barnett’s use of chromatic stepwise
motions help develop an ominous, mesmerizing sound, ultimately reflecting the dream-like story. The third
movement begins with trombones playing a stately melody, which is passed around between all the
instruments throughout the movement. The use of straight mutes on the trumpets throughout the
movement makes the sound of the ensemble brighter and more piercing. The rhytmic ostinato that begins
the movement returns at the end, bringing the movement to a close.
The final and longest movement, “Agapisa Tin,” is set primarily in 7/8, the first appearance of an odd meter
in the piece, and begins with a quiet, reserved sound. After the percussion’s soli introduction of a driving
rhythmic motive, the music begins to build dramatically until the end. This movement alternates primarily
between a polyphonic call-and-response texture and homophony.
6
Carol Barnett, C\pUian SXiWe.
Title Dusk
Composer Steven Bryant
Arr./Trans./Ed.
Grade 4
s
Important (Brass ranges) Trumpet 1: E4-Bb5, Trumpets 2 and 3: Bb3-G5, Horn 1 and
Ranges
2: Bb3-Ab5, Horns 3 and 4: Bb3-G5, Trombones: C2-F4, E
uphonium:
Ab2-F4, Tuba: Ab1-Eb3
Special Optional harp
Requirements
Steven Bryant is a well-known, active American composer who writes for wind ensembles, orchestras, and
chamber groups. He studied at the Juilliard School, University of North Texas, and Ouachita Baptist
University. His music has been performed across North America, East Asia, and Europe.7 Bryant, along
with acclaimed composers, Eric Whitacre, Jonathan Newman, and James Bonney, is a founding member
of the BCM International, a group of stylistically different composers dedicated to publishing more wind
band repertoire.8
In the words of Bryant, “This simple, chorale-like work captures the reflective calm of dusk,
paradoxically illuminated by the fiery hues of sunset. I'm always struck by the dual nature of this
7
SWeYen BU\anW, DXVk (NeZ YRUk: Hal LeRnaUd, 2004).
8
ChaUlie BlancR, ´BCM InWeUnaWiRnal and IWV RRle in Whe CRnWemSRUaU\ Wind Band.µ
experience, as if witnessing an event of epic proportions silently occurring in slow motion. Dusk is
intended as a short, passionate evocation of this moment of dramatic stillness.”9
Dusk incorporates divisi parts in the flutes, oboes, bassoons, clarinets, saxophones, and trumpets, horns,
euphoniums, and tubas. The piece begins legato and features a solo clarinet, which introduces the
primary melodic motive. The music then builds to a dramatic climax during which all the instruments play
together at a fortississimo dynamic, painting an aural picture of the “fiery hues of sunset.” The music then
peacefully resolves, dropping the heavier brass parts and concentrating the bulk of the melodic and
harmonic content on the upper woodwinds and clarinets.10

9
SWeYen BU\anW, DXVk. .
10
See NRWe 9.
Title Variations on a Korean Folk Song
Composer John Barnes Chance
Arr./Trans./Ed. N/A
Grade 4
Length/Movements 7:21/1 Movement/Five Variations
Publisher Boosey & Hawkes, Inc.
Important Ranges Trumpets: Ab5, Baritone: F4, Trombone: F4
Special Eb Clarinet, Bb Contrabass Clarinet

Requirements
John Barnes Chance was born November 20, 1932 in Beaumont, Texas. He died August 16, 1972 in Lexington,
Kentucky. Chance composed pieces for concert band, orchestra, and choir. Chance’s main instrument was piano,
he began taking lessons at the age of nine. He studied composition at the University of Texas, Austin. Chance’s
Symphony 1 was premiered at his graduation. In 1956-57 Chance was honored with the Carl Owens Award for
student composition. He began to play timpani for the Austin Symphony Orchestra. Later, he became an
arranger for the Eighth U.S. Army Band. After leaving the army, Chance was the composer-in-residence at the
Ford Foundation Young Composers Project in Greensboro, North Carolina from 1960-1962. Chance taught at
the University of Kentucky in 1966 until his death in 1972.
While serving in Seoul, South Korea, Chance came across a Korean folk song called “Arirang” which was based
on the pentatonic scale. This was the inspiration for his composition, Variations on a Korean Folk Song. This
piece won the Ostwald Award after its premiere in March 1966 at the American Bandmasters Association
convention.
Variations on a Korean Folk Song is based on the pentatonic scale. Many Western ensembles are not used to
playing in this style or with these pitches so this may be challenging. The instrumentation for the piece calls for
an Eb clarinet as well as a Bb contrabass clarinet. The piece is marked as Con moto, quarter equals ninety- six at
the beginning. At measure thirty-eight it is marked Vivace, quarter note equals 132. Measure seventy-eight, the
piece is marked Larghetto, quarter note equals seventy-two. Measure 116, is marked Allegro con brio, quarter
note equals 144. The piece remains in 3/4 throughout.

Criteria 1 2 3
Variations on a Korean Folk Song (poor) (average (excellent
) )





intentions?
Title One Life Beautiful

Composer Julie Giroux
Arr./Trans./Ed.
Grade 4
Publisher Musica Propria
Important Ranges Tpt 1: Ab5, Tpt 2: C5, Tpt 3: A4, Hn 1: G5, Hn 2: G5, Hn 3: F5 , Hn 4: F5, Tbn 1:
Gb4, Tbn 2: Db4, Tbn 3: Bb3, Bass Trombone: Gb3, Euph: F4, Tuba: C3
Special Bass Clarinet 1 & 2, Bb or Eb Contrabass Clarinet OR Contrabassoon, Bass

Requirements trombone, in addition to Trombone 1, 2, and 3, Contrabass 1 & 2 (1 is optional)
Julie Giroux is an emmy award winning composer of film, television, video game, and wind symphony music.
She is an American composer that was born in Fairhaven, Massachusetts, and was raised in Phoenix, Arizona
and Monroe, Louisiana. She received her education from Louisiana State University and Boston University,
where she studied composition under John Williams, Bill Conti, and Jerry Goldsmith.5 More information about
Giroux and her accomplishments can be found on her website w ww.juliegiroux.org.
One Life Beautiful is dedicated to Heather Cramer Reu, who was tragically killed by a drunk driver. The title
works as a double-entendre, which in one sense is referring to the person this work is dedicated to as in “one
life” that was beautifully lived, while the other sense is a direct observation concluding that having only one life
is what makes life so sacred, tragic, and so very precious.6 This is reflected in the impressionistic freestyle of the
work. The work purposely overlaps chords to create a rise and sink effect that contributes to the large peaks
and valleys Giroux implements. The work is diatonic and is tonally centered in Db major. A frequent harmonic
progression heard throughout the passage is a Db major chord moving to an F minor chord.
Although One Life Beautiful keeps brass ranges and technical demands at a reasonable level, the work requires
a high level regarding the sensitivity of both players and the conductor to create a lyrical and delicate
interpretation. The ability to play both dynamics and tempos expressively with subtle changes is essential to the
work. Additionally, expressive soloists are needed on flute, oboe, trumpet, and horn.
5
Julie Giroux, “All About Julie Giroux,” Julie Giroux, n.d., h
ttps://www.juliegiroux.org/bio-discs.
6
Julie Giroux, “One Life Beautiful by Julie Giroux,” Julie Giroux, n.d., h
ttps://www.juliegiroux.org/one-life
beautiful.
Criteria 1 2 3



scoring?
Title Seis Manuel (from Islas y Montañas)
Composer Shelley Hanson
Arr./Trans./Ed.
Grade 4
Publisher Boosey & Hawkes
Important Ranges Highest notes for brass instruments are: Trpt 1: G above staff, Hn 1: G above
staff, Trmb 1: E above staff, Baritone: D above staff
Special Harp / Synthesizer, English Horn, Contra Alto Clarinet , Alto

Requirements
Clarinet Clarinet, trombone, and Low Brass features
Shelly Hanson is a living American composer, based in Minnesota. She currently serves as the Director, and
is also the founder of, the Wind Symphony at Macalester College. She is a conductor, and has had her
arrangements performed all over the globe. Her principal instrument is clarinet, which has aided her
compositions, including Seis Manuel. She graduated from Michigan State University with her Ph.D. in clarinet
performance, music literature, and music theory. She has been heavily influenced by folk music of many
different countries and areas.
Seis Manuel is the third of four movements from a larger work entitled Islas y Montañas, meaning islands and
mountains. This work was inspired by dances and musical styles from rural areas of Puerto Rico, Seis Manuel
being inspired by the Seis dance. Seis, meaning six, is based off of the Jíbaro, which is used in the mountains to
celebrate a successful coffee harvest. In present day, Puerto Ricans listen to Jíbaro music around Christmas
due to the joy and pride represented by this kind of music. The joy is reflected in this piece, with a lively
beginning focusing on the clarinet, and later on in the piece the low brass, both instruments that are important
in military bands in Puerto Rico. The next section of the piece is softer, with a clarinet solo, which develops
into a climatic section with the rest of the ensemble playing to bring attention to the many melodic ideas. The
ending of the piece is a decrescendo into the high woodwinds playing a short run.
Seis Manuel has extended instrumentation compared to the typical wind ensemble, but the parts can be
covered without having access to them. This piece has a heavy emphasis on counter melody, as well as solos,
which can be challenging if the ensemble does not have confident players in the sections. The style of the piece
can also pose a challenge in the percussion, due to the complex Latin rhythms.

Mus 412 Repertory Project

Uploaded by

Copyright:

Available Formats

Mus 412 Repertory Project

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Mus 412 Repertory Project

Uploaded by

Copyright:

Available Formats

MUS_CLAS 412 Instrumental Methods and Conducting ​Sunderman

Conservatory of Music ​⬥ ​Fall 2020

Instrumental Repertory Project

Maryland Music Educators Association Selected Music Lists

Florida Orchestra Association Concert Music List

University Interscholastic League Prescribed Music List

Louisiana Music Educators Association Band Prescribed Music List

Music Resellers and Rental Houses

Important Clinics, Conferences, and Resources for New Music

1. Pennsylvania Music Educators Association (PMEA)

Important/Influential Wind Bands, Orchestras and Conductors in our field

Orchestras (including influential scholastic orchestras in secondary and higher education)

Orchestral Conductors (including influential scholastic orchestral conductors in secondary and

1. University of North Texas Wind Symphony

Notable Reference Books for Wind Band and Orchestra Music

Form and Organization – i​ s there structure? Are there clear rises

Harmonic Structure - ​Is the composer intentional with their

Rhythmic Structure - ​Is the composer intentional with their

Orchestration - ​Does the composition reflect craftsmanship

Composer Soon Hee Newbold

Ensemble String Orchestra

Publisher FJH Music Company

Important Ranges No shifting

-annotation by Bridget Haines

Orchestration -​ Does the composition reflect craftsmanship in orchestration? Is there a X

Composer Lauren Bernofsky

Ensemble String Orchestra

Publisher FJH Music

-annotation by Allie Charney

Composer Paul Desmond, Dave Brubeck Quartet

Arr./Trans./Ed. Bob Cerulli

Ensemble String Orchestra

Length/Movements Ca. 2:40

Publisher Alfred Publishing

Special Drum Set

-Annotation by Eric Gabriel

Rhythmic Structure ​- Is the composer intentional with their rhythmic choices? Is X

Title Goin’ To Boston

Composer American Folksong

Arr./Trans./Ed. Arr. Carrie Lane Gruselle

Ensemble String Orchestra

Publisher Alfred Music Publishing

-annotation by Brian Buechele

Harmonic Structure - ​Is the composer intentional with their X

Rhythmic Structure ​- Is the composer intentional with their X

Orchestration ​- Does the composition reflect craftsmanship in X

Style ​- Is the work consistent in style? Does the notation match X

Title The Sound of a Sound

Composer Richard Meyer

Ensemble String Orchestra

Publisher Highland/Etling Publishing

Special Requires pizzicato glissando, rapid gliss on fingerboard, pizzicato, Bartok

-annotation by Brian Buechele

Form and Organization ​- is there structure? Are there clear rises X

Harmonic Structure - ​Is the composer intentional with their X

Rhythmic Structure ​- Is the composer intentional with their X

Orchestration ​- Does the composition reflect craftsmanship in X

Style ​- Is the work consistent in style? Does the notation match X

Composer Isaac Albéniz

MUS_CLAS 412 Instrumental Methods and Conducting Sunderman

Conservatory of Music ⬥ Fall 2020

Form and Organization – i s there structure? Are there clear rises

Harmonic Structure - Is the composer intentional with their

Rhythmic Structure - Is the composer intentional with their

Orchestration - Does the composition reflect craftsmanship

Orchestration - Does the composition reflect craftsmanship in orchestration? Is there a X

Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is X

Harmonic Structure - Is the composer intentional with their X

Rhythmic Structure - Is the composer intentional with their X

Orchestration - Does the composition reflect craftsmanship in X

Style - Is the work consistent in style? Does the notation match X

Form and Organization - is there structure? Are there clear rises X

Harmonic Structure - Is the composer intentional with their X

Rhythmic Structure - Is the composer intentional with their X

Orchestration - Does the composition reflect craftsmanship in X

Style - Is the work consistent in style? Does the notation match X

Form and Organization – i s there structure? Are there clear rises X

Harmonic Structure - Is the composer intentional with their X

Rhythmic Structure - Is the composer intentional with their X

Orchestration - Does the composition reflect craftsmanship X

Orchestration - Does the composition reflect craftsmanship in orchestration? Is there a X

Rhythmic Structure - Is X Little variety

Orchestration - Does X Really nice

Style - Is the work X Consistent

Important Violin I, II, and III: G3-D6 Cello: D2-G3

Orchestration - Does the composition reflect craftsmanship in orchestration? Is there a X

Form and Organization - is there structure? Are X

Harmonic Structure - Is the composer intentional X

Orchestration - Does the composition reflect X

Style - Is the work consistent in style? Does X

Publisher Lckǯ Mic Liba

Holberg Suite- Edvard Grieg 1 2 3

Form and Organization - Is there structure? Are there clear 3

Harmonic Structure - Is the composer intentional with their 3

Rhythmic Structure - Is the composer intentional with their 3

Style - Is the work consistent in style? Does the notation 3

Impact - Is the piece memorable or distinct in some way? Does 3