Composition __________________

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Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Form
Section 1 A Section 1 B
Phrase Structure

Tempo
Quarter Note=112
Dynamics
mf (flute), p (clarinet, alto sax., bells, triangle)
Meter/Rhythm
3/4 time
Tonality
C Lydian Harmonically Unsettled
Harmonic Motion
Outlines a I6 (GM)
Orchestration
In: Flute, Clarinets, Alto Saxophone, Bells, Triangle In: Flute, Clarinets, Alto Sax, Bells, Triangle, Snare Drum, and Susp. Cym.
General
Character Floatingly, Smooth, Ethereal Smooth, Connected
Means for
Expression Tied notes nteed to be well supported so that the pitch and tone quality
remain unchanged for the duration. There must be life and energy to the
The phrasing across the bar lines in the clarinets will add continuality to the sustained notes as the melody in the flute and oboe line rises and falls. The
phrasing. The percussion effects are subtle and add color. cresendo in m. 15 and 16 leads into the next section.
Conducting
Concerns

Smooth pattern, small pattern to show dynamics; flutes have the melody Cresendo in m. 14; cue percussion and clarinet entrance on beat two
Rehearsal
Skips prominent in melodic line; alto saxophone and clarinet add diagonal
Consideration Melody presented in flute and oboe; elision with section B of theme; mainly harmonies; bells and triangle add color to accompaniment; harmonically
stepwise motion unsettled: A Dorian, B-flat Lydian, A flat Lydian, D-flat Lydian (implied);
tritone relationship to G Lydian arrival in m. 17

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Measure # 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36
Form
Section 2 A Section 2 A
Phrase Structure

Tempo

Dynamics
mf mp (Trumpet) p (everyone else) mf, mp
Meter/Rhythm

Tonality
G Lydian D-flat Lydian
Harmonic Motion
I6 I6
V (D Major scale) I I I I I I I I I (DM) I (DM) (DM) (DM)
Orchestration
Fl, Oboe, Cls A. Sax, Tpts, F. Horn, Low Brass, Bells, Sus cym. Cls, Alto Sax, Trumpets, low Brass, Bells, Triangle, Claves, Tamb.
General
Character Smooth, Confident, Full Expressive, Smooth
Means for
Expression The full ensemble is playing in this section, and attention needs The trumpets should enter softly but with great confidence. The trumpet melody line
to be put towards tuning and tone. The melody line should should come out, but they still need to play with good tone and fit into each other's sound.
come out and the harmony should support it. The cresendo and The harmony lines need to enter smoothly on beat 2, and the moving quarter notes in the
decresendo in m. 12-24 add musical expression. clarinet line can come out. The percussion lines add color.
Conducting
Concerns Dyanmics are at mf, so pattern is a little bit larger. Cue breath
marks at the end of m. 18 for flutes and on beat 3 of m. 20 for Melody is in the trumpet line; cue them in and face them. Harmony all comes in on beat
everyone. Show the cresendo and decresendo from m. 21- m. two of m. 25 (clarinets, a. sax, l. brass and l. woodwinds, and bells). Cue the triangle on
24. beat 2 of m. 28.
Rehearsal
Consideration Stepwise melody now in oboe, clarient, horn, tenor saxopone, Stepwise melody in trumpet; clarinet has accompaniment pattern similar to mm. 1-9; four
and bells; G major triads in low brass and low woodwinds, measure extention in D major moves upward from trumpet, alto saxophone, and clarient
trumpet, alto saxophone, and flute to flute, oboe, and clarinet; claves and tambourine add rhythmic element.

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Measure # 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54
Form
Transition A' Section 3 A
Phrase Structure

Tempo
poco rit. A tempo Quarter Note=112
Dynamics
mf p mf
Meter/Rhythm

Tonality
E-flat Major B-flat Lydian
Harmonic Motion
I III6 I VI I III6 III III III III I I I I I I I I
Orchestration
Fl., Ob., Cls., A. Sax., Tpts., F. Horn. L. Brass, Bells, Snare Drum, Claves, Tamb. Fl., Ob., Cls., A. Sax., L. Brass, Bells, Triangle
General
Character Full, Smooth, Flowing Expressive, Connected
Means for Check the balance of the four-part chords. The dynamics add musical expression
Expression and interest in the accompianment parts. The Claves and Tambourine add color.
The low brass have the melody, and it should not only come out, but the rest of The first note of the alto saxophone should be played with great
the ensemble need to anchor down to it. The rit. in m. 45 should be played confidence. The clarinets and bass line in octaes remain soft and should
musically and in style. enter exactly on beat two.
Conducting Melody is in the Low Brass and Low Woodwinds, and they come in on beat one.
Concerns Harmony all comes in on beat 2, and is accented. However, make sure that they
decresendo after the initial attack, and the accent needs to be shown in style Back to A Tempo. Melody is in the Alto Sax, and so make eye contact
with your conducting. Show the decresendos with your left hand. Rit. and with them to establish the tempo. The flutes and oboes join the melody
decresendo in m. 45-46. line in m. 41.
Rehearsal
First phrase of stepwise melody in low brass and woodwinds with slight rhythmic
Consideration alteration; four-part harmonies clarinet, horn, tenor saxophone, and bells used to Return of section A; stepwise melody in alto saxophone with flute added
slow forward motion; six measures with no percussion, then snare drum, claves, to second phrase
and tambourine help with poco rit, in mm. 44-46

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Measure # 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70
Form
Section 3 B Section 4 A
Phrase Structure

Tempo

Dynamics
mf mp mf f mp
Meter/Rhythm

Tonality
Harmonically Unsettled F Lydian
Harmonic Motion
I I V V VI ii V IV
Orchestration
Fl., Ob., Cls., A. Sax., Tpts., F. Hn., L. Brass, Bells, Trgl., S.D., B.D, Susp Cym Full Winds; Perc: Bells, Claves, Triangle, and Tamb.
General
Character Longingly, Smooth Full, Open, Connected
Means for
Expression
Lines passed between sections should have seamless transitons with no This section is the climax of the piece. It should be played full and open, but
gaps. The changes in dynamics add contrast and musical expression. still with good tone quality and style. Decresendo into m. 67 to add dynamic
Make sure that you can hear the bell line. contrast, and shape the four-bar phrases.
Conducting
Concerns
Dynamics are at mf, and you can be a little larger with your pattern. In m. 63, it is the loudest section of the piece with all parts in forte, and so
Decresendo in m. 58 to mp. Cue the bass drum and snare drum show this in your pattern. Show the decresendo in m. 66 into m. 67. m. 70
entrance in m. 61. There is a big cresendo in m. 62. cresendos into m. 71.
Rehearsal
Consideration Melody B in flute for two measures, then in trumpet for four measures,
then back to flute, oboe, clarinet, horn, and tenor saxophone for two Varied form of first two phrases from section A; tonally unsettled; F Lydian
measures

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Measure # 71 72 73 74 75 76 77 78 79 80
Form
Section 4 A
Phrase Structure

Tempo

Dynamics
mf (trumpets) p everyone else
Meter/Rhythm

Tonality
E-flat Lydian
Harmonic Motion
I I I I VI VI IV IV III III
Orchestration
Full Winds; Percussion: Triangle, Snare Drum, and Suspended Cymbal
General
Character Gentle, Connected, Expressive
Means for
Expression

This section has a trumpet solo, and should be reflective of the theme of the piece. It is much quieter than the last section, and attention to
musical expression is important.
Conducting
Concerns

The dynamics of the accompianment lines are at piano, and the trumpet solo is mf. After that, the dynamics are mp until the cresendo in m. 80
into m. 81. Cue the snare drum entrance on beat two in m. 79.
Rehearsal
Consideration Second phrase of section A melody in E-flat Lydian in trumpet (optional solo), followed by shortened section B melody in clarinet for two
measures, then trumpet for four measures with an overlap of the last two measures in flute, oboe, and clarinet; ends in G-flat Lydian with a
tritone relationship to C Lydian arrival in m. 81

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Measure # 81 82 83 84 85 86 87 88 89 90 91 92
Form
Closing Section
Phrase Structure

Tempo

Dynamics
mf, p
Meter/Rhythm

Tonality
C Lydian
Harmonic Motion
I I I I I I I I I I I
Orchestration
Full Winds; Percussion: Bells, Triangle
General
Character Gentle, Ethereal, Smooth
Means for
Expression
Those with the quarter notes should hold them full value, and as they release on beat two, the ethereal woodwind version returns. There should be no
gaps here or anywhere, as the tune is passed around the band. The final chord should be soft enough so that the bell part can easily be heard by
everyone. Musical expression should be shown in the melody, and the decresendo in m. 88 goes down to a piano dynamic on the last note.
Conducting
Concerns

The flutes have the melody and this section is significantly softer due to the instrumentation at m. 81. Show the decresendo in m. 88 and cue the bell solo
in m. 89. Release the last note in the style of the piece.
Rehearsal
Consideration Return to C Lydian with the harmonic movement through F and B-flat Lydian before returning to C Lydian; literal presentation of first phrase of section A
melody; second phrase varied with melodic line passed from trumpet 1 to bells to flute and oboe; second phrase of section A recalled by bell solo;
incomplete cadence in melodic line.

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 Composition __________________
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Measure #
Form

Phrase Structure

Tempo

Dynamics

Meter/Rhythm

Tonality

Harmonic Motion

Orchestration

General
Character
Means for
Expression

Conducting
Concerns

Rehearsal
Consideration

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