Mus 412 Repertory Project

MUS_CLAS 412 Instrumental Methods and Conducting
Sunderman Conservatory of Music w 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
education)
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 – is 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

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 piece? X
Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their harmonic choices? Is there variety and X
interest in those choices?
Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is there variety and X
Orchestration - Does the composition reflect craftsmanship in orchestration? Is there a balance X
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/Movements 2:30
Publisher FJH Music
Important Ranges Violin 1 and 2: E4-B5, Violin 3 (or viola): A3-D5, Viola: B3-D6 Cello: 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
15
received her doctorate in composition, studying under Lukas Foss. Bernofsky went on to teach at the
Peabody Institute and Interlochen Center for the Arts, and she continues to guest-conduct and lead
16
clinics at schools and regional string festivals.
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
17
music culture, but also reflected [her] own compositional style.” After reflecting on the music that
15
La e Be f k , La e Be f k :C m e (2020).
16
F a k Hacki , La e Be f k , The FJH M ic Com an (FJH).
17
La e Be f k , Wi ed (F La de dale: FJH, 2013).
she personally enjoys playing, Bernofsky recalls that she simply loves making lots of sound with her
18
violin on quick, repeated notes. These “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
19
intensity.
-annotation by Allie Charney
18
See N e 14.
19
See N e 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 the X
piece? Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their harmonic choices? Is there X
variety and interest in those choices?
Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is there 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?

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 and X
falls throughout the piece? Think about phrases and motives?
Harmonic Structure - Is the composer intentional with their harmonic X
Rhythmic Structure - Is the composer intentional with their rhythmic 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 the 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 pizzicato,
Requirements 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
Publisher Everything String
Important Ranges Requires shifting in upper strings.
Special Utilizes following string techniques: glissandi, harmonics, tremolo, trills, pizzicato,
Requirements 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.
https://www.britannica.com/topic/Asturias-by-Albeniz.
Criteria 1 2 3
X

X

X

orchestration? Is there a balance between transparent and tutti X
X

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

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 structure

is there structure? Are with clear direction.
there clear rises and falls

throughout the piece?
Think about phrases and
motives?
Harmonic Structure - Is X Simple Harmonic

the composer intentional structure. Not the
with their harmonic
choices? Is there variety most interesting but
and interest in those still nice.
choices?
Rhythmic Structure - Is X Little variety within

the composer intentional movements.
with their rhythmic

choices? Is there variety
and interest in those
choices?
Orchestration - Does the X Really nice

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

scoring?
Style - Is the work X Consistent within

consistent in style? Does movements. Variety
the notation match the
composer’s intentions? between movements.

Title Canon and Gigue
Composer Johann Pachelbel
Arr./Trans./Ed. Arr. Max Seiffert
Ensemble String Orchestra with harpsichord
Grade 4
Publisher Luck’s Music Library
Important Ranges Violin I, II, and III: G3-D6 Cello: D2-G3
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
1
well as for his chorale preludes and fugues.
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
2
contemporaries . . .” Today, “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
Ba il Smallman, and Wend Th m n, Pachelbel, J hann, The O fo d Com anion o M ic (O f d: 2011).
2
E ald N l e, and J hn B , "Pachelbel [Bachelbel], J hann," G o e M ic 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
3
position.” The 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
E ald N l e, and J hn B .
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

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 there X
clear rises and falls throughout the piece? Think about
phrases and motives?
Harmonic Structure - Is the composer intentional with X
their harmonic choices? Is there variety and interest in
those choices?
Rhythmic Structure - Is the composer intentional with X
their rhythmic choices? Is there variety and interest in
those choices?
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 the X
notation match the composer’s intentions?

Title Holberg Suite
Composer Edvard Grieg
Arr./Trans./Ed.
Grade 5
Length/Movements 20:00/5 movements
Publisher L ck M ic Lib a
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 g ade i ch l beca e he a i e e ed i a hi g he ha ic G ieg cle a i li i
i i ed he G ieg fa il a d iced Ed a d G ieg a i de 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
4 About Edvard Grieg Grieg Museum Kode Art Museums and Composer Homes. Accessed November 1, 2020.
https://griegmuseum.no/en/about-grieg.
5 Brensilver David Edvard Grieg Biography &amp History AllMusic Accessed November 1 2020
https://www.allmusic.com/artist/edvard-grieg-mn0000198512/biography.
Holberg Suite- Edvard Grieg 1 2 3
Form and Organization - Is there structure? Are there clear rises 3

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 match 3

the composer s intentions
Impact - Is the piece memorable or distinct in some way? Does it 3

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

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
Publisher Boosey and Hawkes
Important Ranges Violins: G#3-A6, Viola: D2-G#3, Cello: F#2-C#4 Bass: E2-E4
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
20
in occasional concerts at the camp.
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
L b S , Pa e Haa : Ja e M Ta e ed S de , M ic gica A a (B : Re ea ch Ga e, 2015).
21
Haas died in the gas chambers.” Remnants of the original score were later found by Ancerl, the
22
music director who survived the Holocaust, then restored and edited by Lubomir Peduzzi.
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
23
leaps in this piece make it a virtuosic selection, best played by experienced instrumentalists.
21
L b i Ped i (A .), S d (B e a d Ha e , 1943).
22
See N e 17.
23
See N e 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
(poor)
(average)
(excellent)
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

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
X

X

X

X

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 - Bb

Requirements 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)
those choices?
those choices?

Title Millennium
Composer Richard Meyer
Arr./Trans./Ed.
Ensemble Symphony Orchestra
Grade 3 (ME)
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.
6Richa d Me e Com o e A ange Acce ed No embe 1, 2020. https://www.hebu-

music.com/en/musician/richard-meyer.600/.
Millennium- Richard Meyer 1 2 3




he com o e in en ion

make a statement?

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
(poor)
(average)
(excellent)

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 an

is there structure? Are engaging
throughout the piece? melodic/rhythmic
Think about phrases and line. The piece is built
motives? with clear moments of
intensity and sonority
that make it a very
compelling listen.

Harmonic Structure - Is X Simple but effective

the composer intentional harmonic structure.
with their harmonic

choices?
Rhythmic Structure - Is X The rhythm keeps

the composer intentional this piece driving. The
with their rhythmic
choices? Is there variety composer adds
and interest in those interest with
choices? articulation and
orchestration.

Orchestration - Does the X Good variety in

composition reflect orchestration that
craftsmanship in
orchestration? Is there a features many groups
balance between within the ensemble.
transparent and tutti
scoring? Is this present
scoring?
Style - Is the work X Consistent with

consistent in style? Does Danzon Style


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, expansive
Requirements 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

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. https://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

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 - Crash

Requirements 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)
those choices?
those choices?

Title The Willows of Winter
Composer BJ Brooks
Arr./Trans./Ed.
Grade 3
Publisher Grand Mesa Music
Important Ranges (Clarinets and Horns feature their lower registers) Clarinet 1: F3-A5 Clarinet
2: F3-F5 French Horn: E4-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
11
adjudicates concert ensembles and marching bands across the Southwest.
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
12
was inspired simply by improvising at a piano.
11
B a :B , BJ, I e a a S ce f C e a M c (2011).
12
R c a d M e , a d La B c e , T eW fW e , Teaching M ic Th gh Pe f mance in Band (C ca : GIA
P b ca , 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
13
piece, Brooks “. . .makes use of nonharmonic tones, especially suspensions at cadences.” The
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
14
the piece and, if played confidently, contrasts nicely to the full sound of the band.
13
R c a d M e , a d La B c e , Teaching M ic Th gh Pe f mance in Band.
14
BJ B , The Will f Win e (G a d Me a, 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/ James Swearingen is an arranger who is known for his
marching arrangements. https://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)
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, inc d g Ed F a e e for string quartet,
which premiered in 2005 at Gettysburg College.13
Star Ship, or Hoshi no Fune, 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 Biography. yukikonishimura.com. Accessed November 1, 2020.

http://yukikonishimura.com/spring/english/title_e.html.
14 Star Ship: Program Notes. Southern Music Company.
Star Ship- Yukiko Nishimura 1 2 3




the composer’s intentions?

make a statement?


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
(poor)
(average)
(excellent)

Title A Symphonic Portrait
Composer Irving Berlin
Arr./Trans./Ed. Hawley Ades
Ensemble Wind Ensemble
Grade 3.5 (M)
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 s Ma S Ia Berlin generally learned music by ear, and continued to write his
a c c A a Ra Ba , 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- T
B L S B a measure 19, Sa W M c a A a Ra Ba a
mm101 Ea Pa a a W C a a and G B A ca a
There are several sections where the entire ensemble or large sections of the ensemble are homorhythmic I
rare for certain instruments have unique or isolated parts compared to the rest of the ensemble, such as in the
A a Ra Ba c a a 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.
7Maslon Laurence Overture Irving Berlin Biography Accessed November 0 0

https://www.irvingberlin.com/overture.
8 Irving Berlin Encyclopædia Britannica Encyclopædia Britannica, inc., September 18, 2020.
https://www.britannica.com/biography/Irving-Berlin.
9 Irving Berlin Biography com A E Networks Television June 0 0
https://www.biography.com/musician/irving-berlin.
Symphonic Portrait- Irving Berlin 1 2 3





make a statement?

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

Title Moorside March
Composer Holst
Arr./Trans./Ed. Gordon Jacob
Grade 3.5 (M)
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.
10Lace Ian A Biograph of Gustav Holst http www gustavholst info biograph index php chapter
11Cummings Robert Gustav Holst Biograph Histor AllMusic Accessed October
https://www.allmusic.com/artist/gustav-holst-mn0000099034/biography.
12 Moorside March Wind Repertory Project, October 6, 2020. https://www.windrep.org/Moorside_March.
Moorside March- Gustav Holst 1 2 3





make a statement?

Title Concertango
Composer Luis Serrano Alarcon
Arr./Trans./Ed.
Ensemble Wind Band, Jazz Trio.
Grade 4
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? Are structural moments.
throughout the piece? Could do with more
Think about phrases and variety.
motives?
Harmonic Structure - Is X Very engaging

the composer intentional harmonic structure.
with their harmonic

choices?
Rhythmic Structure - Is X Different section

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

composition reflect front and center for
craftsmanship in
orchestration? Is there a the entire time but
balance between there is good back and
transparent and tutti forth relationships
scoring? Is this present with the whole group.
scoring?
Style - Is the work X The additional of

consistent in style? Does the Jazz trio gives this
composer’s intentions? piece a consistent
improvisational style
that works well.

Title Shrine of the Fallen
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
(poor)
(average)
(excellent)

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
4
has served on its board.” She 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
5
and internationally.
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 p ian S i e (New York: Boose and Hawkes, 1999).
5
Carol Barnett, 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
6
feelings.
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 p ian S i e.
Title Dusk
Composer Steven Bryant
Arr./Trans./Ed.
Grade 4
Important Ranges (Brass ranges) Trumpet 1: E4-Bb5, Trumpets 2 and 3: Bb3-G5, Horn 1 and 2:
Bb3-Ab5, Horns 3 and 4: Bb3-G5, Trombones: C2-F4, Euphonium: 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
7
Baptist University. His music has been performed across North America, East Asia, and Europe.
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
8
publishing more wind band repertoire.
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
S e en B an , D k (Ne Y k: Hal Le na d, 2004).
8
Cha lie Blanc , BCM In e na i nal and I R le in he C n em a Wind Band.
experience, as if witnessing an event of epic proportions silently occurring in slow motion. Dusk is
9
intended as a short, passionate evocation of this moment of dramatic stillness.”
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
10
bulk of the melodic and harmonic content on the upper woodwinds and clarinets.
9
S e en B an , D k..
10
See N e 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)
those choices?
those choices?

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 trombone,

Requirements 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 www.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., https://www.juliegiroux.org/bio-discs.
6
Julie Giroux, “One Life Beautiful by Julie Giroux,” Julie Giroux, n.d., https://www.juliegiroux.org/one-life-
beautiful.

Criteria 1 2 3
X

X

X

X

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 Clarinet
Requirements
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.

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

Title Havendance
Composer David Holsinger
Arr./Trans./Ed.
Grade 4
Publisher TRN Music Publisher
Important Ranges Euph: C#5, Clar: Upper range fast ostinato, Fr. Horns: Upper register almost full time
Special Piccolo, Eb Soprano Clarinet, Eb Alto Clarinet, Auxiliary Percussion

Requirements
David R. Holsinger was born on December 26th, 1945 and is a conductor and music educator in the South-Eastern
United States. Over the years, Holsinger has held a significant amount of honors with the Phi Beta Mu
International Band Fraternity and has been recognized by Women Band Directors International for his continued
support of women band directors. Holsinger studied music education at Central Methodist University and
composition at The University of Kansas where he honed his unique style of music writing. He is known to include
vigorous rhythm and tempi, exuberating melodies, and lasting effect in his writing.
Havendance was organized over the span of 20 years for Holsinger’s daughter; an aspiring ballerina. Inspired by
her consistent dancing and childish movements, Holsinger collaborated with Claude T. Smith to compose music
– including Havendance – for the North Central Missouri honor band. The piece includes a few key changes, high
and energetic horn parts, and interesting metric modulations. In style with Holsinger’s other compositions, he
also includes polyrhythm and off-beat percussion peppered throughout the score.
As previously mentioned, the French Horn parts are exhilarating and challenging. High woodwinds are challenged
with interlocking rhythmic ostinato that perpetuate during the recurring main theme. Trombones are given
supporting chromatics and walking basslines along with the tubas. The percussion section features many timpani
interludes, off-beat auxiliary percussion, and conversation-like rhythmic patterns.

Criteria 1 2 3

scoring?

Title O Magnum Mysterium
Composer Morten Lauridsen
Arr./Trans./Ed. H. Robert Reynolds
Grade 4
Publisher Peer Music Classical
Important Ranges Trmbn 1: F4
Special Bass Clarinet, very little percussion

Requirements
Morten Lauridsen is one of the more prominent secular choral composers of the 20th century. Lauridsen is widely
known for six large works in the American choral repertoire cycle: Les Chansons des Roses, Madrigal, Mid-Winter
Songs, Cuatro Canciones, A Winter Comes, and Lux Aeterna – many pieces of which are familiar to many music
educators. Lauriden’s profound and excellent work has been recognized with many American Music awards and
is honored with arrangements for wind band.
Much like the work of Frank Ticheli, O Magnum Mysterium relies heavily on rich, consonant, and smooth chordal
progressions to give hope to the listener. Often programmed in the Winter, the piece speaks to the profound inner
joy and peace during the holiday season. As characteristic of many of Lauridsen’s works, the piece offers many
suspensions and very intentional dissonances in specific locations.
High woodwinds – particularly clarinets – have many ties and expanded phrases, leaving little room for breathing.
Stagger breathing is one of the main challenges in most of the instruments in this piece. Another large challenge
can be the critical importance of honoring the softer dynamics; enjoying the quieter ends of the piece in order to
exaggerate and thrive during the louder themes. Clear intonation and tone color are crucial to the success of this
piece.

Criteria 1 2 3

scoring?

Title Paintings
Composer William Owens
Arr./Trans./Ed.
Grade 4
Length/Movements 10:00 / 5 Movements
Important Ranges Highest Notes for Brass Instruments are: Tpt 1: D6, Tpt 2: G5, Tpt 3: G5, Hn 1: G5, Hn
2: F#5, Hn 3: F#5, Hn 4: F#5, Tbn 1: F4, Tbn 2: F4, B Tbn: C4, Euph 1: F4, Euph 2: F4,
Tuba: F3
Special
Requirements
William Owens is a seasoned music educator and active composer, clinician, and conductor throughout the
United States and Canada. He is a 1985 graduate of Vandercook College of Music and the recipient of numerous
awards and grants for composition. In 2014, he was recognized by the Texas Bandmasters Association as the
Feature Composer and named Distinguished Alumnus by his Alma Mater.11 More information about Owens and
his accomplishments can be found on his website www.williamowensmusic.com.
Paintings is a programmatic five-movement piece that portrays a series of colorful paintings. The movements
include Prelude, The Sultan of Morocco, Birds in Landscape, Catherine the Great, and A Flemish Countryside.12
Owens works to bring these paintings to life by including a full array of styles all in one work. The work
changes keys throughout the different movements but stays within three sharps and flats for key of C
instruments. There are also a variety of compositional techniques present to teach about, such as a fugue-like
fanfare in the first movement, a march in the fifth movement, and call and response throughout the piece.
The technical and musical demands range between movements. Ensembles may select specific movements to
perform or may choose to perform all. The music is thickly scored which should provide comfortability for
many performers but will require clear rhythmic and expressive understanding for the different soloists,
including trumpet, flute, and alto saxophone. Although the ranges are high in this piece, the overall tessitura is
fair for most performers, with Tpt 1’s highest note tessitura being an A above the staff.
11
Owens, William. “Bio.” William Owens, n.d. http://www.williamowensmusic.com/bio.html.
12
“Concert Band Music: Paintings.” FJHmusic.com | Concert Band Music | Paintings, n.d.
https://www.fjhmusic.com/band/b1468.htm.
Criteria 1 2 3
X

X

X

X

Title An American Elegy
Composer Frank Ticheli
Arr./Trans./Ed.
Grade 4
Publisher Manhattan Beach Music
Important Ranges
Special Eb Contrabass Clarinet

Requirements
Frank Ticheli is an American composer and conductor for wind band, string orchestra, and full orchestra. Born in
1958, Ticheli has been accredited for many accomplishments with concert band in particular: guest conducting
at Carnegie Hall and internationally. Ticheli received both his doctorate and masters degrees in conducting from
the University of Michigan.
An American Elegy was composed in the year 2000 as a tribute and a memorial to those lost in the events at
Columbine High School on April 20, 1999. The piece sings to the listener through featured solos from the oboe,
clarinet and French horn sections. Through very intentionally tonal rises and falls in the harmonic structure,
Ticheli attracts the ear of the listener and leads it in the direction of hope, arriving at large climaxes in reoccurring
themes.
This piece offers a significant amount of challenge with balance and intonation. Particularly in the French horns,
the ensemble must agree on tone color and unifying vowels to honor the chordal changes in this piece. Given that
the piece is almost 11 minutes long but only 158 measures, it is up to the ensemble and the conductor to be true
to tempo markings and expression terminology throughout the piece.

Criteria 1 2 3

scoring?

Title Irish Tune from County Derry
Composer Percy Grainger
Arr./Trans./Ed.
Grade 4/5
Length/Movements 4:20/ 1 Movement
Publisher Carl Fischer
Important Ranges Flute: A above staff. Horns: B above staff. Trombone/Baritone: A above staff.
Special
Requirements
Percy Grainger is one of the most well-known composers in the wind band canon. Grainger is famous for
his collection and arranging of folk tunes. While his other contemporaries would heavily alter the folk songs to
fit a western music theory sensibility, Grainger attempted to stay true to the performances of the performers of
these songs. As a result, Grainger’s compositions have an intracity and authenticity not present in other
adaptations of folk songs.
Irish Tune from County Derry is derived from a folk song originating in County Derry. While most
listeners will know the tune as Danny Boy, the melody predates the creation of the Danny Boy lyrics and
Grainger did not assign any specific lyrics to this piece. This piece offers a wonderful opportunity to discuss the
folk song movement, early recording technology, and authenticity in the classroom.
Irish Tune from County Derry is a slow and lyrical piece that draws upon all members of the ensemble.
Grainger males sure to feature each section of the ensemble and will often have multiple solo instruments
playing together. This piece requires equal contribution from each member of the band and can be a rewarding
experience for any skill level.

Form and Organization - X Very clear rises and

is there structure? Are falls.

throughout the piece?
motives?
Harmonic Structure - Is X Harmonic structure

the composer intentional give this piece so
with their harmonic
choices? Is there variety much depth and
and interest in those supports the melody.
choices?
Rhythmic Structure - Is X Not much variety

the composer intentional but has good
with their rhythmic
choices? Is there variety rhythmic interactions
and interest in those in-between sections.
choices?
Orchestration - Does the X Gorgeous

composition reflect orchestration that
craftsmanship in
orchestration? Is there a involves all sounds of
balance between the band.
transparent and tutti
scoring?
Style - Is the work X

consistent in style? Does

Title City Trees
Composer Michael Markowski
Arr./Trans./Ed.
Grade 4.5
Publisher Michael Markowski
Important Ranges Tpt 1: C above staff, Tpt 2: A above staff, Tpt 3: A above staff, Tpt 4: G above staff, Hn
1: A above staff, Hn 2: A above staff , Hn 3: A above staff , Hn 4: A above staff, Tbn 1:
Bb two octaves above staff , Tbn 2: F above staff , Tbn 3: Db above staff , Tbn 4: Ab on
top line of staff, Euph: A above staff , Tuba: F on staff
Special Optional Harp

Requirements
Michael Markowski is an American composer born in 1986. Although he never studied music in college, he has
studied privately with his mentors, Jon Gomez, Dr. Karl Schindler, and Michael Shapiro. He has continued his
music education through participating in programs, such as The Art of Orchestration with Steven Scott Smalley
(2008), the National Band Association’s Young Composer and Conductor Mentorship Project (2008), and the
NYU / ASCAP Foundation’s Film Scoring Workshop (2014).7 More information about Markowski can be found
on his website www.michaelmarkowski.com.
City Trees was commissioned by the Lesbian and Gay Band Association in 2012 to commemorate 30 years of
music, visibility, and pride.8 The title comes from Edna Sr. Vincent Millay’s poem from 1921 that leaves a lasting
message that trees will always be trees no matter where they are or what condition they are in. This idea is
signified by an ostinato that begins in the clarinet and is passed throughout the ensemble. The piece is
impressionistic and relies on timbre and mood. It is in simple ternary form.
The technical and musical demands of this piece are ample. There are sections in the music that are thinly
scored and will require rhythmic and expressive experience from musicians. The ranges for brass are overall
reasonable with the Tpt 1 part’s highest note being a C and the general tessitura being a G above the staff.
Although there are not many technical demands, there are some runs in upper woodwinds as well as hemiolas
implemented by Markowski.
7
Michael Markowski, “Bio,” Michael Markowski, https://www.michaelmarkowski.com/bio/.
8
Michael Markowski, “City Trees (Wind Ensemble),” Michael Markowski, n.d.,
https://www.michaelmarkowski.com/music/city-trees/.

Criteria 1 2 3
X

X

X

X

Title Metal
Arr./Trans./Ed. N/A
Grade 5
Important Ranges Trumpet: C6, F Horn: G5 Trombone: Ab4, Euphonium: Gb4, Tuba: F#3
Special Percussion is meant to sound “metallic”

Requirements
Brian Balmages was born January 24, 1975 in Baltimore, Maryland. His parents were both musicians, his father
a trumpet player and his mother an opera singer. Brian Balmages received his bachelor’s degree in music from
James Madison University and his masters from the University of Miami. He began his career as a trumpet
player for the Miami Symphony Orchestra. He is currently focusing on composing, conducting, and producing,
and has written over a hundred pieces for wind band at varying levels. Brian Balmages is currently the Director
of Instrumental Publications for The FJH Music Company Inc. He is currently living in Baltimore with his wife
and two sons.
Metal was commissioned by the Herndon High School Wind Ensemble and director Kathleen Jacoby to celebrate
the school’s 100th anniversary. The piece is a fusion of many different styles. This piece is meant to reflect the
diversity of the commissioning school as well as the evolution over the past 100 years. Metal was meant to be an
opener or a closer. It draws from two different types of “metal”, metallic objects (primarily present in the
percussion), and the genre of heavy metal. Measures one to forty-five are meant to focus on the key elements of
the piece that will later expand. The key elements include rhythmic pulses, melodic and rhythmic cells, and the
use of color articulation. A hint of the heavy metal style begins in measure twenty-seven. In measure forty-five
the low reeds and brass replicate the sound of a distorted electric guitar playing power chords, this is the main
heavy metal section. The music begins to build at measure one-hundred until it becomes completely chaotic.
The chaotic nature of the piece continues until the final chord in which there is a dramatic resolution.
This piece has standard wind ensemble instrumentation. Both pitched and unpitched percussion is required,
this includes: timpani, crotales, bells, vibraphone, hi-hat, snare drum, bass drum, ride cymbal, splash cymbal,
drum set crash cymbal, crash cymbals, and an optional drum set. The percussion is used primarily to replicate
metallic sounds. Technically this piece is challenging due to the varying meters and the diverse nature of the
piece. This piece switches between many meters including: 7/8, 6/8, 5/4, 9/8, 4/4, and 3/4. These time changes
occur often and they occur quickly, it takes a skilled conductor and a skilled ensemble to follow and to count all
of the time changes. The instrumentation is very full, all parts need to be played confidently and be played well
in order to convey the meaning of the piece. This is especially important in the low reeds and the low brass.
These two sections are the ones that convey the heavy metal feel throughout the piece and will continuously
play power chords as well as rhythmic cells that will keep everyone in time and will bring the heavy metal feel
to life.

Criteria 1 2 3
Metal (poor) (average) (excellent)
those choices?
those choices?

Title Suite of Old American Dances
Composer Robert Bennett
Arr./Trans./Ed.
Grade 5
Publisher Hal Leonard Corporation
Important Ranges
Special
Requirements
Robert Russell Bennett is best known for his numerous contributions to the Musical Theatre canon but was also
a recognized band and orchestral composer. While his peers of the time were exploring post tonality, he was
focused on the melody. With this melodic focus, Bennett became responsible for arranging over three hundred
tunes for the stage including works by Gershwin and Berlin. (Robert Russell Bennett, n.d.)
Suite of Old American Dances is divided into five movements: I. Cake Walk II. Schottische III. Western One Step
IV. Wallflower Waltz V. Rag. Bennett based each movement on a different dance that was popular in the 20th
century. Although each dance is different, Bennett seems to have grounded his composition in the ragtime style,
with syncopation and disjunct melodies.
Suite of Old American Dances challenges the performers with long complicated rhythmic passage that get
passed from section to section. Other than the fast rhythms, the piece is not technically demanding for most of
the ensemble. The greatest difficulty in learning will be learning the rhythms and getting the piece up to speed.

Form and Organization - X Motifs are clear and

is there structure? Are distinct between
throughout the piece? movements.
motives?
Harmonic Structure - Is X The composer uses

the composer intentional extended harmonies
with their harmonic
choices? Is there variety in an engaging way.
choices?
Rhythmic Structure - Is X Explores

the composer intentional syncopation
with their rhythmic
choices? Is there variety throughout the piece
and interest in those in interesting ways.
choices?
Orchestration - Does the X There is much

composition reflect interweaving of
craftsmanship in
orchestration? Is there a different sections as
balance between well as soli and solo
transparent and tutti moments.
scoring?
Style - Is the work X Very consistent

consistent in style? Does even when dealing
composer’s intentions? with distinctive styles
of dance

Title Lullaby for Natalie 2011 2014
Composer John Corigliano
Arr./Trans./Ed. Peter Stanley Martin
Grade 5
Length/Movements 4:30/ 1 Movement
Publisher G. Schirmer Inc.
Important Ranges Highest notes for brass instruments are: Trpt 1: G above staff, Hn 1: F in the staff,
Baritone: C above staff
Special Optional Harp , String Bass

Requirements
John Corigliano is a living American composer based in New York City. He currently teaches composition at the
Julliard School of Music. With over 100 compositions, he has had his works performed all over the world. He
prides himself in breaking away from the traditional symphonies and concerti and is inspired by transforming
the meaning behind these words. Peter Stanley Martin is also a living American composer based in New York
City. With his undergraduate degree being a Bachelor of Music Education from Hofstra university, he has the
knowledge to be able to arrange and compose pieces that will fit into an academic performance group. He is also
the current Director of Production for G. Schirmer, Incorporated, keeping him updated on the current
happening in instrumental music.
Lullaby for Natalie was a piece originally composed for Anne Akiko Meyers, a violinist, for her daughter Natalie
in 2011. The orchestral adaptation was premiered later in 2011, and the band arrangement performed in late
2012. The first rendition of this pieces was for violin and piano, which is emphasized by the lyrical and sensitive
style of the piece. The piece begins in concert G major with a clarinet solo, which is quickly supported by rich
harmonies by more of the ensemble. This then moves into an oboe solo, supported by treble brass, and into
concert Eb major. The flute is well represented in this as well. The group then goes into a less connected section,
with all of the players and a trumpet feature. This piece features a melodic motif, which is the lullaby. There is
frequent use of rubato and fermatas in the piece, as well as a return to concert G major, which creates the dream
like effect, as well as the sweet ending.
The expression and style of this piece is the most challenging aspect, due to the fermatas and use of rubato. The
piece also features very exposed parts, with the ensemble rarely playing together. These combine into a
complexity that requires focus and maturity from the players, as well as the conductor. The shift in tonalities
can also cause some confusion, due to the piece not staying in one tonal center. While there are parts for the
harp and string bass, they can be covered by other instruments. The harp, however, would continue to build the
dream like style, and is high recommended if available.

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

Title Apocalyptic Dreams
Composer David R. Gillingham
Arr./Trans./Ed.
Grade 5
Publisher Southern Music
Important Ranges
Special English Horn, Contra Bassoon,

Requirements
David R. Gillingham is a living, American composer, who has an impressive discography in the wind band and
percussion ensemble world. Gillingham’s music is never written to cash a check but is written with an
“underlying purpose... that emanates from the heart”. (Gillingham, 2019) Any piece by Gillingham can show
student how non vocal music can communicate ideas and emotions.
Apocalyptic Dreams is a multi-movement that is based in the apocalyptic events written in the Book of
Revelation. The first movement, The Vision, sets the tone for the rest of the piece with somber tonality and
dramatic instrumentation. The second movement, Cataclysmic Events, depicts the disasters in the Book of
Revelations. These disasters continue in the third movement, Messianic Kingdom, but closes with a chorale that
represents the return of the Messiah. (Apocalyptic Dreams, n.d.)
This piece is challenging due to the number of exposed parts and advanced techniques required to play them.
The first movement features piano oboe and a double-tonguing trumpet. The second movement picks up the
pace and has fast rhythmically challenging parts and dissonant chords across all parts. The third movement is
chorale like until the last minute where the music becomes a fanfare for the arrival of the messiah.

Form and Organization - X Each movement has

is there structure? Are great progression with
throughout the piece? moments of intensity
Think about phrases and and sonority.
motives?
Harmonic Structure - Is X The harmonics of

the composer intentional this piece fit the
with their harmonic
choices? Is there variety underlying meaning
and interest in those and are interesting.
choices?
Rhythmic Structure - Is X The rhythms fit the

the composer intentional underlying story of
with their rhythmic
choices? Is there variety the piece and are
and interest in those extremely varied
choices? throughout and
within the
movemsnts.

Orchestration - Does the X The composer uses

composition reflect every instrument in a
craftsmanship in
orchestration? Is there a meaningful way.
balance between Great diversity in the
transparent and tutti thickness of the
scoring? Is this present scoring.

scoring?
Style - Is the work X The story of each

consistent in style? Does movement is
composer’s intentions? extremely clear.

Title Olympiada
Composer Samuel R. Hazo
Arr./Trans./Ed.
Grade 5
Publisher Boosey & Hawkes, Inc.
Important Ranges Trpt 1: C#6
Special Piccolo, Bass Clarinet, 5 concert toms

Requirements
Born in 1966 in Pittsburgh, Pennsylvania, Samuel R. Hazo is an American composer, commissioning pieces
primarily for concert band. Hazo is the winner of the two composition contests sponsored by the National Band
Association. He is also a renowned lecturer, guest conductor and music educator and makes frequent appearances
in Teaching Music through Performance in Band book series.
Olympiada premiered in Pittsburgh in 1997 and was later rescored for publication in 2002. This piece captures
the human conditions of an athlete on track to win a coveted metal in the Olympic Games. With strong brass
fanfare and relentless percussion, the piece depicts every bit of struggle and glory of competing in – and
eventually winning – the Olympic Games. The opening theme acts as an introduction to the journey, soon followed
by an intense percussion breakdown that would return later to symbolize a second push to the end. The
introductory theme would return at the end to act as a completed journey.
This piece is densely scored for brass and percussion. The piece has many meter changes and challenging,
interlocking rhythms/ostinato in the woodwinds and drums. Olympiada features high brass in both the beginning
and the end of the score, with breaks throughout the B section for high brass to relax as low brass takes over.

Criteria 1 2 3

scoring?

Title California
Composer David Maslanka
Arr./Trans./Ed.
Grade 5
Publisher Maslanka Press
Important Ranges Highest notes for brass instruments are: Tpt 1: C#6, Tpt 2: B5, Tpt 3: F#5, Hn 1: C6,
Hn 2: B5, Hn 3: C5, Hn 4: B4, Tbn 1: D4, Tbn 2: D4, B. Tbn: A3, Tuba: D3
Special Winds: Requires Soprano Saxophone, Bass Trombone, and Contrabass Clarinet in Bb.
Requirements
Percussion: Requires 1 Small Suspended Cymbal and 1 Large Suspended Cymbal.
Horn parts travel between bass and treble clef,
David Maslanka was an American composer of Polish descent who wrote for a variety of genres, including choir,
wind ensemble, chamber music, and symphony orchestra. He received his Bachelor of Music from the Oberlin
Conservatory and earned his Master of Music and Doctor of Philosophy from Michigan State University.
Maslanka has received a variety of awards and honors, including five residency fellowships at the MacDowell
Colony in Perterborough, New Hampshire and the National Endowment for the Arts Composer Award three
times. He worked as a freelance composer solely on commissions from 1990 to his death in 2017.9 More
information about Maslanka can be found on his website www.davidmaslanka.com.
California celebrates the California dream scape. Maslanka believed that “Music lets us dream, and in that dream
is the possibility of a new world, one in which humans live in harmony, within themselves, with all other people,
with all other species, with the planet.”10 This idea is directly reflected in the music with its thinly scored
beginning that becomes thicker and more complex with the rise in peaks within the music. This can also be seen
in the pitches used. Although there is no key signature present, Maslanka begins with few accidentals and then
becomes increasingly complex as the climax of the piece approaches.
California is a very technically and musically demanding piece. The piece calls for an advanced and complex
rhythmic understanding that requires players to transition quickly from different complex rhythms to the next.
On a soloistic level, performers will need a strong expressive ability with a crucial bass clarinet solo and
additional solos and one player sections in flute, oboe, trumpet.
9
“About.” David Maslanka, April 23, 2019. https://davidmaslanka.com/about/.
10
Maslanka, David. “California.” David Maslanka. Maslanka Press, January 28, 2020.
Criteria 1 2 3
X

X

X

X

Title The Stars and Stripes Forever
Composer John Philip Sousa
Arr./Trans./Ed. John Neumann
Grade 5
Publisher J. Neumann & Co.
Important Ranges
Special 9 - Clarinet, 2 - Bb Bass Clarinet, 6 - Alto Saxophone, 4 - Tenor Saxophone, 2 -

Requirements Baritone Saxophone, 3 - Solo Bb Cornet, 9 - Bb Cornet, 8 - F Horn, 4 Eb Altos, 9 -
Trombone, 4 - Baritone, 4 - Basses, 2- String Bass
John Philip Sousa was an American composer and conductor, famous during the late Romantic era. He was born
in Washington D.C. on November 6, 1854. Sousa died at the age of 77, March 6, 1932 in Reading, Pennsylvania.
Sousa was most famous for his patriotic military marches. Some of his nicknames included, “The March King” or
“The American March King”. Some of his most famous works include The Stars and Stripes Forever, which is the
National March of the United States of America, Semper Fidelis, the official march of the United States Marine
Corps, The Liberty Bell, The Thunderer, and The Washington Post. Sousa began his career playing violin,
studying music theory, and composing. His father enlisted him in the United States Marine Band as an
apprentice in 1868. He left the band in 1875 and performed as a violinist and learned to conduct. In 1880, he
rejoined the Marine Band and served for twelve years as the director. After 1880 until his death, Sousa focused
on conducting and composing and also aided in the development of the sousaphone.
Sousa wrote in his autobiography, “Marching Along”, that he wrote The Stars and Stripes Forever on Christmas
day in 1896. He was on vacation with his wife, Jane, in Europe when he heard that his manager, David Blakely,
had died suddenly. He wrote that it was “one of the most vivid incidents of my career. As the vessel steamed out
of the harbor, I was pacing the deck, absorbed in thoughts of my manager’s death and the many duties and
decisions that awaited me in New York. Suddenly, I began to sense the rhythmic beat of a band playing in my
brain. It kept on ceaselessly, playing, playing, playing. Throughout the whole tense voyage, the imaginary band
continued to unfold the same themes, echoing and re-echoing the same distinct melody. I did not transfer a note
of the music to paper while I was on the steamer, but when we reached shore, I set down the measures that my
brain-band had been playing for me, and not a note has ever been changed.”
This arrangement of The Stars and Stripes Forever has a large instrumentation. It is a very full ensemble with
specific demands from the editor. The first time at letter “B” all of the instruments should play pianissimo, the
second time all of the parts should play fortissimo. These dynamic markings also apply to letter “F”, the editor
states it “should be Grandioso the second time only. The editor has also included a triangle part at measure
thirteen as well as “the famous ‘roll-off’ section” at measure one-hundred twenty-three in the drums. The editor
has also noted that the piccolos should stand at the front of the band the first time through letter “F” for their
soli. It is also noted that the trumpets/cornets and trombones should join them the second time through.

Criteria 1 2 3
The Stars and Stripes Forever (poor) (average) (excellent)
those choices?
those choices?

Title Requiem
Composer David Maslanka
Arr./Trans./Ed.
Grade 6
Length/Movements Ca. 12:40,
Publisher Maslanka Press
Important Ranges Cl 3: F3, Marimba: C2
Special Piccolo, Eb Contralto Clarinet, Soprano Saxophone, Double Bass, Piano, 5-Octave
Requirements Marimba, Percussive Vocals
David Maslanka (1943-2017) was one of the more original and creative American concert band composers of the
20th and early 21st century. He also taught music composition as a professor at Sarah Lawrence College and New
York University. Maslanka was an experienced composer in chamber music, voice, percussion, saxophone, and
orchestra.
Maslanka referenced Dmitri Shostakovich when he described his Requiem as both an honoring of each individual
loss of World War II as well as a song of hope for those looking to say goodbye in order to say hello. The piece has
brief pauses in between themes but is only one movement. Each section of this fantasia-like piece is distinctively
different in rhythm – opening the piece with slow, developing half notes and moving toward more complex 32nd
note runs in the winds and mallet percussion.
Requiem is flexible with tempo and features slight rubato. The full saxophone sections rests for quite some time
and will need to listen and count along with support from the conductor. Rhythmic complexity develops over the
duration of the piece, moving from half notes to eighths, and then to more intense 32nd notes. The almost wind-
like style of this piece needs to be captured with consistent tone and balance amongst the ensemble with soft
support from moving woodwind and percussion lines.

Criteria 1 2 3
Rhythmic Structure - Is the composer intentional with their rhythmic choices? Is there variety X
and interest in those choices?

scoring?

References – Brian Buechele
“Alfred Music.” | Alfred Music. Accessed November 3, 2020. https://www.alfred.com/authors/richard-

meyer/.
“Biography.” brianbalmages. Accessed November 3, 2020. https://www.brianbalmages.com/biography.
Brown, Joshua. “Recommended Repertoire.” McCracken Middle School Band. Accessed November 3, 2020.
http://www.mccrackenband.com/repertoire/.
“Curnow, James.” C. Alan Publications. Accessed November 3, 2020. http://c-

alanpublications.com/brands/Curnow,-James.html.
“James Swearingen.” Barnhouse. Accessed November 3, 2020. https://barnhouse.com/composer/james-

swearingen/.
“Karl L. King.” Barnhouse. Accessed November 3, 2020. https://barnhouse.com/composer/karl-l-king/.
“Korean Folk Rhapsody.” Concert Band Literature. Accessed November 3, 2020.

https://concertbandlit.weebly.com/korean-folk-rhapsody.html.
“The Midwest Clinic - Engaging the Beginning S...” Midwest Clinic. Accessed November 3, 2020.
https://www.midwestclinic.org/2014_clinician_Carrie_Lane_Gruselle.html.
“Nikolay Rimsky-Korsakov.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed November

3, 2020. https://www.britannica.com/biography/Nikolay-Rimsky-Korsakov.

References – Sam Burr
Anthony J. Susi. (n.d.). Retrieved November 01, 2020, from https://prabook.com/web/anthony_j.susi/382011
Balmages, B. (2012). JW Pepper - Metal. Retrieved October 28, 2020, from

https://www.jwpepper.com/Metal/10312661.item#/submit
Balmages, B. (n.d.). FJH Music Company Inc. - Brian Balmages. Retrieved October 28, 2020, from
https://www.fjhmusic.com/composer/bbalmages.htm
Brahms, J. (2012). JW Pepper - Tragic Overture. Retrieved October 30, 2020, from
https://www.jwpepper.com/Tragic-Overture/10310616.item#/submit
Chance, J. B. (1967). JW Pepper - Variations on a Korean Folk Song. Retrieved October 31, 2020, from
https://www.jwpepper.com/Variations-on-a-Korean-Folk-Song/153544.item#/
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Honor Code: I affirm that I have upheld the highest principles of honesty and integrity in my academic
work and have not witnessed a violation of the Honor Code.

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Burton, Abel Rose, Allie Charney

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MUS_CLAS 412 Instrumental Methods and Conducting

Sunderman Conservatory of Music w Fall 2020

Instrumental Repertory Project

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)

1. University of North Texas Wind Symphony

Notable Reference Books for Wind Band and Orchestra Music

Harmonic Structure - Is the composer intentional with their harmonic

Rhythmic Structure - Is the composer intentional with their rhythmic

Orchestration - Does the composition reflect craftsmanship in

Composer Soon Hee Newbold

Ensemble String Orchestra

Publisher FJH Music Company

Important Ranges No shifting

-annotation by Bridget Haines

Composer Lauren Bernofsky

Ensemble String Orchestra

Publisher FJH Music

-annotation by Allie Charney

Title Take Five

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

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

Composer American Folksong

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

Ensemble String Orchestra

Publisher Alfred Music Publishing

-annotation by Brian Buechele

Composer Richard Meyer

Ensemble String Orchestra

Publisher Highland/Etling Publishing

-annotation by Brian Buechele

Composer Isaac Albéniz

Arr./Trans./Ed. Stephen Chin

Ensemble String Orchestra

Publisher Everything String

Important Ranges Requires shifting in upper strings.

-Annotation by Amanda Herold

Harmonic Structure - Is the composer intentional with their harmonic

Rhythmic Structure - Is the composer intentional with their rhythmic

Orchestration - Does the composition reflect craftsmanship in

Composer Samuel Barber

Ensemble String Orchestra

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

-annotation by Bridget Haines

Composer Norman Leyden