Score Study Sheet

NAME
Jayden Gustafson
Aegean Festival Overture
Andreas Makris
Galaxy Music Corporation – Grade 6/10:25 minutes

Broad Description
This piece was originally written for the Washington National Symphony in 1967, reflecting a colorful Aegean seaport in
Greece through the blending of classical form and Greek folkloristic elements to create this staple in band repertoire.

Composer Biography
Andreas Makris was born in Salonika, Greece in 1930, and died in 2005. Makris, an accomplished musician as well as a
composer, studied music at the National Conservatory in Greece, Phillips University in Oklahoma, Kansas City Conservatory,
Mannes College of Music, and the Fontainebleau School in France with Nadia Boulanger. He played violin and performed in
many different orchestras including the Dallas Symphony, St. Louis Symphony, and the National Symphony. In addition to
playing in the National Symphony, Makris wrote and performed many of his own compositions with them. After retiring from
his performing career, Makris shifted his skills and focus onto the art of conducting and composition leading to the creating of
Aegean Festival Overture.

Background Information
Originally written for the Washington National Symphony in 1967, this piece reflects a colorful Aegean seaport in Greece, one
much like one from where Makris was born. Aegean Festival Overture is a very well-known piece and is most commonly
performed in its band arrangement. Though there are not real Greek folk melodies within this piece, the melody highly reflects
that of a Greek folk song through its rhythms and harmonies. Aegean Festive Overture is written in symphonic form, shown
through its fast beginning, middle lyrical section, and repeated fast section seen at the end of the piece.

Elements of Music
Measure Meter and Form Melody Rhythm Harmony Timbre Texture Expression
Tempo
1-11 Quarter=72, 2 measures of Surrounds Quarter, Tuba, timpani, Dark and Monophonic Mysterious
7/8 (3+2+2), intro, and then e-flat minor. dotted piano, plays E- Warm melody, and very
4/4, 5/8 A theme Bassoon, quarter, flat on the sounds polyphonic with smooth
 sax, horn, quarters strong beats clapping, tuba,
trombone, tied to timpani, and
and viola eighths, piano
(3+2), 6/8, have the eighth
begins
and 3/4 melody. sixteenth
Cello and eight, off
piano have beats,
cues as well. clapping.
Flutes, Quarter, Tuba, timpani, Brighter in Polyphonic, full Melody is
trumpets, dotted and cello play the melody, sounds from the mysterious
soprano and quarter, E-flat on strong lightness on entire ensemble and smooth
2 measures of
alto sax, and quarters beats. Clarinet, the eighth once again.
Quarter=72, B theme,
violin have tied to sax, bassoon, notes Eighth notes
7/8 (3+2+2), eighth notes
the melody. eighths, horn, are light,
12-19 4/4, 5/8 and then
eighth trombone, tuba and
(3+2), 6/8, repeats the A
sixteenth piano, and viola piano are
and 3/4 theme once
eight, off all have eighth heavy
again
beats, notes that
clapping. aren’t on beat
one.
Flutes, Quarter, Bass line Bright sound Polyphonic and Melody is
trumpets, quarter descends by on the full sound. assertive,
and violin tied to thirds from E to melody in Melody is eighth notes
pass the eighth, D. When not with first homophonic. are light,
melody onto eighth playing melody, group of Accompaniment longer/held
Quarter=72, A theme is
the saxes, sixteenth instruments instruments. is notes are
11/8 passed around
bassoons, eighth, play eighth Dark and homorhythmic resonant
(2+3+2+2+2) the
20-27 horns, whole. note warm sound
, 4/4, 5/8 instruments
trombones, accompanimen from the
(3+2), and overtop of the
tubas, bass, t until m.24 second. Light
6/8 B theme
and then the when held long eighth notes.
viola. notes appear.
(alternates
between
two groups)
28-37 Quarter=72, A’ theme A theme Quarter, Lower voices Not as bright Homorhythmic Longer/held
4/4, 6/8, 7/8 changes quarter hold pedal D in the melody and notes are

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 from 4/4 to tied to until the end. melody, accompaniment, dark, melody
5/8, 4/4 to eighth, Parts without darker on polyphonic is even more
(3+2+2), 9/8 6/8. Melody eighth the melody the longer overall. mysterious
(2+3+2+2), stays in the sixteenth hold the notes notes found than
5/8 (3+2), flutes, eighth, that emphasize in the middle previously
and 3/4 trumpets, whole. the pitch center and lower
saxes, and of D. voices.
violins.

Recommended Recordings (Include Ensemble, Conductor, and WHY you recommend the
recording)
 North Texas Wind Symphony, Eugene Migliaro Corporon
o This video was great because I could observe the conductors meter changes, style, phrasing, and other varying
gestures. I felt as though this recording showcased the appropriate stylistic choices that could be made when
conducting this piece as well as having a good control over the overall tempo.
 London Symphony Orchestra, Predrag Gosta
o This recording showcases the original orchestra version of the piece. This video helped give a look as to what
articulations should be used, tone qualities to strive for, and how to balance the ensemble. It was interesting to
compare and contrast between this and the band arrangement, finding similarities between the two.

Other Works by the Composer

 Fantasy and Dance, 4th of July March, Fanfare, Mediterranean Holiday, Symphony for Soprano, Violin Concerto, Hellenic
Odyssey, and so forth.

References
 https://www.windrep.org/_Aegean_Festival_Overture
 https://www.windrep.org/_Andreas_Makris

Glossary of Terms
All of the terms were familiar

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Sang through, studied, and marked parts (check off as completed)

Piccolo x Cornets/Trumpets x 1st Violins

x Flutes x Horns x 2nd Violins
x Oboes x Trombones x Violas
English Horn Euphoniums x Celli
x Bassoons x Tubas x String Bass
Eb Clarinet Harp
x Clarinets x Timpani
Alto Clarinets Snare Drum Sopranos
Bass Clarinets Mallet Percussion Altos
Contra Bass/Alto Clarinet Remaining Percussion Tenors
x Saxophones x Piano Basses