Home | Concert Band | Orchestra | Choir | Small Ensembles | About | Blog
This piece was written as a warm up for young band, so itís important that all notes are held for their full value. It may be necessary for players to stagger-breathe, especially during the long tones at the beginning. Players should also keep in mind that accidentals only apply to the measure in which they are written.
The tenor sax, horns, and trombones have a suspension on the first beat of measure 12; this note must be emphasized. The trombones and 2nd clarinets must make a clear distinction between the C natural in measure 21 and the C flat in measure 29 (the same distinction must be made between measures 54 and 62).
The quarter rest in measure 42 is very important. The conductor may hold this rest out slightly if so desired. The dynamic contrast between the forte and piano in this measure must also be clear.
In measure 50, the bass clarinets are asked to play from low E flat to A flat. This fingering may be awkward. If necessary, any low E flats in the bass clarinet part may be raised an octave. If a contrabass clarinet is used, it should play the bass clarinet part.
Overall, the ensemble should strive for a vocal quality to the sound. I constructed this piece in much the same way that I would write a piece for choir and organ. Marked ďAdagioĒ, the exact tempo is at the discretion of the conductor, and may be fluid throughout the piece.
Flute, Oboe, Clarinet 1&2, Alto Sax, Tenor Sax, Bari Sax, Trumpet 1&2, F Horn, Trombone, Baritone (Bassoon), Tuba, Timpani, Mallets, Percussion
Copyright 2012 Peter Hopkins