Listening Journals

Pageant (1953)

Recording

Summary/ History

North Texas Wind

Symphony (2009)

Pageant was commissioned by

Edwin Franko Goldman by the
American Bandmaster
Association and is Persichettis
3rd piece composed for wind
symphony. It can be seen as
the sequel to Persichettis
previous composition, Psalm.

Vincent
Persichetti
(1915-1987)

English Folk
Song Suite
(1923)
Ralph Vaughan
Williams (18721958)

Suite No. 1 in EFlat Major, Op.

28, No. 1
(1909)
Suite No. 2 in F
Major, Op. 28,
No.2
(1911)
Gustav Holst

Orchestral
transcription by
Gordon Jacob of
the original piece,
performed by the
Academy of St
Martin-in-theFields conducted
by Sir Neville
Marriner (2012)

English Folk Song Suite is

Vaughan Williams most
famous piece for military band.
It is comprised of inspirations
from multiple folk songs, being
Seventeen Come Sunday and
Pretty Caroline in the first
movement, My Bonny Boy
and Green Bushes in the
second movement, and Blow
Away the Morning Dew, High
Germany, Whistle, Daughter,
Whistle, and John
Barleycorn.

Dallas Wind
Symphony,
conducted by
Howard Dunn

Holsts two suites are written

for military band, and are both
multi-movement works. Holst
intended to write these pieces
to emphasize the concert band
as its own influential medium,
most likely influenced by
Holsts experience performing
on trombone.

Form
I.
II.

An Essay in Modal
Counterpoint
A Celebration of
Bitonality

I.

March: Seventeen
Come Sunday

II.

Intermezzo: My
Bonny Boy

III.

March: Folk Songs

from Somerset

Holsts 1st suite in E-flat

Major
I.
II.
III.

Chaconne
Intermezzo
March

The 2nd suite in F major:

I.
II.

March
Song Without
Words

Personal
This piece is a great demonstration of
motive and motivic development. The
3 note motive within the horn is
passed throughout the piece and
transformed, holding a great lesson to
be taught to ensembles working on
this piece. I believe this work is
suitable for advanced high school
students. As well, the contrast that
both movement I and II portray utilizes
both a lyrical and rhythmic aspect of
musicianship, allowing all members of
the band to play an important part.
English Folk Song Suite is a piece
that can be used early on within high
school band programs and brought
back to expand upon the content
learned previously. For example, the
first time the piece is taught, the
lessons could focus on how to properly
play each movements style. For the
second time the students play the
piece, the teacher could then have the
class focus on how composers use
other music to inspire their pieces. This
could lead into a historical analysis and
lessons containing the folk tunes this
piece is based off of.
Holsts suites both show great
concepts within thin orchestration,
creating very soloistic lines within all
instrument parts. His works move from
fast paced marches to legato lyrical
movements, making these pieces
suitable for creating a well-rounded
concert. As well, the contrast within
articulation in Holsts pieces give great
opportunity for studying articulation as
a unit.

Listening Journals
III.
IV.
Lincolnshire
Posy

Dallas Wind
Symphony,
Junkin, Jerry

Percy Grainger

Scenes from the

Louvre
Norman Dello
Joio

2015 Texas Music

Educators
Association
(TMEA): All-State
5A Symphonic
Band (Live)

Graingers Linconshire Posey

was commissioned in 1937 by
the American Bandmaster
Association in hopes of creating
a piece of literature for modern
wind band. The title of this
work gains its name due to
Grainger personally traveling
throughout Linconshire,
England collecting Folk Songs
on wax cylinders in 1905. Once
commissioned, Grainger took
these folk songs and arranged
them in his own personal style,
incorporating suspensions,
dissonances, and odd meters
while also maintaining the
original style of each persons
interpretation of their
presented folk song.
Scenes from the Louvre is
Dello Joios depiction of the
Louvre in France through a
Renaissance era influence
mixed with Dello Joios personal
compositional ideas. This piece
was written specifically for a
1964 television documentary
titled A Golden Prison: The
Louvre which was produced by
NBC. This pieces movements,
specifically 2-4, are each based
on or influenced by works by
Tielman Susato, Jean Baptiste
Lully, Vinvenzo Albrici and
known medieval themes such
as In dulci jubilo which is

I.
II.
III.
IV.
V.
VI.

Song of the
Blacksmith
Fantasia on the
Dargasan.
Lisbon
Horkstow Grange
Rufford Park
Poachers
The Brisk Young
Sailor
Lord Melbourne
The Lost Lady
Found

I.
II.

The Portals
Children's Gallery

III.

The Kings of France

IV.

The Nativity Paintin

V.

Finale

This is a fantastic advanced piece that

allows students to experience
moments in music that may sound
wrong but are purposefully
emphasizing unexpected moments in
music. For instance, Graingers use of
dissonances and suspensions may not
be what students are expecting in the
chords they are playing. This being
said, it is important to point out these
sounds to the students and why they
are right so they know what to listen
for.

This multi-movement work would be a

great way to progressively work on the
topic of renaissance music with an
ensemble. For example, listening
projects could be used comparing the
way Norman Dello Joios works relate
to works that were actually composed
during the Renaissance era. As well,
these styles could be related to a
separate Renaissance piece that the
ensemble themselves are playing.
When comparing these two time
periods, the class could discuss the
difference in instrumentation and
timbre and minute nuances
considering the advances made in
instruments between the two time

Listening Journals
used in the 4th movement.

Mystery on Mena
Mountain

North Texas Wind

Symphony, 2012

This piece is based on a legend

told in Arkansas Ozark
Mountains. It is said that in
1940 children went missing in
these mountains because they
had heard tales of angels who
were in the mountain and they
went looking for them. When
the children reached the top of
the mountains in the fog and
were about to turn around
when they saw 200 angels
playing golden instruments.
The angels then gave them
crowns and took them into
heaven with them. The opening
section is supposed to depict
the rising sun, the main theme
depicts the mountain itself, and
then ending of the piece
represents the clouds rising
away from the mountains.

University of

Written in 1962, Down a

Julie Giroux

Down a Country

A-B- C-Coda:
The first section of this
piece opens with timpani
and then ominous wind
instruments play in the low
register, slow and legato.
Brass instruments and
cymbals enter later to add
counter melodies and
affects. The melody
expands and crescendos as
more instruments enter and
climax.
The B section begins with
upper woodwinds playing a
spritely melody,
accompanied by a
syncopated staccato
rhythm. The brass play a
counter melody to this
section in accompany with
mallot percussion. Nearing
the end of this section, the
melody thins out down to a
solo in the flute supported
by chimes and clarinets.
The 3rd section takes on a
slower new idea, building in
instrumentation from the
upper woodwinds down to
the low brass, finally
moving into the coda, in
which ideas from the B
section return and close the
piece.
A-A-B-A Form:

periods. As an extension of these

lessons, the class could take portions
of period to watch the documentary
that the piece was written for to see
how it was actually implemented.
I really appreciate the story behind this
piece and how each section has a
different style to emulate the story
taking place. This aspect of Mystery
on Mena Mountain allows for
creativity to take place in the band
room, perhaps allowing the students to
come up with their own story and see
how it lines up with the original story
of the piece.

The light and delicate balance required

Listening Journals
Lane
Aaron
Copland/Patterso
n

Yorkshire Ballad
James Barnes

MassachusettsAm
Rowell, Jr.,
Malcolm W.

Country Lane is a piece that

Aaron Copland originally
arranged for piano. The piece
was written for Life magazine
to provide average piano
students access to quality
music. The title itself was
developed after the piece was
created to fit the flowing
quality of the work.

This piece is structured with

the A and A sections going
from measures 1-20, with
the B section moving from
measure 20-35. Last the
final A section moves from
measure 35 to the end. The
piece begins in F major and
moves to Db Major at
measures 25. One reaching
measure 35, the key moves
back to F major again and
finishes out the work.

University of
Texas at El Paso
Wind Symphony:
Danza Sinfonica

James Barnes composition

Yorkshire Ballad was
premiered at the Kansas
Bandmaster Association in
Huthcinson, Kansas. When
asked what Barnes composed
the piece about, this was his
response:

A-A-B-A Form:

Hufstader, Ron

People always ask me what I

was trying to portray when I
wrote Yorkshire Ballad. All I
can say is that I was thinking of
the beautiful, green Yorkshire
Dales of northern England; the
rolling hills and the endless
stretch of beautiful
pasturelands that my wife and I
loved so much when, a year
before, we had driven through

Yorkshire Ballad begins with

the first A section being
stated with the clarinets,
alto saxophone, and horn
having the melody, the
bassoon, tenor saxophone,
and baritone moving to the
counter melody, and the
harmony played by the bari
saxophone, bass clarinet,
and tuba. Following the next
A section is played in this
same manner but with the
flute and horn playing
melody, clarinets, bassoon,
tenor saxophone, and
baritone playing counter
melody, and bass, clarinet

in Down a Country Lane would be a

challenge that many high school
students would need to work to create
a good, yet subtle tone. As well, the
instrumentation of woodwinds moving
at different times while others sustain
notes could hold as a challenge.
Students would need to be very
patient with this piece and resist the
urge to speed up when they have
moving lines, or slow down when they
have held notes. I believe something
that could help create a grasp on this
content could be to create a visual
image of how the students feel the
music builds and releases in different
sections. This approach could allow for
students to support what they are
playing with a story and a visual image
that they personally connect with to
create a steady balanced ensemble.
In the piece, the melodic idea could be
utilized through teaching timbre and
instrumentation, considering that the
melody passes around the ensemble
depending on the different sections. By
having the students listen to who has
the melody, this would most likely help
with the possible issue of slowing down
with the accompaniment.

Listening Journals
this most marvelous spot in the
world.

and tuba playing the

harmony.
For the B section, the
melody occurs in trumpets
1&3, tenor sax, baritone,
and flute. The counter
melody is then played by
the 2nd trumpet, alto sax 1,
and oboe. Bassoon, alto
sax 2, bari saxophone, horn,
trombone, and tuba play
the harmony for this
section.
The piece finishes out with
a final coda, as the return of
the last A section.

A Movement for
Rosa
(1992)
Mark
Camphouse
(b. 1954)

University of New
Hampshire Wi,
directed by
Andrew Boysen Jr.

This movement is written into

reference to Rosa Parks, a
black woman who was arrested
for refusing to give up her seat
on the bus to a white male.
This movement consists of 3
sections that portray aspects of
the way Rosa Parks lived and
they occur as follows: First
portrays the early years of
Parks life until marriage, the
second portrays the social
injustices and move for
equality in Montgomery, and
the final section portrays a
quiet strength that Rosa Parks
showed.

A Movement for Rosa is

divided into 3 specific
sections. The first section is
a portrayal of Rosa Parks
birth through her marriage
to Raymond Parks. This
section begins with the
melody in the flute, which
moves to a saxophone duo,
then horns, and then the
full ensemble.
The second section depicts
the quest for social equality
along with the racial
struggles during her Parks
lifetime. During the section,
the horns, trumpets, and
upper woodwinds play the
melody, there is a great use

This piece is not only a great

demonstration of historical fact that
can be integrated into a cross
curricular lesson, but it also portrays a
clever use of fragmentation with the
general melody of We Shall
Overcome. Even the concept of how
the musical idea is fragmented and
comes together in the end of the piece
could stand as a topic that can be
interpreted and discussed within the
classroom. I believe this piece is a fine
example of how events within history
can affect the music we create, which
in turn later affects the we live and
interpret those events in the future.

Listening Journals
of dissonances, and the
piece reaches is dynamic
peak.

William Byrd
Suite

Eastman Wind
Ensemble,
Frederick Fennell

Gordon Jacob

Courtly Airs &

Dances

Dallas Wind
Symphony

The William Byrd Suite is a

compilation of the musical
styles of both William Byrd and
Gordon Jacob. William Byrd was
a prominent composer during
the late 1500s to early 1600s
who founded the English
Madrigal School was also. Byrd
was an English Renaissance
composer who had work
published in the Fitzwilliam
Virginal Book, written for the
virginal, an instrument that did
not have contrast in dynamics
or timbre. Long after Byrd had
passed away, Gordon Jacob
took six pieces of William
Byrds from the Fitzwilliam
Virginal Book and transcribed
them for wind band. Jacob
payed great attention to both
keep the style of the Virginal in
mind, while also allowing for
trademark dynamic and timbral
elements to influence Byrds
work.
Courtly Airs and Dances
consists of movements

Finally, the 3rd section

represent serenity and the
underlying concept of
racism still lingering in
modern society. We Shall
Overcome plays in a solo
horn in this final section
leading to the ending of the
piece.
I.
The Earle of
Oxfords Marche
II.
Pavana
III.
John come kisse me
now
IV.
The Maydens Song
V.
Wolseys Wilde
VI.
The Bells

I.
II.

Intrada
Basse danse

The movements of the William Byrd

Suite not only allow for a great
discussion on dynamic contrast and
how it affects the overall style of a
piece, but it allows for a great
discussion of how timbre affects style.
Because these movements were
originally composed for virginal, the
music educator could use recordings of
this instrument and compare it to the
capabilities of wind instruments. A
challenge would be to have students
try to replicate the timbre of the
virginal to maintain intended
character, while also utilizing the
dynamic ability of instruments in the
21st century. It seems that the style
would be the most difficult part to
master as an ensemble, focusing
specifically on the lightness verses
weight that would be intended on a
virginal. This piece would be great for
incorporating historical context of the
Renaissance period and instrument
development during this time.
Because each movement from Courtly
Airs and Dances emulates a form of

Listening Journals

Ron Nelson

Junkin, Jerry;
Nelson, Ron

Americans We

UNITED STATES
AIR FORCE
RESERVED BAND:
Henry Fillmore's
Greatest Hits

Henry Fillmore

Any Sousa
March
Stars and Stripes
Forever
John Philip Sousa

The Presidents
Own Marine
Band (2011)

representing different
Renaissance dances that were
popular during the 1500s. Each
dance uses a different style
and tempo, and Ron Nelson
particularly decided to have
the Basse Dance, Pavane, and
Allemande emulate the music
of Claude Gervaise, utilizing his
specific style as well as the
style of other compositions
from this period in time.

Written in 1929, Americans

We was written and performed
by Fillmore at every
performance he held at the
Cincinnati Zoos Pure Food and
Health Show, and at times he
even called this piece The
Cincinnati Zoo or Pure Food
and Health. Fillmores piece
and self became well known
through the free concerts he
held during the Great
Depression, as well as through
him being a radio band leader.
This piece was affectionately
dedicated to all of us.
From 1880-1892 John Philip
Sousa became known as The
March King, deservedly so due
to composing 136 marches.
During this time, Sousa was the
leader of the Marine band, and
spent a duration of his time in
Europe. In 1896 John Philip
Sousa composed Stars and
Stripes Forever to depict a

III.
IV.
V.
VI.

Pavane
Saltarello
Sarabande
Allemande

American March Form:

Introduction, 1st Strain
(repeated), 2nd Strain
(repeated), Trio, Break
Strain, then Trio repeated.
In duple meter.

Stars and Stripes Forever

is written in a standard
march form, being
(AABBCCC). There is a four
bar introduction with a Half
Cadence, leading to our 16
bar A section which repeats
itself. Next comes the 16
bar B section which ends on
an Authentic Cadence, and

dance from the renaissance, this piece

work great with a unit focusing on time
signature and tempo. To help students
understand the forward motion of each
of these movements, it could be
beneficial to show videos of these
dances in class or have the students
learn some motions of the dances
during either music or gym class. This
approach to utilizing this piece could
especially helpful on some of the
slower dances, because the students
would physically have to feel how long
a phrase should be expressed before
moving onto a new idea.
This piece would be great to
incorporate into teaching when
students are learning about the Great
Depression in a world history class. By
having more than one connection to
draw from, the students could better
retain what they learn from this piece.
Specifically, a great deal of attention
could be paid to articulation and the
overall marching style of full driving
low brass and flourishing wind
sections.

Some musical concepts that could be

taught through this piece include
countermelody and texture. As the
piece progresses, new counter
melodies are added, making this
concept very accessible to teach. As
well, each section has some form of a
melodic line, allowing for full ensemble
participation, and teaching marching
form would be a very obvious lesson as

Listening Journals
homesickness he felt while he
was away from America, as
well as to depict a visual of the
American flag. Out of all of his
marches, this one in particular
has become Sousas most
famous.

Seize the Day!

(Carpe Diem)
-Patrick J. Burns:

Cleveland
Symphonic Winds
2010

Seize the Day! (Carpe Diem)

was written in a total of ten
days in January 2008. Burns
wrote this piece to capture the
energetic spirit we have as we
try to reach our dreams. The
energetic piece portrays
optimism through its fanfare
style and prominent
modulation nearing the end of
the work. The Westlake High
School (CA) Wind Ensemble
commissioned this piece as a
concert opener from Burns to
be performed for the first time
in Carnegie Hall.

repeats a 2nd time. The

piece then moves to a 32
bar trio section, followed by
a 24 bar interlude. Section
C is played again with a
counter melody for 32 bars,
then the interlude again,
and finally the C section
again with an additional
counter melody.
Seize the Day! by Patrick J.
Burns, is a fanfare for
concert winds and
percussion that is about
2:30-3:00 minutes long.
This piece employs a fast
paced and shimmering
opening great for beginning
a concert, both starting and
ending on a strong note.
This piece utilizes a variant
of an A-B-A-Coda form. For
the first A section, the piece
begins in Bb Major, andThe
trumpets lead the melody
above the moving line,
passing the melody in
fragments between
saxophone, horn,
euphonium, and tuba,
slowly adding in more
instrument sections until
the end of the idea at
measure 17.
The new theme is first
iterated in a contrasting
texture, utilizing the
woodwinds towards a
cadence in measure 38.

well. Some difficulties to focus on

would be on controlling dynamics and
balance, especially if more than one
piccolo is used.

Seize the Day! (Carpe Diem) is a

great piece for emphasizing the brass
section and would act as a great
opener for a concert. This piece would
push the endurance of the brass
section through its great focus on
them, but also not push their physical
stamina due to it being so short. As
well, it would create a positive
challenge for trill like features in the
woodwind parts.

Listening Journals
Here the B theme is
reiterated and at measure
49, a half cadence is
reached at the end of a
phrase making its way to A.
At measure 17, the
timpani and snare continue
to play through the musical
line and the piece makes its
way to a close.

Jazz Band Listening Journal

Recording
Moten Swing by
Bennie Moten,
performed by
the Count Basie
Orchestra

From Basie's 1959

"Chairman Of The
Board" album.

Summary/ History

Form

Personal

This standard was a very

important historical stepping
stone in jazz, allowing for a
freer form of orchestral jazz
and a leading point towards
swing. This piece was
composed in 1932 and was
first composed in an earlier
composition, when Buster
Moten and trombonist Thamon
Hayes composed "Moten
Stomp" in 1927. Now, this
piece acts as a anthem for
Kansas City.

Moten Swing is a thirtytwo measure AABA form

that is based on the chord
progression to a song called
Youre Driving Me Crazy. It
begins with a moving
bassline and the melody
played in the piano.
Trumpets enter playing a hit
on a chord change, and
bringing in a section with
trumpet and saxophone
carrying the melody.
Saxophone and muted
trumpet take solos, and the
opposite instrument plays
backgrounds with bass and
drum set. The main melody
comes back in saxophones
and repeats until it fades

This chart has a catchy melody that

incorporates easy to manage layering
in instrumentation. I especially enjoy
the fact that this piece is a great
example of swing and includes swing
in its title. This would be a great
teaching tool for students to
experience swing in jazz, and would
allow for many soloing opportunities.

Listening Journals

Take the A Train

by Billy
Strayhorn,
performed by
the Duke
Ellington
Orchestra

1943 performance
with vocalist Joya
Sherrill (Youtube)

Take the A Train was

composed in 1939 and is one
of the best known
collaboration between
Ellington and Strayhorn. The
title refers to the thennew A subway service. The ATrain ran through New York
City, going at that time from
eastern Brooklyn, on the Fulton
Street Line opened in 1936, up
into Harlem and used
the Eighth Avenue Line in
Manhattan opened in 1932. In
relation to the beginning lyrics
of this piece, Ellington wrote
directions for Strayhorn to get
to his house and the lyrics
began, Take the A train...

A Child Is Born
by Thad Jones,
performed by
the Thad
Jones/Mel Lewis
Orchestra

'CONSUMMATION'
(Solid State
Records) (Youtube)

First performed by Richard

Davis and Roland Hanna in
Germany as an interlude for
Jones ensemble. Jones then
took this melody and
transformed it into a full
orchestra work, which he
ended up taking credit of. The
Thad Jones/ Mel Lewis
Orchestra presented this piece
on their Consummation
album in 1970.

out completely, ending on

altering dynamics within
the last few seconds of the
piece.
Take the A Train is a
thirty-two measure AABA
form. Duke Ellington plays
an opening piano solo, and
the walking bass/ bass
drum create a typical swing
style rhythm section. The
saxophones begin with the
melody, with syncopated
responses from the trumpet
and trombone.
During the bridge, the
trumpets drop out and the
trombones only respond.
The response becomes
even more condensed as
the piece progresses.
Eventually, the piece
switches from the key of C
to Eb during two trumpet
solos. The melody then reenters and fades out to the
end of the piece.
This piece acts as a
chamber jazz number,
beginning solely with piano
for the first 8 bars.
Following this, the bass and
drums set up the rhythm
section, which is followed
by Jones entering on
flugelhorn and restating the
melody. Continuing, the full
orchestra joins in to repeat
the melody again one last
time before the piece
comes to a close. In a

Working on the timbre and style of

playing for the riff sections in both
trumpets, trombones, and saxophone.
These sections would show very
distinct chord changes and if this is
well learned and understood by the
ensemble, the students would play
together as a solid unit, with the
consistent tempo of the rhythm
section. I appreciate as well that this
piece calls for a vocalist, which would
allow more opportunity and interest for
music students beyond the jazz band.

The use of brushes on the drum set

adds a nice contrasting feeling in this
piece to others among this list. This
technique is an important one for set
players to have a chance to perform,
which adds to why this piece is a good
one to work with for high school jazz
band. Further, the slow tempo of this
piece would allow for great opportunity
to focus on tone quality and the feeling
of a Chamber setting.

Listening Journals

A Night in Tunisia
by Dizzy
Gillespie

This piece, also known as

Interlude was composed in
1941-2. Gillespie composed
this piece at Kellys Stables in
New York. The piece uses a
combination of American Jazz
and Afro-Cuban rhythms, and
is very well known for its
efforts to use a non-walking
baseline.

On Green
Dolphin Street
by Bronislaw
Kaper

COBO'S JAZZ
QUARTET
2013 (Youtube)

Giant Steps by
John Coltrane

Giant Steps Album

(Youtube)

Kapers piece was composed in

1947 for a film titled Green
Dolphin Street, based on a
1944 novel of the same name
by Elizabeth Goudge. This
piece was later recorded by
Miles Davis in 1958.
This piece was released on a
CD of the same title, and has
acted as one of the many
works off if this album that re
used as templates for jazz
saxophonists. The quickly
changing key centers act as a
challenge for many soloists
who would take on playing this
composition.

specific version, the flute

ends the piece with the
melody.
The style of this chart is
hard bop with a form of 32bar AABA with an interlude,
being a twelve-bar
sequence leading into a
four-bar break for the next
soloist. The A section
baseline avoids a standard
walking baseline and the B
section is also unique in
that it borrows the B section
from another chart, Alone
Together. It uses a chord
progression of II-V-Sub V of
the A section.
This piece uses a 32-bar
phrase structure A-B-A-B
Form. Each of these
sections is divided into
subsections of 4 measures
each, and the last section
contains a 4 bar extension.
This piece is in a hard bop
style and takes on a 32 bar
form, utilizing AA. The
piece plays through 21
choruses and a coda, with
many interruptions of key
changes, fast tempos,
harmonic improvisation,
and lengthy solos.

This piece acts as a great historical

lesson for many reasons in a school
setting. First, the use of a non-walking
baseline opens of a new step past a
walking baseline that the whole
ensemble can play and then alter to
understand how the pattern has been
changed. As well, if a unit were to be
based on jazz styles from multiple
cultures, the students could learn the
emphasis of Afro-Cuban rhythms and
instrumentation when learning about
this piece.

This piece would be interesting to see

working with the music and English
department together. Because this
piece has many ties to art culture
through film, literature, and music, it
could be analyzed through many
different perspectives.
I believe this piece would need to be
played with an advanced band that
has been working with each other long
enough to maintain a fast paced
consistent tempo. Personally, due to
the long solo sections and the fast
paced repetition, I would personally
use this piece as an example of quick
chord changes in relation to how an
ensemble can grow. Rather than
having the students work with this
piece directly, I may keep it as an
example at first and focus on
repertoire that has a more even
division of instrumental focus.

Listening Journals
Take Five by Paul
Desmond

Dave Brubeck Take Five ( Original

Video)
(Youtube)

After touring Eurasia, Brubeck

became very interested in
creating a jazz chart that
deviated away from the typical
4/4 pattern, common during
his time. Considering his
interaction with 9/8 meter, or
what can be referred to as
Bulgarian Meter, Brubeck
decided to also work with an
interesting meter and chose to
put Take Five into a 5/4
meter. This piece was first
released as a single in 1959
but really took off when it was
rereleased in 1961.

This work is in a 25 bar A-BA form. First, it starts at the

head with a focus on alto
saxophone, and then it
works its way to modal
improvisation around a
minute into the piece.
Following this, the drums
come in for a few minutes
before the group returns to
the head and ends with a
coda section.

This piece would be a great tool for

working on compound meter. If the
students hadnt experience compound
meter before or do not play in it
frequently, they could listen to the
piano and drum set patterns in this
work and pick up counting to five. As
well, if taught in class this meter would
be cleverly reinforced by the title of
the piece!