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Repertoire Project

First Suite in Eb Gustav Holst, Boosey & Hawkes, Inc, 1921, Grade 3 5
Gustav Holsts First and Second Suites are two of the largest cornerstone in band music.
Written for military band, his band works defined the instrumentation in modern wind band
ensembles. While written in 1909, It was not performed until 1920 and published a year later. A
three-note motive (Eb, F, C) is the backbone to all three movements: Chaconne, Intermezzo and
March. Each movement offers collaborative group playing along with independent solos; overall
it challenges the group on many different levels.
The First Suite in Eb is one of the hallmark pieces of the band literature. It is important
for students to play and experience one of the most important pieces in the band repertoire. This
piece offers soloistic technical passages that challenge ensemble to shift their listening around
the group. This piece also offers sections with large choirs in unison and in harmonies that push
the students to match and blend with each other.

Second Suite in F Gustav Holst, Boosey & Hawkes, Inc, 1911, Grade 4 5
Like the First Suite in Eb, Gustav Holsts Second Suite in F can be argued as one of the
most influential wind band pieces ever written. The piece is comprised of four folksongs in four
different movements. Each of the movements can stand on their own and can fit into a large
amount of concert programs. For ensembles and audiences, this piece provides enjoyable dance
like rhythms and soaring melodies.
The Second Suite in F provides a wide variety of different genres. Each movement has
and engaging, yet challenging aspect to them. The first and last movement, March and Fantasia
on Dargason, push the students to match the light and dance style demanded by the music. While
the second movement pushes the ensemble for sensitive listening skills followed by the heavy
and rhythmically challenging third movement: Song of the Blacksmith. In its entirety, the suite is
a great standalone piece and can be fit into many if not all concert programs.

Air for Band Frank Erickson, Bourne Co, Grade 2 -3


Written in 1956 and revised 1966, Air for Band is a simple yet expressive piece that is
available to developing ensembles. The short piece takes a solo melody in the clarinet and adds
instruments to it to add weight. Centered in the key of Eb and C minor, it is in a comfortable key
for young musicians.
The piece is technically simple but allows room for musicality and gives the students a
chance to experience manipulating phrases. The abstract musical ideas that can be taught through
Air for Band are what define a mature ensemble. While rhythm and notes are imprtnat to develop
in any ensemble, it is rare to see groups focus on musicality and expression; this piece is simple
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enough for students to grasp those concepts and then allows them to manipulate them to fulfil
their own creativity.

Colorado Peaks Dana Wilson, Boosey & Hawkes, Inc, 2009, Grade 4 -5
As described in the score, the piece was written to describe the rugged hike up the
Colorado Rockies, not necessarily the Rockies themselves. The sharp rhythms with interjections
contrast nicely with longer melodies found in the middle of the piece. The piece can be divided
into two different choirs; the woodwinds with a driving rhythm and the long melody in the brass
choir that passes drag triplets.
Colorado Peaks is unique in how it challenges the instruments differently. This piece is
great for introducing articulations as it begins with tuneto staccato articulations. The piece calls
for exact tempo and rhythms and has little to no room for musical liberties when it comes to
time. This piece works well practicing with a metronome. Also, the longer melody found in the
brass choir is simple enough to be taught around the ensemble.

English Folk Song Suite Ralph Vaughan Williams, Boosey & Hawkes, Inc, 1923, Grade 5
Written for standard military band, the piece originally wrote for four movements later
reduced to three. The movements feature several different English folk songs that give a sense of
familiarity in the piece. The first movement, March, is most commonly played in high school
band programs. As a military piece, the piece highlights the different sections and characterizes
them. The woodwinds, playing lighter and dance like melodies contrast with deep and heavy low
brass lines.
Bands of all levels are capable of playing this piece as it provides a wide variety of
difficulty. Most bands play the March as it is easy to use away from the entire suite. However,
the piece complements itself. Within this piece, the students can learn the folk songs to give
context of the music.

Irish Tune from County Derry Percy Grainger, Print Music Source, NA, Grade 4
Irish Tune from County Derry is a piece that everyone will recognize as Danny Boy.
Originally written for piano, it works well in the band setting and has become one of the icons of
band literature. The beautiful theme varied in all different voices builds into a mostly unison
section across the ensemble. The piece epitomizes the Grainger style with its highlighting of the
reed sound and its strict use of dynamics. Depending on the arrangement, the piece will have a
slight variation on instrumentation but requires a strong reed and double reed section as it
characterizes Graingers love of the reed sound.
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This piece should be taught alongside the folksong. Students should learn the words and
pitches so that they may sing the folksong before they play it. Its repetitive melody makes it easy
to learn as well its familiarity in modern culture. Along with sensitive listening and the pedagogy
behind Grainger style, the piece is uses a sense of theme and variation as the piece passes melody
across the ensemble. Like Air for Band, this piece can open students creativity and musicality as
it is not technically hard but musically abstract. However, Grainger writes very conservatively
and therefore musical liberty is slightly constricted.

Variations on a Korean Folk Song John Barnes Chance, Boosey & Hawkes, Inc, 1967, Grade 4
One of the most frequently played pieces in modern high school bands, Variations on a
Korean Folk Song has a lot of different concepts within the piece. the piece modern band, with
usual instrumentation, highlighting woodblock. Each variation can be classified as a movement
where each section has its own style and character. The driving pulse along with the pentatonic
based melody is simple yet fun for students. Students will love this piece as it has different
sections to appeal to different listeners while centering on a simple and single melody introduced
in the beginning of the piece.
The piece offers a comprehensive lesson centered on Asian culture. Within this piece
students can learn the use of the pentatonic scale, the importance of style and the use of theme
and variation. The original folk song, stated in the beginning can be easily learned throughout the
ensemble can helps students direct their ears to wherever the theme is voiced in the band.

John Phillip Sousa Black Horse Troop, Alfred Publishing Co. 1897, Grade 4
Sousa being the most important composer for band literature, has written a massive
collection of quality marches for military band. Black Horse Troop is just one of the many
amazing marches written by Sousa. The contrasting styles was typical of marches of the time.
Contrasting woodwind lightness and low brass heaviness is just one of the characteristics of
marches and generally Sousa Marches.
Sousa marches are difficult in that souse style is very strict. Seemingly simple, playing
Sousa marches in the correct style is what is important. This piece is the epitome of the American
march style as Sousa is the pioneer of marches and eventually the role of the concert band.
Students could spend a whole unit on Sousa and his contribution to the concert band and how his
marches have similar form; and what that does to the music. The simple yet repetitive melody of
marches is what makes them so catchy and why they became so popular.

Americans We Henry Fillmore, Carl Fischer LLC, 1929, Grade 3


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Along with Sousa, Henry Fillmore is another superstar in American band literature.
Americans We is one of the most famous marches ever written alongside Stars and Stripes
Forever by Sousa. Its playful and patriotic melody will easily raise spirits in the concert hall and
lave the audience humming the melody afterword. The use of the piccolo and other higher
woodwinds is just one of the characteristics of American music that even to this day is
recognizable.
There are no marches that stick to the typical march form as Americans We do. Each
strain has its own leading voice while the trio can be varied slightly by bringing out certain
voices. However, it is typical to have the woodwinds play first followed by the brass. When
teaching march form and the standard march style, this piece characterizes the march at its
highest popularity. Like all American marches, this piece is a cornerstone to American concert
band culture and therefore needs to be experienced by all and any aspiring musicians.

Elegy for a Young American - Ronald Lo Presti, Theodore Presser Co, 1964 Grade 4 5
Dedicated in remembrance of President John F. Kennedy, this heavy and deep piece
characterizes the stages of grief. The piece uses a sense of mystery and confusion in the
beginning of the piece quickly shapes into dissonant harmonies that define anger and denial
emotions. This piece has been used in times of loss and heartfelt and has become a classic in the
wind band literature.
This piece should be used to develop a sense of balance and blend and can be used to
access a solemn mood. A teacher should incorporate the pieces history and use it as a
springboard into how the death of JFK shocked the world. With history comes seeing similarities
in history and modern developments. Its dissonant and heavy harmonies really relies on the
students ability to listen and blend with each other as it is crucial for the piece and for the
symbolic representation of the piece.

An American Elegy Frank Ticheli, Manhattan Beach Music, 2000, Grade 4


Similar to Elegy for a Young American, this piece is dedicated to another tragedy that
plagued the nation. Following the Columbine shooting, Ticheli wrote this piece that not only
appeals to the stages of grief but also uses it as a chance to bring people together. Within the
piece is the Columbine alma mater which Ticheli wrote just so he could quote it within this
masterpiece. This piece is made famous not only for the act that inspired but its incredible
ability to take the listener through an emotional rollercoaster that eventually ends on an inspiring
note. Written for a traditional wind ensemble, this piece can be played at a high school level,
where it has a strong connection to its origin.
When performing this piece, students need to learn the how music can shape mood. How
certain chords inspire and how close intervals can lead listeners to be uncomfortable. This piece
requires upmost listening skills as many different melody lines lie within the piece. Its subtlety is
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what makes the piece so intriguing. When teaching this piece, students should learn the
Columbine alma mater both in voice and instruments so that when it is eventually quoted, it can
be played with the upmost emotion and clarity. This piece is designed to make any ensemble
playing An American Elegy to feel a part of the Columbine high school and therefore must be
taught sacredly as such.

Shenandoah Frank Ticheli, Manhattan Beach Music, 1999, Grade 3


One of the most commonly played pieces for high school band is Shenandoah. Its
beautifully stretched melodies swell and recede like the river the folk song was originally written
for. The piece is thin at first but gains weight as the lower voices become more present. The
piece gives off the impression that there are multiple different melody lines that has come
together to create a sense of unity. The piece written for a standard high school band asks for
strong French horn and clarinet/oboe players.
The piece can be used to teach the symbolism used in music and how nature is constantly
inspiring composers. Its open intervals provide a chance to teach tuning chords specifically. The
theme is passed across the ensemble and allows the teacher to demand blend within the
ensemble, especially in the canonic section.

Cajun Folk Songs Frank Ticheli, Manhattan Beach Music, 1990 ,Grade 3 4
Inspired the Cajun people in Europe, the piece starts with a slow introduction to the
theme of the folk song that Ticheli later adapts into a dance like 5/8 section. The piece uses a
clever passing of melody along with strange transitionings. Throughout the piece, the main
theme can be heard either in a slower, drawn out line or in the famous quick dance like line. This
piece is written for standard wind band but relies heavily students who can subdivide and keep
internal pulse as Ticheli tries to displace time with low brass interjections and time signature
changes.
This piece is perfect for teaching 5/8 as the rhythm that made the piece famous is
repetitive and catchy. It also asks the students toc constantly be thinking in terms of eighth notes
as the meter changes throughout the piece. This piece is technically hard when it comes to
feeling time and passing the melody throughout the ensemble. Having a strong percussion
section will aid the ensemble and demanding the low voices to match the clarity of the upper
voices will become a valuable lesson for students.

Divertimento for Band Vincent Persichetti, Theodore Presser Co, 1951, Grade 5 6
Divertimento stands as a cornerstone piece in wind band literature for its contribution and
highlight of the percussion section. Originally written for strings and then adapted for band, has
become a piece for many advanced high school groups. Persichetti pioneers for a melodious
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rhythm section. Also, typical of Persichetti is his use of choirs within the ensemble. Woodwinds
and brass choirs will move separately, complementing each other. The multi movement piece
mixes a beautiful middle section with dance rhythms that displace the downbeat. Each section of
the band will be highlighted and therefore needs to have independent players.
Divertimento is one of the more challenging pieces for high school band as it asks
students to simultaneously be independent when its specific section is being highlighted as well
as being part of the choir/section it is part of. While each movement is short, it serves a chance to
teach a new place to direct the ensembles ears to match pitch and style. This scherzo piece is
vital to characterize the evolution and development of the modern band set up and gives students
a chance to see where concert band music is heading.

Pageant Vincent Persichetti, Carl Fischer LLC, 1953, Grade 4 6


Pageant is written into large sections, a slow chorale like introduction and a fast fanfare
like finale. The beautifully designed opening passes melodies between the brass and woodwind
choirs where phrasing and dynamics are open to musical liberty. The second half the piece passes
a short 6/8 melody through the ensemble that demands similar style and blend. In the score, the
piece is written within two different compositional styles and textures. The two sections contrast
each other.
This piece is filled with polytonality, a concept that will likely be unfamiliar to high
school bands and offer a glimpse into unstable harmonies of neoclassic music of the time. This
piece offers students a chance to play in two majorly contrasting styles that can relate to each
other in only that they are almost complete opposites. Each section stand on its own that they are
both substantial in material. However, they complement each other nicely.

Chorale and Shaker Dance John Zdechlik, Neil A. Kjos Music Company, 1972, Grade 3 5
While the Chorale section is entirely an original composition, the common melody
Simple gifts can be found in the second part of the piece. Written for a normal band with the
added Eb Alto Clarinet. This piece, uses a variety of compositional techniques including cannon,
call and response, augmentation and polytonality. The piece is known for its setting of Simple
Gifts in a variety of key signatures such as 2/2, 3/2, , 4/4 , and 5/4.
This piece is filled with concepts from the time signature to its use of polytonality and
shifting of rhythms. These concepts are reinforced by the familiar melody Simple Gifts which
provide a base line for students to reference when Zdechlik alters the theme. Using the tune
Simple Gifts is recommended so that students can point out where it is used within the piece. it
could be a fun game for the students to realize how it is twisted and altered within the piece.
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Arabesque Samuel Hazo, Hal Leonard Corporation, 2008, Grade 5


Using themes from middle eastern styles, Arabesque offers a glimpse into a different
culture of music. Only using two main themes in the piece, Hazo develops them and then
combines them to create a grooving yet energetic piece. The piece is broken into three sections
and combines American jazz, middle eastern tonalities, and European chorales. The use of exotic
instruments such as the dumbek, add new flare to the sometime mundane European band music
found today.
This piece can be explored solely on its use of multiple cultures, especially its quoting of
middle eastern culture. This opens a whole new lesson into middle eastern music and its use of
bi-tonality. The use of exotic percussion instruments is a great segway on how drums were
developed and created in ancient cultures as well as their social, communal and religious duties
within the culture.

Dusk Steven Bryant, Hal Leonard Corporation, 2004, Grade 3 4


The sensitive and simple chorale like piece uses exposed orchestration and silence to
picture the setting dusk sky. Composed for a typical high school band, it focuses on balance
blend and intonation. This piece is sensitive to patience as it slowly builds through suspensions
and swells to a finale chorale like climax before fading back to its limited orchestration. This
piece is open to a lot of musical liberty since it is such a simple piece that is open to a lot of
interpretation by both the conductor and the performers.
This piece challenges the ensemble to not rush the inevitable build in the piece. While it
is slow, it captures the stillness of the sunset. This piece can be taught with the use of artwork by
both professional and student submissions. The use of visuals can greatly enhance this piece and
give students a mental image to strive for. Since the piece is ambiguous on phrasing, it leaves the
students an opportunity to make musical decisions for themselves.

Courtly Airs and Dances Ron Nelson, Ludwig Masters Publications, 1995, Grade 3 4
This suite of renaissance dances depicts European culture in 1500. Commission and
written for a middle school ensemble, it replicates music in the style of 1500s composer Claude
Gervaise. The piece opens with a fanfare like that is based on a intrada. Different styles of dances
represent France, Germany, Italy, England, and Spain and offer a variety of material on teaching
music of that time. With different sections offer a variety of rhythms and time signatures for the
developing musicians to be exposed to.
This piece is great for a unit on renaissance music; its makeup and use in 1500 Europe.
Students will learn about the different countries of the time, based on their iconic dances. This
music should be taught side by side with the composer Claude Gervais as his music frequently
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featured in Courtly Airs and Dances. Although the piece is written for a middle school ensemble,
it is written like a professional group with its use of mutes and different choirs. These factors,
although small, give a chance for a teacher to give explain the affects mutes and other color
changes have on the music.

Sleep Eric Whitacre, Hal Leonard, 2001, Grade 4 5


Originally a choral piece set to a poem, this adapted piece works really well for band.
Written for a standard ensemble, the colors the Whitacre use make the piece that much more
enjoyable when played by a mature ensemble. This piece really challenges the group to play in
tune and to blend sound with each other. With its use of warm harmonies, the importance of
tuning chords is amplified when the ensemble is exposed like it is Sleep.
Students who perform Sleep must be exposed to not only the poem in which it is written
for but also the performance of Sleep by a choir. While it is written for band by Whitacre, it is
important that the ensemble learns to mimic the warmth and openness of the human voice.
Within this lesson, students could read and interpret the poem so that they may use it as context
for the music. Furthermore, students could set the music to the poem, using musical sections to
define lines in the piece; all of which would give students individuality context and create
musicality.

Reference List

JWpepper.com (2016). http://www.jwpepper.com/sheet-music/welcome.jsp


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Pease, Andy (2017). windliterature.org

windrep.org (2016, October 23). http://windrep.org/Main_Page

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