DANCE OF FIRE

COMPOSER: QUINCY HILLIARD

UNIT STUDY 1
RACHEL MALLON

COMPOSER
Quincy Hilliard was born in Starkville, Mississippi on September 22, 1954. Although he
is from this area, Dr. Hilliard believes that his influence comes from his previous teachers. He
graduated from Starkville High School, which was integrated two years before he graduated. Dr.
Hilliard received his bachelor’s degree in music education from Mississippi State University then
received his master’s in music education from Arkansas State University. At Arkansas State he
studied not only composition, but the business behind composition. He later received his PhD in
music theory and composition at the University of Florida. He has taught at International
University, Nicholls State, and currently at University of Southwestern Louisiana. Dr. Hilliard
has received numerous composition awards including the National Bandmasters Association
Citation of Excellence, the National Catholic Band Masters Service Award, and the Heymann
Endowed Professorship in Music Award awarded by University of Southwestern Louisiana. He
was also chosen to compose music for the 1996 Olympics and was commissioned by the Library
of Congress to create a work for the bicentennial celebration of Abraham Lincoln’s birth. Other
notable works is his Anthem for Victory, performed at the 1996 Olympics, and Ghost Dance
which was premiered at the Kennedy Center and received a standing ovation.
COMPOSITION
Dance of Fire is a grade three work that was commissioned by Texas Private School
Music Educators Association for the TPSMEA All State Band. It was premiered with Dr.
Hilliard conducting on January 30th, 1993. Dr. Hilliard introduces the score with, “Dance of Fire
is a spirited composition celebrating Japanese culture. Although no authentic folksongs were
used, the composer’s intent was to capture the excitement, style, and flavor of this unique
culture.”
HISTORICAL PERSPECTIVE
This piece was premiered in January of 1993 and was likely written in 1992. 1992 had many
dark events happen. Jeffery Dahmer, the prolific serial killer, was convicted and received life in
prison. Hurricane Andrew kills 65 while causing millions in damage. The Mall of America
opens in Minnesota. Bill Clinton defeats George H. W. Bush in the presidency election.
1993 followed similarly in 1992s footsteps. The world trade center is bombed. The Great
Blizzard of 1993 strikes the eastern United States, bringing record snowfall and other severe
weather all the way from Cuba to Quebec; it reportedly kills 184. A text-based web browser, the
later foundation for the Internet, is released to the public. Two popular songs of this year are
Nirvana’s “Smells like Teen Spirit” and Whitney Houston’s “I Will Always Love You.”
TECHNICAL CONSIDERATIONS
This piece features piccolo, oboe, bassoon, and alto clarinet; which are instruments that
may not be in every program. The piece alternates between 3/4 and 4/4, with a majority in 4/4.
The piece contrasts between legato and staccato often, maybe in just a measure. The main
articulations are legato, staccato, and accents. Some spots to check accent contrasts are measures
28-33 (legato to staccato), measure 12 (staccato vs accent in low winds), the legato section at
measure 40, ensemble contrasting articulations in measure 56, legato to staccato in measure 75,
and the different lines in measure 93. There isn’t much syncopation until later in the piece with a
tradeoff of different syncopations in different groups. The first group is high woodwinds and
mallet percussion, and the second group is low brass, low woodwinds, temple blocks, and
timpani. These exchanges occur from measures 92-108. The second group repeats these
syncopations from measures 123-132. Passing eighth notes occur in measures 72-75 between
high woodwinds and trumpet.
STYLISTIC CONSIDERATIONS
Dr. Hilliard creates different sounds by instrumentation, grouping, and articulation. The
introduction to this piece begins with high woodwinds, trumpet, and mallet percussion with the
melody motif while low woodwinds and low brass have a strong, low pedal tone. This creates an
instrumentation that would make Western ears think of Japanese music. This effect is
emphasized with the harsh articulation with staccatos and accents, which may be bothersome to
low winds.
Dr. Hilliard creates a Japanese folk sound by creating a type of chamber music sound where the
timbre of each instrument comes through; this is present when groups are playing rather than the
entire ensemble. This is a representation of Japanese tripartite form jo- ha-kyū (introduction, the
scatterings, and the rushing toward the end). This form is similar to Western sonata form, but
instead of using chords to guide movement it uses different sections. “Japanese music reveals its
logic and its forward motion not by themes but by a movement from one section to a different
one until the final section has been reached. Forward motion in motive Western music was often
derived during the classical periods from the tension created by chord progressions. In Japanese
music such sonic events generally are not used. Nevertheless, the need for aurally recognizable
patterns falling into a progression that the informed listener can anticipate is necessary in all
music. In Japan such stereotyped patterns are melodic or rhythmic, not harmonic.” – Britannica
Article “Japanese Music – Predominant Musical Traits”
MUSICAL ELEMENTS
MELODY: The melody of this piece modulates between Bb major and its relative minor, G. The
melody is usually distinguishable by black notes. This melody varies from woodwinds, brass,
and percussion and is most often grouped as high woodwinds/high brass/mallet percussion and
low woodwinds/low brass/temple blocks/timpani. One exception to this is in measures 95-109,
where groups are playing supporting lines are playing rhythmic ostinatos while the melody is
long and sustained.
HARMONICS: The harmonics of this piece are often one group playing the melody as the other
group plays pedal tones. This is often shown by long, sustained notes that are accented. There is
an occasional moment where some add to the eighth note texture but not necessarily having the
melody.
RHYTHM: The time signature in this piece is almost always 4/4, with a few measures in 3/4.
There are many rhythmic parts to this, including melody or rhythmic ostinatos. In measures 72-
83 where different sections trade off eighth notes, which may be problematic between lower and
higher voices.
TIMBRE: This piece involves many different timbres by combining different instruments in
different groups. Most groups are commonly orchestrated, such as alto saxophones and horns
together. Some are different such as clarinets, saxophones, low reeds, euphonium, and tuba.
FORM AND STRUCTURE
Introduction Transition Theme 1 Theme 2 Recapitulation of
mm. 1-24 mm. 25-40 mm. 41-82 mm. 83-134 Intro
mm. 135-151
Strong and harsh Woodwinds/corne Slower tempo Begins with Same as
articulation. t play long lines of with less introduction introduction but
Often one part eighth notes while harshness. motive, but no different motives
plays an other instruments Legato longer has long are now fully
articulated sustain. Sense of articulation sustains. orchestrated.
passage while calming down except for solo Rhythmic
another plays a from strong line. Ensemble ostinatos
pedal tone on a beginning. will elaborate throughout
different beat on the solo while melody
line. Long is long and
sustains in all sustaining.
voices Building.

SUGGESTED LISTENING
 Ghost Dance by Quincy Hilliard
 Variations on an African Hymnsong by Quincy Hilliard
 Vesuvius by Frank Ticheli
 Sun Dance by Frank Ticheli
 Critical Mass by Todd Stalter
 Japanese Pictures by Kevin Mixon
ADDITIONAL REFERENCES AND RESOURCES / BIBLIOGRAPHY
1992 in the United States. (n.a.) Retrieved January 5, 2019 from
https://en.wikipedia.org/wiki/1992_in_the_United_States
1993 in the United States. (n.a.) Retrieved February 1, 2019, from
https://en.wikipedia.org/wiki/1993_in_the_United_States
Malm, William. (September 9, 2015). Japanese Music – Predominant Musical Traits. Retrieved
from https://www.britannica.com/art/Japanese-music/Predominant-musical-traits#ref283241
Quincy Hilliard: Composer & Musician from Starkville, Mississippi. (1998). Retrieved from
https://www.mswritersandmusicians.com/mississippi-musicians/quincy-hilliard#biblio
Quincy Hilliard | School of Music & Performing Arts. (n.a.) Retrieved from
https://music.louisiana.edu/faculty/hilliard