AN EXAMINATION OF MAJOR WORKS FOR CONCERT BAND AND CHAMBER ENSEMBLES: DOWN A COUNTRY LANE BY AARON COPLAND, TWO PIECES FROM LIEUTENANT KIJE BY SERGEI PROKOFIEV, AND SUITE IN B-FLAT BY RICHARD STRAUSS by EMILY RENEE ROTH B.A., Doane College, 2009 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre, and Dance College of Arts & Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2015 Approved by: Major Professor Dr. Frank Tracz Abstract The following report is a detailed analysis on the following three pieces: Suite in B-flat by Richard Strauss for woodwind chamber ensemble, Two Pieces from Lieutenant Kije by Sergei Prokofiev for brass and percussion ensemble, and a finally Down a Country Lane by Aaron Copland for concert band. The goal of the analysis is to provide rehearsal information for educational purposes. Aspects of the compositions studied include: background information on the composer and composition, a historical perspective, technical and stylistic considerations, and the musical elements. The researchers perspective on philosophy of music education is also stated as well as the importance of choosing quality literature for pedagogical needs and performance. The goal of this report is to aid future conductors in their performances of the literature and for that reason the seating charts for the ensembles, acoustical justifications, as well as rehearsal plans have been included. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii CHAPTER 1 - Introduction and Report Information ..................................................................... 1 Introduction and Statement of Purpose ....................................................................................... 1 Performance Information ............................................................................................................ 2 Music Examined ......................................................................................................................... 2 Format of Analysis ...................................................................................................................... 3 Concert Program ......................................................................................................................... 4 CHAPTER 2 - Music Education Mission Statement .................................................................... 24 Students as Lifelong Learners ............................................................................................... 24 Student-Centered Learning ................................................................................................... 24 Education as a Social Environment ...................................................................................... 25 Communicating Emotions .................................................................................................... 26 CHAPTER 3 - Quality Literature Selection ................................................................................. 28 Literature ................................................................................................................................... 28 Selecting Literature ................................................................................................................... 29 CHAPTER 4 - Suite in B-Flat, Op. 4, Movement II: Romanze by Richard Strauss .................... 31 Unit I. Composer ....................................................................................................................... 31 Unit II. Composition ................................................................................................................. 38 Unit III. Historical Perspective ................................................................................................. 39 Unit IV. Technical Considerations ........................................................................................... 40 Unit V. Stylistic Considerations ............................................................................................... 42 Unit VI. Musical Elements ....................................................................................................... 42 Melody .................................................................................................................................. 42 Harmony ............................................................................................................................... 43 Rhythm .................................................................................................................................. 44 Timbre ................................................................................................................................... 45 Unit VII. Form and Structure .................................................................................................... 46 iii Unit VIII. Suggested Listening ................................................................................................. 47 Unit IX. Seating Chart and Acoustical Justification ................................................................. 48 Unit X. Rehearsal Plans and Evaluations ................................................................................. 49 Rehearsal Plan – Rehearsal #1 .......................................................................................... 49 CHAPTER 5 - Two Pieces from Lieutenant Kije by Sergei Prokofieff, arr. Fisher Tull ............. 50 Unit I. Composer ....................................................................................................................... 50 Unit II. Composition ................................................................................................................. 55 Unit III. Historical Perspective ................................................................................................. 56 Unit IV. Technical Considerations ........................................................................................... 57 Unit V. Stylistic Considerations ............................................................................................... 59 Unit VI. Musical Elements ....................................................................................................... 60 Melody .................................................................................................................................. 60 “Wedding of Kije” ............................................................................................................ 60 Troika ................................................................................................................................ 60 Harmony ............................................................................................................................... 60 “Wedding of Kije” ............................................................................................................ 60 “Troika” ............................................................................................................................ 61 Rhythm .................................................................................................................................. 61 “Wedding of Kije” ............................................................................................................ 61 “Troika” ............................................................................................................................ 62 Timbre ................................................................................................................................... 62 Unit VII. Form and Structure .................................................................................................... 63 “Wedding of Kije” ............................................................................................................ 63 “Troika” ............................................................................................................................ 63 Unit VIII. Suggested Listening ................................................................................................. 64 Unit IX. Seating Chart and Acoustical Justification ................................................................. 65 Unit X. Rehearsal Plans and Evaluations ................................................................................. 66 Rehearsal Plan – Rehearsal #2 .......................................................................................... 66 Rehearsal Plan – Rehearsal #3 .......................................................................................... 67 Rehearsal Plan – Rehearsal #3 .......................................................................................... 68 Rehearsal Plan – Rehearsal #4 .......................................................................................... 69 iv Rehearsal Plan – Rehearsal #5 .......................................................................................... 70 CHAPTER 6 - Down a Country Lane by Aaron Copland, transcribed by Merlin Patterson ....... 71 Unit I. Composer ....................................................................................................................... 71 Unit II. Composition ................................................................................................................. 74 Unit III. Historical Perspective ................................................................................................. 74 Unit IV. Technical Considerations ........................................................................................... 75 Unit V. Stylistic Considerations ............................................................................................... 76 Unit VI. Musical Elements ....................................................................................................... 77 Melody .................................................................................................................................. 77 Harmony ............................................................................................................................... 77 Rhythm .................................................................................................................................. 78 Timbre ................................................................................................................................... 78 Unit VII. Form and Structure .................................................................................................... 80 Unit VIII. Suggested Listening ................................................................................................. 80 Unit IX. Seating Chart and Acoustical Justification ................................................................. 82 Unit X. Rehearsal Plans and Evaluations ................................................................................. 83 Rehearsal Plan – Rehearsal #1 .......................................................................................... 83 Rehearsal Plan – Rehearsal #2 .......................................................................................... 84 Rehearsal Plan – Rehearsal #3 .......................................................................................... 85 Rehearsal Plan – Rehearsal #4 .......................................................................................... 86 Rehearsal Plan – Rehearsal #5B ....................................................................................... 87 Rehearsal Plan – Rehearsal #6 .......................................................................................... 88 Rehearsal Plan – Rehearsal #7 .......................................................................................... 89 References And/Or Bibliography ................................................................................................. 90 Appendix A - Graph Analysis of Richard Strauss’s Suite in B-flat, Op. 4, Movement II: Romanze ....................................................................................................................................................... 92 Appendix B - Graph Analysis of Aaron Copland’s Down a Country Lane ................................ 103 Graph Analysis of Sergei Prokofiev’s Two Pieces from Lieutenant Kije ................................... 109 v List of Figures Figure 4.1 Clarinet solo with triplets and "ppp" accompaniment ................................................. 41 Figure 4.2 Recurring Motif ........................................................................................................... 43 Figure 4.3 Ascending Quarter Note Theme .................................................................................. 43 Figure 4.4 Passing Eighth Note Line ............................................................................................ 45 Figure 4.5 Seating Chart ............................................................................................................... 48 Figure 5.1 Trombone Double Tongue Passage ............................................................................. 57 Figure 5.2 Trumpet Running Eighth Notes................................................................................... 58 Figure 5.3 Trumpets and Trombone Sixteenth Note Passage ....................................................... 58 Figure 5.4 Trumpet Melody with Horn Sforzando ....................................................................... 59 Figure 5.5 March-like Rhythm ..................................................................................................... 61 Figure 5.6 Syncopation in Trombones .......................................................................................... 62 Figure 5.7 Seating Chart ............................................................................................................... 65 Figure 6.1 Perfect Authentic Cadence .......................................................................................... 78 Figure 6.2 Off-beats in Flutes and Alto Saxophones .................................................................... 78 Figure 6.3 Chamber Transition to B Theme ................................................................................. 79 Figure 6.4 Seating Chart ............................................................................................................... 82 vi List of Tables Table 4.1 Selected list of compositions ........................................................................................ 37 Table 5.1 List of film scores ......................................................................................................... 55 Table 6.1 List of selected compositions for orchestra, piano, and band ....................................... 72 vii CHAPTER 1 - Introduction and Report Information Introduction and Statement of Purpose This report serves as a culminating project in the degree of Master of Music with an emphasis in Instrumental Conducting. The purpose of creating this report is to demonstrate a knowledge and ability to select appropriate repertoire, research and analyze it, and finally to rehearse and present appropriate literature in a concert setting. The guiding principles to how the conductor does the preceding process is laid out in the written philosophical statement on music education. Going through the process of preparing such a report exposes the researchers underlying beliefs about education. While the philosophical statement is a written declaration of pedagogical ideas, the process and emphasis placed on the different musical concepts present a clearer picture. Because this document contains the statement, the methodology, and pedagogical techniques of the researcher, it can provide a well-rounded view of the educator. There are six chapters contained in the report. The first is the introduction to the report containing general information about the pieces studied and programs from the concerts. Chapter Two, Music Education Mission Statement is the philosophical statement of the researcher, defining the purpose of music education in the schools. Quality Literature Selection is a statement on what defines quality literature and how to go about choosing literature for groups. Chapters four through six are in-depth research into the pieces performed for the purpose of the report. At the end of the report are three appendices containing the grid analysis forms for each of the pieces studied. A more detailed account of what is contained in the chapters and appendices can be found below in the section labeled, “Format of Analysis” It is nearly impossible to count the amount of time put into the creation of a report of this nature due to the time spent researching the music, writing, preparing lesson plans, and rehearsing the ensembles. All of the time spent has increased the level musicianship, knowledge and the rehearsal techniques available, and thereby the elevated the level of performance by the participating ensembles. The research done for this project will easily translate to the podium for future educational opportunities. 1 Performance Information Three separate groups performed the literature included in this study on three different concerts. The Kansas State University Brass Ensemble prepared Two Pieces from Lieutenant Kije. This performing group includes brass and percussion players from all three of the bands and rehearses once a week on Sunday evenings. The graduate students rehearse and manage the ensemble. Lieutenant Kije was performed on March 10, 2015 on a concert with the Wind Ensemble and Wind Symphony. Down a Country Lane was performed on March 11, 2015 with the Concert Band. This ensemble rehearses regularly on Monday, Wednesday, and Friday from 12:30-1:20 pm and is conducted by present graduate assistants with the band program. The ensemble is comprised of different majors and includes a wide variety of ability levels, something that is common in most public school settings. Richard Strauss’s, Suite in B-flat Op. 4, movement II was performed in May in conjunction with the Kansas State University Wind Ensemble concert. This collection of students was chosen from the top wind players at the university. All three of the performances took place at Kansas State University in McCain Auditorium. Music Examined For the purpose of this research, three pieces of varying instrumentation were chosen under the direct guidance of Dr. Frank Tracz. The concert band piece selected was Down a Country Lane, composed by Aaron Copland, transcribed by Merlin Patterson. This piece was chosen for its focus on musicality and the intonation issues it allows the young ensemble to work through. Concert Band is the third ensemble at Kansas State University and is comprised of students from a variety of majors and backgrounds. A work of this nature allowed them to quickly move past the technical aspects that can separate the ensemble and get to the heart of music making, evoking feeling and emotion. With the Brass Ensemble I chose Sergei Prokofiev’s Two Pieces from Lieutenant Kije, arranged by Fisher Tull. The ensemble only meets once a week on Sunday evenings but is comprised of the top brass players in the bands allowing us to program “meatier” music. The work chosen for this study offered opportunities for character shifting, lyrical and technical 2 playing, and solo passages. In the performance context, it also provided a more tonal work in comparison to the Karel Husa piece played immediately before it. The players were challenged with frequent tonal shifts, abrupt tempo changes, and contrasting styles. The final piece chosen for the purpose of this study was Richard Strauss’s, Suite in B-flat. Due to time constraints, only the second movement was performed. The work allows for a multitude of musical decisions on the part of the conductor and the player allowing for growth in both aspects. It is written for mature players with a good concept of technical challenges and the ability to listen for a variety of different choir pairings. At the time of submission, the concert for this work had not yet taken place, therefore there is not an attached program, video, or complete lesson plans. Format of Analysis Each piece chosen was analyzed in the format of the resource, Teaching Music Through Performance in Band (Miles, 2010, pp. 114-118) with two addendums to make it more applicable to the study. The three repertoire selections were analyzed in nine units: composer, composition, historical perspective, technical considerations, stylistic considerations, musical elements, form and structure, suggested listening, and seating plan and justification. The reason for selecting this format is for teaching purposes. Each section addressed influences the decisions made on the part of the conductor for both rehearsal and performance justifications. These units are found in chapters 3-5. The second type of analysis done on each of the pieces is a grid analysis. The grid was developed by Dr. Frank Tracz. There are 12 sections in the score analysis: form, phrase structure, tempo, dynamics, meter/rhythm, tonality, harmonic motion, orchestration, general character, means for expression, conducting concerns, and rehearsal consideration. By working through the grid analysis, the conductor gains an understanding of both the micro and macro form of the piece. The analysis presents everything that is written in the score and goes beyond to what interpretations the conductor chooses to make. These analysis grids are found in Appendices A through C. 3