Measure # 1 2 3 4 5 6 7 8 9 10 11

Form Introduction A1 Theme A2 Theme A3

Phrase Structure

Tempo Allegro Giocoso Quarter Note = 132

Dynamics p mf f mp f

Meter/Rhythm

Tonality Bb Major
Harmonic Motion Bb Bb Eb/Bb Bb Bb Eb/Bb Bb Eb D7

Orchestration Wood block/tambourine add Oboe/Clar 1/Clar 2 Trumpets1-2/Horns/Bones/Baritone/Perc A

General Character Steady, Pulsing, Calm Lifiting, Baby Steps, Conquering Heavy, Packed, Hoarse Quick Changing, R

Wood block and

tambourine provide First two beats rise and the second beats fall of each Brass chord shift and accents on off beats to give a Unison rhythyms provide g
Means for Expression steady eight notes to base measure. Contrasting the quarter notes underneath unsteady feeling be the prevailing idea. T
the moving eighth notes creates tension in an o
the melody off of

Clear and consistent Make a noticble differenc

Conducting Concerns tempo from beginning This is softer than the previous four bars
Balancing the quarter notes underneath the moving
Steady eight notes, eighth notes. Still having quarter notes be present Putting emphasis on the 1 and 3 as well as accents. Balancing the band sinc
Rehersal Consideration since the eighth note line is the same on the
playing in sync. Using the same kind of tounging. Entrance timing length on dotted eight six
downbeats. Line up entrance with the wood block
 Measure # 12 13 14 15 16 17 18 19 20 21 22
Form A3 Theme A1 Theme Transition

Phrase Structure

Tempo
Dynamics
f p f mf mf p mp

Meter/Rhythm

Tonality
Harmonic Motion C7 EMaj7 D7 EMaj7 D7 C7 EMaj7 F Bb Fm7 Ab Bb

Bassoon/
add Bassoon/ Bass Clar/ add Alto Clar/Alto Sax/ T Sax/
Orchestration All -timp Flute/Oboe/Clar 1/Clar 2/Woodblock/Tamb Bass Clar/ Bari Bari Sax/ Bones/ Baritones
Sax/ Tuba Tuba/ Perc

Going into the

General CharacterQuick Changing, Repetitive, Wall of Sound Familiar, Light Basement

Unison rhythyms provide good content for the harmony to
Means for Expression
be the prevailing idea. The drop in the third measure
creates tension in an otherwise tensionless melody.
The addition of the flute makes this different from Low winds carry This section relies heavily on the b7. The lac
the beginning and creates a different sound pallete. usnew
down into a that we are ending on the 5, which has a str
section

Make a noticble difference for bar 3. Also to not just beat Conduct a
Conducting Concerns time Includes flute decrescendo
Listening for flute since it is new. Emphasizing the Decresendo
Balancing the band since rhythm is all the same. Note
Rehersal Consideration eight note sixteenth in bar 18 (instead of all without losing Not to rush after rests. Secon
length on dotted eight sixteenth and tenuto quarter note sixteenths) energy
 Measure # 23 24 25 26 27 28 29 30 31 32 33
Form B Theme A1 and A2 Theme

Phrase Structure

Tempo
mp Dynamics mf f ff mf mp

Meter/Rhythm

Tonality
Harmonic Motion Fm7 Ab Bb Fm7 Ab Bb Fm7 Ab Bb Fm7 Ab Bb Bb

Flute/
add Alto Clar/Alto Sax/ T Sax/ Horns/ Oboe/
Orchestration
Bones/ Baritones add Flute/Oboe/Clarinets/Trumpets Clarinet1/ add Tpets/Horns/Bones/Baritone
Clarinet2/
Perc

General Character Agitated, Multiplying, Teamwork Unsure, Tottering, Interupted

tion relies heavily on the b7. The lack of a downbeat after the first two eight notes creates an space of silence that emphaszises Both themes are shortened to only play 2 out of the 4
are ending
Meansonfor
theExpression
5, which has a strong pull to 1. The call and response nature of this section brings attention to orchestration measures it usually would be. The attention of this
battle between middle and high voices. section goes to the battle of high woodwinds to brass.

Conducting Concerns Show a building energy Show the battle between themes

Rehersal
Not to rush
Consideration
after rests. Second group playing only as loud as first group gave them/balancing two groups. Balancing volume of high woodwinds to all brass
 Measure # 34 35 36 37 38 39 40 41 42 43 44
Form A3 Theme Transition C Theme

Phrase Structure

Tempo
Dynamics f mf mp mf solo

Meter/Rhythm

Tonality Eb Major
Harmonic Motion Eb D7 C7 Emaj7 D7 F C F Eb7 Bb Ab Gm Fm Eb Bb Ab Gm Fm Eb Gm Fm Eb Bb Ab Gm7

Basson/Alto Clar/ add Clar 2/ Clar 2/ Clar 3/ Alto Sax/ T. Sax/ Trumpet solo/ Horns/
Orchestration All -timp Bass Clar/T Sax/ Bari Sax/ Clar 3/ A Sax/ Baritone add Bsn
Bone 2/Baritone/ Tuba Horns/ Timp

General Character Simple, Controlled Slowing, Story Time, Calming Adventorus, Wide, Relaxed Expansive, W

The first two bars are an inversion of the The background behind the trumpet solo is a good example of planing chords (chords tha
A shortened version that gives clarinet theme. The first four notes are down the scale from 5 to 1 and then repeats. The second half of this section also uses a fi
you enough to recognize the inverted while the second half of the the phrase is but it also allows the chords to move from 5 to 1 without any skips. The trum
Means for Expression theme without needing to phrase is inverted rhythmically from short- primarily running eight notes. The second half of the solo then covers a range of an octav
play the whole thing. short-long to long-short-short. The whole bar phrase allowing it to return to the tonic. The ritard/slow section allow us to hear the
phrase is also played twice as slow. color to the melody that only u

Resist the urge to be lazy because they are

Conducting Concerns "just quarter notes" Conduct in half time, provide condifdence to soloist, support b

Rehersal Consideration Balance, Energy through two Have the same note lengths across the Keeping the trumpet tone steady and full of air. Keep the backgrounds engaged wit
bars instruments, same articulations
 Measure # 45 46 47a 47b 48 49 50 51 52 53 54
Form C Theme A2 Theme

Phrase Structure

Tempo Ralletando Meno Mosso a Tempo (132)

Dynamics mp mp f

Meter/Rhythm

Tonality Bb Major
Harmonic Motion Fadd2 Ebadd2 Bb Ab Gm Fm Gm Fm9 Fm9 Bb Eb Dm7

Orchestration add Bsn/ Alto Clar/ Bass Clar add Flute/Clarinet 1 Brass/Perc - Trumpet 3/Tuba

General CharacterExpansive, Wanting, Avoiding Resolution Homey, Tranquil Exact, Routine Well-known,

d example of planing chords (chords that move in complete parallel motion). The chords also move primarily by step This is an exact copy and paste of the first time this The great part about
second half of this section also uses a five bar phrase to extend the trumpet solo and make us feel unsure of where appears (ms7-10). Coming from the contrasting style normal but soon switch
from 5 to 1 without any skips. The trumpet solo covers an octave range in the first half using a pentatonic scale and and key of the previous section the exact repition melody. This essentia
the soloMeans for Expression
then covers a range of an octave plus a fifth. This second half focuses on the fifth scale degree with the five allows us to familiraize ourselves with what we content and forces u
ritard/slow section allow us to hear the original clarinet melody over an added ninth chord which gives a really nice already know. It reminds us what was so that it can content. The percussi
color to the melody that only uses the Bb scale. be new. each time this theme co

ovide condifdence
Conducting to
Concerns
soloist, support backgrounds, change back into normal time, tenuto Include pe

air. Keep
Rehersal
the backgrounds
Consideration
engaged with air even though its "just half notes". Attention to quarter notes in 47 Putting emphasis on the 1 and 3 as well as accents. Listening to percussio
parts lo
 Measure # 55 56 57 58 59 60 61 62 63 64 65
Form A3 Theme A1 Theme Transition

Phrase Structure

Tempo
Dynamics
f mf f mp f

Meter/Rhythm

Tonality Bb minor
Harmonic Motion Cm7 Emaj7 Dm7 Eb Dm7 Cm7 Emaj7 F Bb Bbm Bbm Fm7

Bassoon/Clarinets/Bari/
Orchestration All -timp Trumpets/Tuba/Perc add A. Sax/ T. S

General Character Well-known, Challenging the Status Quo Off-the-record, Anticipation, Attracting Shocking, New

With the low winds Bb scale down it

The great part about this melody here is that it starts like
normal but soon switches to have the percussion take over the
melody. This essentialy strips the melody of its intervalic
Means for Expression
content and forces us to listen to the melodys rhythmic
content. The percussion have been playing the same parts
each time this theme comes up but only know is it showcased.
The percussion is still playing the rhythmic portion of
the normal melody but the band is also playing the
first two beats, the reptitive 1 5 2 6 eight notes. Each
measure more instruments are added in so that by
the end the normal clarinet melody theme is being
played by the whole band.
alerts us to a change in the music. This is a section
Earlier it represented the b7 and now it trombones, and b
represents the minor scale (or b7 and switch from dotte
b6 and b3). This is also the first use of as melody and b
triplets in the score played by wants to resolve
percussion (the ornament on the triplet
gives it a militaristic feeling).

Conducting Concerns Include percussion in gestures/cues Showing energy/tension Style change

Don't rush/zone out (easy to do with

Listening to percussion with the melody even though wind
Rehersal Consideration Balancing the eight notes to quarter notes repeated quarter notes for two
parts look the same as before measures)
 Measure # 66 67 68 69 70 71 72 73 74 75 76
Form D Theme

Phrase Structure

Tempo
Dynamics
f ff p

Meter/Rhythm

Tonality
Bb minor Bb Major
Harmonic Motion Bbm Bbm Fm7 Bbm Gb7 Fm7 Ebm7 Fm7 Gb7 Fm7 Ebm7 Fmaj7 Bbm Fm7 Bbm Bbm Fm7 Bb

Orchestration
add A. Sax/ T. Sax/ Horns/Trombones/ Baritone add Flute/Oboe (All) Clarinet 1

Perky,
General Character Cerimonial, Big, Wall of Sound Optomistic

This is a section that features the french horn (and friends) to play a fanfare-like melody with big sounds over a marching background. The melody (saxes, horns,
trombones, and baritnoes) is all in unison which allows it to be heard over the rest of the band. A cool effect in the music is that the rhythm between the parts will
switch from dotted eight sixteenth to triplets. At 65 the only parts are melody and background. The second part of the melody starts to incoproate harmony as well
Means for Expression
as melody and background to give it more layers. Going into 73 has the great b6 into the 5 which is a strong harmonic pull becuase of the half step relation that
wants to resolve to 1 which it does. At 73 we get a little bit of a flourish from the high woodwinds with a triplet run to give a more majestic feeling even though it
only lasts for two bars. This section returns back to Bb major with a simple clarinet scale.

Conducting Concerns Showing difference between unison and harmony, triplet run cue/style, clarinet scale cue/style

Rehersal Consideration Accurately play dotted eight sixteenth against triplets. Relase sound together. Bring out harmony. Confidence in triplet run
 Measure # 77 78 79 80 81 82 83 84 85 86 87
Form A1 Theme A2 Theme A3 Theme

Phrase Structure

Tempo
Dynamics mf mp p mp f p

Meter/Rhythm

Tonality
Bb Major
Harmonic Motion Eb Dm7 Cm7 Eb Dm7 Emaj7 D7

add Horns/
add Oboe/Clarinet 2/ Brass/Perc - Trombones/ Bassoon/
Orchestration Woodblock/Tamb add Flute Trumpet3/Tuba Trumpets Baritone/ All - timp Clarinets/
Percussion Saxes/ Horns

Established, Trupmets time to shine, Ushering in

General Character Well-known, Extra Sprinkles new era White Haired, Earned its stripes

This section is similar to the other times except for The new part in this occurrence of the theme is the
the orchestration. The first time was just clarinet third bar when third trumpet finally gets to play This is an exact repeat of measures 11-14. This melod
melody, the others were clarinet and flute but this is along. All the other times the third trumpet never has been changed twice since it was intrododuced bu
Means for Expression the first time that clarinet starts the melody and played with the brass but now it does and plays a the ending brings us back to the beginning by copy an
halfway through the flute joins in. It is making it melodic line. We forget about the trumpet 1 and
obvious that the flute is also playing the melody focus our attention to the other trumpets who have pasting.
instead of us assuming that it has always been there. the more intersting parts.

Conducting Concerns Flute cue Provide trumpets with confidence at piano Difference in bar 3

Rehersal Consideration Articulations Note length of dotted eighth sixteenth, stretch to 1 on

the tenuto quarter note
 Measure # 88 89 90 91 92 93 94
Form
A3 Theme A1 Theme End

Phrase Structure

Tempo
Dynamics f mf f f ff

Meter/Rhythm

Tonality
Harmonic Motion C7 Emaj7 F Bb F Bb

add Bsn/
Alto Clar/
Bass Clar/
Saxes/
Orchestration All Flute/Oboe/Clarinet 1-2/Wood/Tamb Horns/ All
Tbones/
Baritone/
Tuba

Biggest Finish Possible (V-

White Haired,
GeneralEarned
Character
its stripes Memorable, Reflective, I)

This is the most repeated melody in the whole piece This piece has traveled
and has been added to/changed/inverted/modifed through many places but
exact repeat of measures 11-14. This melody each time. This first time this melody played it was it returns to the Bb scale,
changed twice since it was intrododuced but just oboe, clarinet 1 and 2. The ending return starts the heart from which the
brings Means
us backfor
to Expression
the beginning by copy and the same with the additon of flute (the adopted child original melodys fit inside
the one octave scale. It
pasting. of this melody) and each bar adds another ends with the most
instrument. First the Eb clarinet and then the piccolo resolved ending possible,
making this once small melody into something larger. V to I.

Conducting
Difference in
Concerns
bar 3 Not flaling arms

th of dotted eighth
Rehersal sixteenth, stretch to 1 on
Consideration Balance
the tenuto quarter note