Bryan Marquez

Title of Piece: Canon of Peace (Dona Nobis Pacem)

 Basic Information
 Composer/arranger: Arranged by Paul Jennings
 Publisher: Hal Leonard Corporation
 Year Published: 1992
 Grade level: 1 (0.5 SCBOA)
 Length of piece: 2:10
 Instrumentation: 8 flutes, 1 oboe, 1 bassoon, 6 Bb clarinet 1, 6 Bb Clarinet 2, 1 Eb Alto
Clarinet, 2 Bb Bass Clarinet, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 4 Bb Trumpet 1, 4 Bb Trumpet 2, 4 F Horn, 6 Trombone/Baritone
B.C., 2 Baritone T.C., 4 Tuba, 2 Percussion 1 (sus. Cym. With mallets, S.D., B.D. ), 2
Percussion 2 (triangle, sus. Cym. With mallets), 1 Bells, 1 Piano (Opt.)
 Analysis of Form: The form is a repeated Theme and each time it is voiced differently.
 Rhythm: Most of the rhythms are easy except for once in a while individual lines use a
doted quarter note followed by a single eighth note. The first time it is done it is the entire
small section playing however later there are smaller groups of people that play this
rhythm against quarter notes. At some times the sections are split off such as Cl 1 one
plays the rhythm but Cl 2 does not.
 Melody: The first two bars of the melody may be tricky for beginners because they play
arpeggios of chords. They melody goes Eb down to Bb then up to G. Next bar is F, down
Bb, up to A. Almost everything else is step wise motion.
 Harmony: Harmony is simple with steps and small leaps.
 Timbre: The timbre changes through out the piece to focus on sections but over all it
sounds very light and peaceful.
 Texture: Texture remains relatively thin with having harmony instruments playing doted
quarter notes.
 Expression (i.e. dynamics, phrases, articulations, tempi): The piece begins with a piano
and then there is a crescendo that leads to new sections that brings a forte to the middle of
the piece. After the forte all instruments start decrescendo doing back down to a piano.
There are also slurs.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): A development that builds
in sound through instrumentation. At some point every one plays the melody.
 Appropriate Teaching Concepts (specific to the chosen composition): One thing that I
would focus on would be melody playing the doted quarter and eighth against harmony
that is playing quarter and half note.
 After completing the review of this piece, explain why you would or would not program
this composition on a concert: I would program this because it shows off every section of
the ensemble. It repeats the same material over and over again but by having it played
with different instruments that all students get a chance to shine as a section.

Title of Piece: Fiesta Time!

  Basic Information:
 Composer/arranger: Victor Lopez
 Publisher: Belwin (Alfred)
 Year Published: 2018
 Grade level: 0.5
 Length of piece: 1:30
 Instrumentation: 8 Violin 1, 8 Violin 2, 5 Viola, 5 Cello, 5 Bass, 1 piano accompaniment,
2 percussion (Tambourine [opt. Maracas], Claves [opt. Woodblock]).
 Analysis of Form: The form seems to be an ABA. Melody is in the violins for both A
sections and the B section has a new melody and counter melody between the top strings
and lower ones.
 Rhythm: Rhythm looks easy for the strings. The percussion has a little tricky rhythm of
playing on 1, the + of 2 and 4 where most every one is playing straight quarter notes.
 Melody: Melody stays in a nice comfortable range for every instrument as well as mostly
steps with small leaps of a third.
 Harmony: Harmony lines are simple having whole notes or playing only on 1 and 4. The
harmony part is mostly outlining the chord.
 Timbre: The sound is simple. It has a light latin style that could be fun. I really liked the
B section when violins are holding a long note that then plays a counter melody while the
lower strings play a melody.
 Texture: Texture starts light with violin 1 playing melody and every one else is playing 1
and 4 then this evolves to every one playing. At times violin 2 and viola are playing half
notes. One nice section is when the top voices drop out leaving the low voices to shine.
 Expression (i.e. dynamics, phrases, articulations, tempi): There are a couple of staccato
notes and an occasional slur. Turning to the last section of the piece the first violin part is
playing everything staccato and then everyone ends with accented notes.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): The B section with the
melody and counter melody. There is a growth in the held out note that causes this
tension and then release when they play the melody.
 Appropriate Teaching Concepts (specific to the chosen composition): A major section to
rehears would be that B section. I would work with having the violins start piano and
hold it piano until the end of the held note. I would tell them that it should be like hearing
a fast car drive by.
After completing the review of this piece, explain why you would or would not program this
composition on a concert: I think I would program this piece because it has style and will start
challenging the students to listen to each other as well as what they can do musically to improve
the over all style of a piece.

Title of Piece: Engines of Resistance

 Basic Information:
 Composer/arranger: Larry Clark
 Publisher: Belwin Band/ Alfred
 Year Published: 1996
  Grade level: 1
 Length of piece: 2:26
 Instrumentation: 8 flutes, 2 oboe (optional 2nd flutes), 8 Bb clarinet, 2 Bb Bass Clarinet, 6
Eb Alto Saxophone, 4 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 8 Bb Trumpet, 2
F Horn, 6 Trombone/Baritone B.C./Bassoon, 2 Baritone T.C., 4 Tuba, 1 Mallet
Percussion 1 (bells), 1 Mallet Percussion 2 (xylophone), 1 Timpani, 2 Percussion 1 (S.D.,
B.D.), 3 Percussion 2 (Sus. Cym, Crash Cym, Brake Drum)
 Analysis of Form: Into AB Repeat
 Rhythm: Rhythm seems fairly simple for grade 1. Mostly quarter, half, and eighth notes
with some 16th notes in the percussion for snare drum and brake drum.
 Melody: It is interesting because it looks as if all instruments are playing the melody
from beginning till measure 9. The melody looks simple with mostly step wise motion.
 Harmony: Begins with a wall of sound and then sections start breaking off to play
harmony parts.
 Timbre: There are three different timbres. There is the percussion that sounds like cogs
constantly working to push everything forward. Then there are the winds that sound very
peaceful and full of hope. Then the brass sound like narrators depicting what is
happening in the story.
 Texture: Texture is a mix from being full to lightening up to gets a special sound Clark
has in mind. At parts there is a focus on wind instruments and then this switches to focus
on brass. There is also this nice texture where flutes, oboe, and clarinet play half notes
and the rest of the band joins on the last whole note of the phrase.
 Expression (i.e. dynamics, phrases, articulations, tempi): There is plenty of articulation.
For the part where high winds are playing half notes there are slurs connecting the phrase.
And then right after that when the focus goes to brass and saxes every note has an accent.
In a run of eighth notes they tend to have staccatos and some times the first two will have
slur then four staccatos and one accented quarter note at times. The timp. And snare parts
also accent beats 3 and 4 at times. At one point timp. Accents beat 2, and 4 +. Great use
of dynamics.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): One thing that I notice is
in the repeated A section the parts are switched and so the melody sections have to focus
on legato phrases while the counter melody plays an ostinato. Flute players might get out
of breath from ostinato.
 Appropriate Teaching Concepts (specific to the chosen composition): It would be great to
have all sections of the band try and focus on longer phrases. At this level of playing I
would have the ensemble warm up with breathing gym exercises.
 After completing the review of this piece, explain why you would or would not program
this composition on a concert: I would program this piece because it shows off all parts of
the band. There is character to the piece that makes it interesting for the audience and fun
for students to learn. This can also be good for students to practice more with
articulations and longer phrases.

Title of Piece: Hunters’ Chorus (from Der Freischutz)

 Basic Information:
  Composer/arranger: Carl Maria von Weber/ Richard Meyer
 Publisher: Highland/Etling (Alfred)
 Year Published: 1998
 Grade level: 1
 Length of piece: 1:20
 Instrumentation: 8 Violin 1, 8 Violin 2, 3 Violin 3 (viola), 5 Viola, 5 Cello, 5 Bass, 1
piano accompaniment.
 Analysis of Form: ABCC
 Rhythm: Rhythms are simple with half, quarter, and eighths. At times there are rests in
measures that lead to a quarter note up beat that can be fun.
 Melody: Melody will be easy for beginning strings because it is in the key of D major.
There are occasional leaps but the leaps are easy because stings are tuned in fifths.
 Harmony: Harmony is simple having violins and violas mostly in thirds. The bass
instruments tend to play the root of the chord and the 5th. The bass line is not just holding
notes but playing their pitches rhythmically or hopping between different notes of the
chord.
 Timbre: Timbre changes from a nice full sound and contrasting sound form the higher
string to the lower string. At parts there is a call and response between the sections of two
eighths and a quarter. There is also a nice section where the low strings begin a measure
with a bowed half and then the higher strings play pizz one beats 2, 3, and 4.
 Texture: Texture is light having the violins and violas playing similar material as the bass
instruments play similar material to each other.
 Expression (i.e. dynamics, phrases, articulations, tempi): The only dynamics used are
forte and piano. I think it would have been good to add some tenuto marks in to add some
more expression and keep it interesting to the students.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): There is quite a bit of
contrast in this piece. Almost not sections repeat till the very end that still sounds
different because of the instrumentation. The piece is almost through composed/arranged.
 Appropriate Teaching Concepts (specific to the chosen composition): To focus on
phrases. Having students work on contrasting legato vs. staccato and tenuto notes.
 After completing the review of this piece, explain why you would or would not program
this composition on a concert: I would program this piece because it is a fun little piece
where strings can work on the different bow strokes and there is fun little call and
responses in it.

Title of Piece: Allegro Giocoso from Symphony No. 4, Op. 98

 Basic Information:
 Composer/arranger: Johannes Brahms/ Dehorah Baker Monday
 Publisher: Neil A. Kjos Music Company
 Year Published: 2008
 Grade level: 3 (SCSBOA 2)
  Length of piece: 2:40
 Instrumentation: 8 Violin 1, 8 Violin 2, 5 Viola, 5 Cello, 5 Bass, 1 piano (for Rehearsal
only)
 Analysis of Form:
 Rhythm: Rhythm can be a little difficult because there is triplets at parts. For instance
there could be a quarter note with three triplet eights and then in the following measure
there is a quarter note with four 16th notes. This might seem more difficult then it actualy
is.
 Melody: Melody is simple keeping everything in steps or simple leaps. The most difficult
part would be the switching of rhythms.
 Harmony: Harmony is basic but not boring. The harmony parts are exciting because there
is constant change in the rhythm that keeps every instrument on their toes and moving
forward.
 Timbre: The timbre fluctuates from a big rich aggressive opening statement and then to a
light calming response. There are also plenty of middle sections in-between that are great
for contrast.
 Texture: Texture is rich with strings. Everyone is playing at all times and if any thing it
can seem like too much but I believe that is how this piece should be.
 Expression (i.e. dynamics, phrases, articulations, tempi): Articulations vary from staccato
notes, slurs, and accents. Staccatos are used mostly when pitches are not changing and to
focus on the rhythmic drive. Slurs are used through out at times and the most difficult
part of slurs could be the theme of slurring the + of 1 to 2 and then + of 2 to the next
measure of 1. Accents are also used at end of statements. For dramatic effect. Throughout
there is dynamic changes that help shape the music.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): The instrumentation keeps
the over all part of the third movement but only stings. At some parts where horns are
supposed to play it is replaced with the violins. This does lead to it almost all sounding
the same and a loss of color.
 Appropriate Teaching Concepts (specific to the chosen composition): Parts that would
need to work are the changes from triplets to 16th notes. Keeping the tempo the same
from switch in-between. Another part that would need some work is at moments violins
play off the beat so the ensemble will need to work on clean entrances.
After completing the review of this piece, explain why you would or would not program this
composition on a concert: I would program this because I would want a string ensemble to
experience some great orchestra literature and this has all the main parts from the original.

Title of Piece: Nimrod from “Enigma Variations”

 Basic Information:
 Composer/arranger: Edward Elgar/ Alfred Reed
 Publisher: Belwin Band (Alfred)
 Year Published: 1965
 Grade level: 4 (SCSBOA 2)
 Length of piece: 4:00
  Instrumentation: 1 C Piccolo (3rd Flute), 3 1st Flutes, 3 2nd Flutes, 1 1st Oboe, 1 2nd Oboe,
1 1st Bassoon, 1 2nd Bassoon, 1 Contrabassoon, 1 Eb Clarinet, 3 1st Bb Clarinet, 3 2nd Bb
Clarinet, 3 3rd Bb Clarinet, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Optional Bb
Contrabass Clarinet, 2 1st Eb Alto Saxophone, 2 2nd Eb alto Saxophone, 1 Bb Tenor
Saxophone, 1 Eb Baritone Saxophone, 1 Optional Bb Bass Saxophone, 2 1st Bb Trumpet,
22nd Bb Trumpet, 2 3rd Bb Trumpet, 1 1st Bb Cornet, 1 2nd Bb Cornet, 1 1st F Horn, 1 2nd
F Horn, 1 3rd F Horn, 1 4th F Horn, 2 1st Trombone, 2 2nd Trombone, 2 3rd Trombone, 2
Euphonium, 4 Tuba, 1 String Bass, 2 Timpani (Crash Symbals)
 Analysis o Form: ABA
 Rhythm: Rhythms are simple for the grade level.
 Melody: The melody hops around quite a bit and moves trough out the band. Some of the
leaps are of a seventh.
 Harmony: Harmony parts are simple with in mid leaps and steps. At times some sections
have leaps of an octave.
 Timbre: Timbre changes and works well. Winds are light and caring while at the end the
brass has a strong demanding sound. The timbre remains fateful to the original.
 Texture: This is what would be the difficult part of the piece because it begins very soft
and evolves to be extremely thick and rich. There is this constant building that leads back
down to being light and simple at the end.
 Expression (i.e. dynamics, phrases, articulations, tempi): The piece is extremely lyrical
and slow with a slow build in the dynamics. The most difficult part would be the quick
dynamic change from fortissimo down to piano with in two measures. And then
instruments then hold the note do a pianissimo.
 Additional considerations (i.e. tension/release, contrast, unification within the piece,
sustaining of interest throughout the composition, overall effect through instrumentation,
stylistic representation through orchestration within the piece): Stylistic representation
would be a focus because this piece is original a string heavy piece and the band will
need to try their best to mimic the strings.
 Appropriate Teaching Concepts (specific to the chosen composition): Balance would be
the focus because the texture is thick with many parts. The focus is in specific
instruments but other instruments are playing moving parts underneath.
After completing the review of this piece, explain why you would or would not program this
composition on a concert: This is a difficult piece to program because of the number of
instruments and he independence. If I had all the instruments in the band I would program this
piece. I would program this piece in a concert with hesitation. I would only program it if I know
all the players had independence because of the separate parts. The sound of the arrangement is
good and I believe the score looks more intimidating then what it actually is.