Music Literature

Music Literature Project
Title of Piece Midnight Mission
Basic Information
 Composer/arranger: Brain Balmages
 Publisher: The FJH music company
 Year Published: 2005
 Grade level: .5 (according to SCSBOA-- https://www.jwpepper.com/sheet-
music/services-state-festival.jsp?state=CA&stategroup=&stategroupname=#state-info)
 Length of piece: 1:30
 Instrumentation
Flute Bb Trumpet
Oboe F Horn
Bassoon Trombome
Bb Clarinet Baritone/Euphonium
Bb Bass clarinet Baritone T.C.
Eb Alto sax Tuba
Bb Tenor sax Xylophone
Eb Baritone sax Percussion 1 (snare drum, bass drum)
Percussion 2 (temple blocks, triangle, crash cymbals, vibraslap)
Analysis
 Form: Simple start to end piece. No road maps, or codas in the piece.
 Rhythm: main rhythm is two eight notes and a quarter note. The ensemble will have half
and whole notes under the melody. Consistent playing of quarter notes as an ostinato.
 Melody: Begins in measure 3 with Alto sax and Trumpet. Eventually flutes take over the
melody and reaching the climax trumpets clarinets, flute, and alto saxes will have the
melody towards the end.
 Harmony:
 Timbre: clarinets playing below melody with short staccato quarter notes. Melody above
played by alto sax and trumpet.
 Texture: Two lines, melody and ostinato. Brass come in soft under melody. The piece is
adding layers towards the climax and resolves with a variation of the beginning with
melody and the metric quarter notes underneath.
 Expression (i.e. dynamics, phrases, articulations, tempi)
Tempo of the piece is constant from beginning to end sneaking marking 145 beats. Dry
articulations throughout the melody except when two half notes are played full and long
to signal end of phrase or start of the next one. At the climax all are playing long full
value notes, then back down to staccato notes. Mezzo forte is constant through the piece
as it gets louder towards the climax at measure thirty-seven. There are crescendos leading
towards measure thirty-seven.
MUS 382B: Beginning Instrumental Techniques and Literature

Thies – Fall 2019
 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 piece is simple for a grade half, there is not much dissonance to grasp onto in the
piece. The piece however creates a mysterious setting, with little suspense at the
beginning. The instruments playing short and separate are moving like a clock ticking
and it goes off once the piece arrives at measure thirty-seven.
Appropriate Teaching Concepts (specific to the chosen composition)

An ensemble learning to play this piece is going to focus on the style of this piece. It will be
focus on playing short separated notes and keeping time. Therefore, warmups involving staccato
articulation will be implemented to keep the focus on style. From there we go into maintaining
the tone and sound produce by the students. So before having the students play staccato notes,
they will produce long full value notes with good sound, then they will articulate while maintain
the sound and tone. Then we move into pitch accuracy, ensuring students understand how to play
all notes in the piece. Last would be to focus on keeping the pulse with the rhythm. Student clap
the rhythm of their part as I keep time for them.
After completing the review of this piece, explain why you would or would not program this
composition on a concert.
This piece would be in the concert to show the audience the amount of progress students
have done in a few months. The piece may be challenging to play for beginners, but it can be
rewarding once it is performed. The piece introduces articulations and rhythms students would
have learned by then in order to perform the piece.

Thies – Fall 2019
Title of Piece Shepherd’s Hey
Basic Information
 Composer/arranger: Percy Aldridge Grainger/ Chip De Stefano
 Publisher: The FJH music company
 Year Published
 Grade level: .5 (according to SCSBOA-- https://www.jwpepper.com/sheet-
 Length of piece
 Instrumentation
Flute Trombone
Oboe Baritone/ Euphonium
Bassoon Baritone T.C.
Bb Clarinet Tuba
Eb Alto sax Bells
Bb Tenor sax Percussion 1(snare drum, bass drum)
Eb Baritone sax Percussion 2 (triangle, tambourine)
Bb Trumpet
F Horn
Analysis
 Form: The song starts at tempo from 152 beats then to 160, and then 168, and then ends
at 178 beats. There is a fermata marked on beat three the measure before thirty-seven.
 Rhythm: rhythm is simple with two quarter notes and two eight notes. Most lines are
quarter notes, wholes being sustained, and the melodic rhythm.
 Melody: The melody is played by flutes, oboe, and bells. There is a brief moment in bar
ten to thirteen where the clarinet and trumpet have the melody.
 Harmony: There is a counter melody with the clarinets, alto sax, and trumpet.
 Timbre: Light articulations throughout the ensemble. Melody is in the high winds, the
brass is playing a background sequence of quarter note quarter rest, then three quarter
notes ascending.
 Texture: Sparse, and simple with melodic passages. One melodic line, a counter melody,
and fillers with quarter value passages. Bells add a childish texture as it plays the melody
with the flutes and oboe.
Tempo increases throughout the piece. Fluctuates between mezzo forte and piano until
the four-bar crescendo into twenty nine where dynamic arrives at forte. The notes are
staccato but also very light. Less use of tongue, more air control for attacks and releases
of staccato and accent marked notes. The notes with no markings are played long with
full value.

Thies – Fall 2019
It is a dance; therefore, the piece remains light and played not overdone. The focus of the
style and effect comes from the moments where its short, short, long. In other words, two
staccato quarter notes followed by tenuto half note would be the drive and style focus of
the piece.

Teaching the style would be the challenge of the piece and the main goal. However, it is
important that the students first play correct rhythm and pitches. Students will have exercises
related to the music regarding playing notes they already know and adding articulation markings
to those notes. Student would play concert b flat in quarter notes as full value then adding the
staccato articulation, and then back to full value. The exercise would be done slow first for
students to learn and catch on, then the tempo would slowly increase until desired tempo is reach
with good articulation and correct pitches.
The tune is a cultural classic, rather a folk song that might have been heard as a child. I
believe it is a great piece to reflect off of Mr. Grainger’s works and just to have fun with
the piece. It is child friendly, perhaps the piece would inspire audiences to move along to
the piece, or a tune they go home humming. It is a great start for students are in beginning
band playing in their first concert.

Thies – Fall 2019
Title of Piece: Armada
Basic Information
 Composer/arranger: David Gorham
 Publisher: Wingert Jones publications
 Grade level: 1 (according to SCSBOA-- https://www.jwpepper.com/sheet-music/services-
state-festival.jsp?state=CA&stategroup=&stategroupname=#state-info)
 Instrumentation
Flute Trombone
Oboe Baritone/ Euphonium
Bassoon Baritone T.C.
Bb Clarinet
Bb Bass clarinet Tuba
Eb Alto sax Bells (optional)
Bb Tenor sax Percussion 1(Field drum, tenor drum, bass drum, rachet)
Eb Baritone sax Percussion 2 (3 tom toms)
Bb Trumpet Percussion 3 (tam tam, shaker, brake drum, cowbell, triangle)
F Horn
Analysis
 Form: The piece is a straight shot from beginning to end. The piece is allegro which is
around 132 beats.
 Rhythm: The rhythm is quarter notes, half notes, whole notes, and quarter rest. The
percussion is playing more syncopated and advanced rhythm involving sixteenth notes,
eighth notes and quarter notes.
 Melody: The melody is simple played by flute, oboe, clarinet, and trumpet. For the most
part trumpet is leading with the melody because of the style for this piece.
 Harmony: French horn and altos play the melody a fifth below the melody starting at
measure forty-five. The rest of the ensemble are playing chords either on half notes or
whole notes.
 Timbre: Heavy brass sound from trumpets and low brass section. Percussion with
selected drums create a loud full sound.
 Texture: Just a melodic harmonized line with support from the lower instruments. Loud
consistent percussion line from beginning to end of piece. From thirty-seven to forty-five,
texture changes to high woodwinds and percussion.
Tempo remains at 132 all through the piece. Articulation is not fluctuating much through
the piece, but percussion have accents marked for emphasis on certain beats. There are
dynamic changes in the piece that range from forte to mezzo forte and some mezzo piano

Thies – Fall 2019
sections. There are some crescendos marked but the dynamic contrast comes from the
percussion.
The piece is telling about a great navy during its time. There’s power and full sound being
produced in the piece. The emphasis or the drive of the piece comes from the percussion
section as they are driving the piece until the end. It is loud and defined how the style is
meant to be. The brass carries the melody of and weight of the piece as the woodwinds
are the top nuances. Also, there are glisses with trombones throughput the piece.

The percussion has to be broken down step by step for the ensemble to work as a whole.
Clapping and counting the rhythm is crucial to do to see that the students are able to do it
together and on their own. Since the wind players have easy rhythm, I would have them also the
clap and count the rhythm as I have the rhythmic sequence displayed on the board. Once the
rhythm starts coming along, the entire ensemble plays together but under the indicated tempo.
Students learning slow and working up to the tempo goal is key to being successful in
performing this piece.
This piece demonstrated the creativity in percussion whereas most other pieces are played
from top to bottom with a single melodic line and some percussion nuances. This piece shows
the energy and power that can come from the percussion section as they help the brass section
evoke this strong naval fleet. This piece will have audience engaged, and it is a great style
contrast after playing a slow piece.

Thies – Fall 2019
Title of Piece: Aztec Dance
Basic Information
 Composer/arranger: Michael Story
 Publisher: Alfred publishing Co.
 Year Published 1997
 Grade level: 1 (according to SCSBOA-- https://www.jwpepper.com/sheet-music/services-
 Instrumentation
Flute
Oboe
Clarinet
Bass clarinet
Alto Sax
Tenor Sax
Bari Sax
Trumpet
Horn
Trombone/baritone/bassoon
Baritone T.C.
Tuba
Mallet Percussion
Percussion 1(snare drum, bass drum)
Percussion 2( Triangle, Gong, Crash Cymbals)
Analysis
 Form: The form is straight from beginning to end. Starts around 100 beats speeds up to
126beats and stays the same throughout the piece.
 Rhythm: Main melody is simple three-quarter notes follow by two eighth notes and then
quarter note follows by two eighth notes and two quarter notes. At measure forty-five the
band has a unison rhythm of dotted quarter note follow by an eighth note.
 Melody: The clarinets enter with the melody at measure eleven then oboe, flute join with
the melody at measure nineteen. Mallets take over the melody at measure thirty-seven.
And Flutes are last to play the melody at measure forty-seven.
 Harmony: Not too complex, all instruments play in fifths from each other. The Trumpet,
Alto Sax, and French horn harmonize the main melody.
 Timbre: Full band sound carries at the beginning of the pieces until clarinets come in with
the melody. Triangle creates emphasis on certain beats as clarinets play. Trumpets then
lead the piece towards the end with support from low brass.
 Texture: One melodic line passed through the piece; percussion create the authenticity of
the Aztec background sounds. Counter melody is played along with the meoldy.

Thies – Fall 2019
100beats-126beats, f-mp, mf-f, two crescendos, and one decrescendo, occasional
staccato, long accent measure forty-five, marccato last three notes.
Energetic piece powered by brass and percussion effects. The melody is constant in the
piece as well as the counter melody. There is not much dissonance created but when the
melody is clashing with the counter melody and the effects of percussion gives direction
for expression.

Pitch accuracy would be a main focus in learning the piece. Not just learning the pitches but also
playing the correct rhythm. Students would first solidify the correct notes without the rhythm to
catch potential errors. Then notes are played in context of the piece at a slow tempo and slowly
build into the tempo suggested for the performance. Clapping and counting on tricky measure.
Holding out chords where most dissonance is created to balance out as best as possible.
This piece is live and full of energy and would be used to start a concert. The tempo and full
sound from brass and percussion effect would grab the audience attention. This piece implements cultural
exploration, hence Aztec dancing. This piece is great for students to learn and audience to enjoy.

Thies – Fall 2019
Title of Piece: Soaring!
Basic Information
 Composer/arranger: Erik Morales
 Publisher: The FJH music company inc.
 Year Published
 Grade level 2 (according to SCSBOA-- https://www.jwpepper.com/sheet-music/services-
 Instrumentation
Flute Percussion 1(snare drum, bass drum)
Oboe Percussion 2 (suspended cymbal, crash cymbal, hi-hat)
Clarinet 1,2 Percussion 3 (tam tam, wind chimes, triangle)
Bass clarinet
Alto Sax 1,2
Tenor Sax
Bari Sax
Trumpet 1,2
F Horn
Trombone 1,2 /baritone/bassoon
Baritone T.C.
Tuba
Bells
Timpani
Analysis
 Form: The piece is a straight shot, no road maps nor repeat marking. Simple start to end.
 Rhythm: The melody of the rhythm is two eight notes, then two quarter notes, two eighth
notes, dotted quarter note to an eighth note. Alto sax, tenor sax, horn, and snare drum
have a rhythmic syncopation of four eighth notes follow by an eighth rest, three eighth
notes in one bar then two eighth notes, an eighth rest, eighth note, eighth rest, and three
eight notes as this rhythmic ostinato.
 Melody: Melody is covered by flutes and clarinets at the beginning then is it pass to
trumpet and then mallets have a section where they play the melodic line. The melodic
line consists of two eighth notes slurred into four quarter notes then two eighth notes
slurred into a half note.
 Harmony: As melody enters, low brass and woodwinds respond with a build into measure
twenty-three. There are some dissonance moments with entire ensemble there is a dotted
quarter follow by eighth note tied to a half note.
 Timbre: trumpet solo, and soli as they carry the melody the most. Timpani also creates an
opening setting. Low reed section has this counter like melody below the high winds.
Snare and bass drum have punch line moments.
Thies – Fall 2019
 Texture: There is a melodic line played by all high brass and winds. A counter melody
line by bass clarinet and tenor sax. And ostinato carried by alto sax, French horn and
percussion one.
Beginning of the piece starts with a two-measure crescendo from p-ff, then backs down to
mf. At bar twenty-two to twenty-three there’s a decrescendo into a Fp that leads into mf.
Another crescendo follow into f. then another repetition of crescendo into forte.

This piece would be broken up into small sections where winds can work on melodic sections
together. The intro would be worked on first to secure a steady timpani intro into the trumpet
fanfare. Then have all the non-melody, those playing chords and ostinatos play in selected
sections like measure eleven. Eventually moved towards balancing out the piece and not
focusing much on correct pitches as students at this level should be comfortable with most
pitches, maybe some can be challenging. Dynamic contrast would be worked as a band since
there are scattered moments where some sections crescendo, others decrescendo while another
line crescendo. Attacks and releases in sections like measure twenty-seven or releasing together
where whole notes tied to an eight note are present.
This piece is a great way to open a concert. The trumpets create this fanfare setting at the
beginning, as if they are welcoming the audience. The piece is live and energetic which helps
keep the audience engaged. This piece is great for an intermediate band to present themselves.

Thies – Fall 2019
Title of Piece: Yorkshire Ballad
Basic Information
 Composer/arranger: James Barnes
 Publisher: Southern Music
 Grade level: 2.5 (according to SCSBOA-- https://www.jwpepper.com/sheet-
 Instrumentation
piccolo
Flute 1,2,3 Percussion (triangle, suspended cymbal)
Oboe 1,2
Clarinet 1,2,3
Bass clarinet
Contra alto clarinet Bb/Eb
Alto Sax 1,2
Tenor Sax
Bari Sax
Trumpet 1,2,3
F Horn 1,2
Trombone 1,2 /baritone/bassoon 1,2
Baritone T.C.
Tuba
String bass
Bells
Timpani
Analysis
 Form: Begins in an Adagio style up until rehearsal four where the pieces un poco piu
mosso, there is a rall. A bar before rehearsal six, then a style input of (Tranquillo) at
rehearsal seven. At the end of the piece is a fermata with (morendo al niente).
 Rhythm: There is constant moving lines going on throughout the piece, generally eighth
note moving lines that are slurred. Some lines have a repeating phrase of dotted half note
slurred to an eighth note.
 Melody: The melody is a four-bar phrase played at first by clarinets and French horn.
Flutes take over the melody at rehearsal two. Trumpets play a variation of the melody at
rehearsal four.
 Harmony: Horn, and alto sax have a different moving line as the melody is being playing.
Clarinets playing supporting line while flutes have main melody. Horns have supporting

Thies – Fall 2019
line while trumpets play melody. Counter lines mainly played by horns, alto saxes, and
second part instruments.
 Timbre: high wood winds play melody. Alto and horn play counter lines. Low brass has
supporting phrases throughout the melody. Trumpet takes over melody in some sections.
Percussions create delicate nuances when played like towards the end of the piece.
 Texture: Opens one melodic line passed from one section to another. Lower instruments
have supporting notes beneath. Moving woodwind lines under the melody.
There are an abundance of nuances happening throughout the piece. Crescendos and
decrescendos and phrasing these musical lines. There are moments where the piece is
slow then pushes a little faster where trumpet first takes over the melody.
This piece demonstrates constant engagement of sustained chords supporting melody and
various counter melodies. This piece is very expressive and moves like a gentle ballad.
The use of soft dynamics and phrasing that is tapered allows the piece to be as expressive
as the interpreter desires. When percussion come in it is with intend that a change in the
music is occurring.

This piece is challenging because of the layers of harmonization are constantly active. The piece
requires good air support and good tone production. Students would play long tones from the
piece as a warmup in order to develop inner ear on how the piece sounds correctly. Listening
exercises would be implemented when teaching the piece for students know important sections
where the melody is present and who has the melody. Very matriculate about the shift in chords
is needed to reach the goal in performing the piece with solid intonation and balance.
This piece is wonderful for relaxing the crowd after a long day. This piece has lush, dynamic
contrast and tranquility when performed. The audience may close their eyes and create an image
of their desire as this piece can bring resolution to their days. This piece is great for the middle of
a concert, after playing energetic music.

Thies – Fall 2019

Music Literature

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Music Literature Project

Title of Piece Midnight Mission

MUS 382B: Beginning Instrumental Techniques and Literature

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

Title of Piece Shepherd’s Hey

MUS 382B: Beginning Instrumental Techniques and Literature

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

Title of Piece: Armada

MUS 382B: Beginning Instrumental Techniques and Literature

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

Title of Piece: Aztec Dance

MUS 382B: Beginning Instrumental Techniques and Literature

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

Title of Piece: Soaring!

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

Title of Piece: Yorkshire Ballad

MUS 382B: Beginning Instrumental Techniques and Literature

Appropriate Teaching Concepts (specific to the chosen composition)

MUS 382B: Beginning Instrumental Techniques and Literature

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