Dance of Fire - Tracz Analysis Template

Composition ___Dance of Fire________
Composer ____Quincy Hilliard_______
Measure # 1 2 3 4 5 6 7 8 9 10 11 12
Form
Introduction
Phrase Structure
Tempo
Allegro, Majes
Dynamics
F / FF Fp F
Meter/Rhythm
…...................................................................4 . 4
Tonality
Harmonic Motion
i/G V/G i/G
Orchestration
High WWs, A. Sax 1-2, Cornet 1, & Mallet Perc. play Melody; Low WWs, Cornet 2-3, FH 1-2, Trombone 1-3, Baritone,
Tuba, Timpani, and Gong play pedal tone accompaniment
General
Character
Strong, Powerful, Fanfare
Page 1
Measure # 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
Form
Introduction
Phrase Structure
Tempo
Allegro, Majestically. Quarter = 120-32
Dynamics
F F / FF MF MF / P
Meter/Rhythm
Tonality
Harmonic Motion
i/G V/G i/G V/G i/G V/G i/G V/G i/G
Orchestration
ACL, BCL, Bssn, T. Sax, B. Sax, High WWs, A. Sax 1-2, High WWs and Mallet
FH 1-2, Trom 1-3, Baritone, and Cornet 1-3, & FH 1-2 play Winds Percussion play Melody;
Tuba play Melody; A. Sax 1-2, Melody; ACL, BCL, Bsn, sustain, ACL, BCL, Bsn, T. Sax, B.
Cornet 1-3, FH 1-2, and T. Sax, B. Sax, Trom 1-3, percussion Sax, FH 1-2, Trombone 1-
et 2-3, FH 1-2, Trombone 1-3, Baritone, Woodblock play rhythmic Baritone, Tuba, and plays small 3, and Baritone play pedal
paniment accompaniment Timpani play pedal tones motives tone accompaniment
General
Character
Dark, ominous Disjointed Calming
Page 2
Measure # 28 29 30 31 32 33 34 35 36 37 38 39 40
Form
Transition
Phrase Structure
Tempo Andante Cantabile Quarter =

Poco a poco Ritardando 60-72
Dynamics
MF / P MF F FF MF MP . , . .. P
Meter/Rhythm
Tonality
Harmonic Motion
i/G V/G i/G
Orchestration
High WWs and Mallet
Percussion play Melody; High WWs, A. Sax 1-2, and Winds sustain with an
ACL, BCL, Bsn, T. Sax, B. Mallet Percussion play Melody; eigth note trade off
Sax, FH 1-2, Trombone 1- ACL, BCL, Bsn, T. Sax, B. Sax, between parts and some A. Sax Solo; CL accomp.;
3, and Baritone play pedal FH 1-2, Trom 1-3, and Baritone parts coming in at different FL, Ob, and Pitched ACL, BCL, Bsn, Baritone,
tone accompaniment play pedal tone accompaniment times. Percussion sustain Tuba, and Wind Chimes sustain
General
Character
Calming Strong, Powerful, Fanfare Calming Calm after the s
Page 3
Measure # 41 42 43 44 45 46 47 48 49 50 51 52 53 54
Form
Phrase Structure
Tempo Andante Cantabile Quarter =

60-72 Ritardando A Tempo Quarter = 60-72
Dynamics
P MF P …...................................... MF
Meter/Rhythm
Tonality
Harmonic Motion
i/G III/G V/G i/G V/G i/G
Orchestration
CL 1-3 and A.
CL 1-3, ACL, BCL, Sax Sustain;
Bsn, A. Sax, ACL, BCL,
Bsn, Trom 1-3,
A. Sax Solo; CL accomp.; Baritone, Tuba, and and Baritone CL 1 and Cornet 1 unison Duet; ACL, BCL, Bsn, and
ACL, BCL, Bsn, Baritone, Wind Chimes play play motif to set Trom 1-3 play rhythmic accomp. In mm 54 duet adds
Tuba, and Wind Chimes sustain unison melody up solos a second CL, A. Sax, Cornet 2-3, and bells
General
Character
Calm after the storm
Page 4
Measure # 55 56 57 58 59 60 61 62 63 64 65 66 67
Form
Theme 1
Phrase Structure
Tempo Molto A Tempo …..... Quarter

A Little Faster Quarter = 72-84 Ritardando = 60-72
Dynamics
Fp…..................
F P MP MF F….. FF F ...MF
Meter/Rhythm
3 4 BAR
Tonality
Harmonic Motion
V/G iG V/G i/G
Orchestration
ACL, T. Sax,
High WWs, A. Sax, and
FH, and Trom.
1-3 leading Cornet 1-3 play leading
quarter notes; notes; ACL, BCL, Bssn, T.
BCL, Bssn, B. Sax, B. Sax, FH, Trom 1-
FL, CL 1, A. Sax, Cornet 1-3, and Bells play Melody; ACL, BCL, Bssn, B. Sax, Sax, and Tuba 3, Baritone, and Tuba
Trom 1-3, Baritone, and Tuba play accomp. sustains sustain
General
Character
Hopeful, rebuilding, gathering together
Page 5
Measure # 68 69 70 71 72 73 74 75 76 77 78 79 80
Form
Phrase Structure
Tempo
A Tempo …..... Quarter
= 60-72 Molto Ritardando A Tempo Quarter = 60-72
Dynamics
FF F............ MF…. MP P MF F P MP MF
Meter/Rhythm
3/4 BARS
Tonality
G minor
Harmonic Motion
V/G i/G
Orchestration
High WWs, A. Sax, and Bass CL,
Cornet 1-3 play leading B. Sax, and
notes; ACL, BCL, Bssn, T. Cornet 2-3, Tuba
Sax, B. Sax, FH, Trom 1- FH, Trom 1 moving FL, Ob, Cornet 1-3, and Mallet Perc play Melody; CL 1-3 play
3, Baritone, and Tuba melody; lows line, lows FL solo with Mallet Counter Melody; BCL, T. Sax, B. Sax, Trom 2-3, Baritone, and Tuba
sustain sustain sustain perc, lows sustain sustains
General
Character
uilding, gathering together
Page 6
Measure # 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95
Form
Phrase Structure
Tempo Molto
Ritardando
Dynamics
…....PP FF
Meter/Rhythm
4/4
3/4 BARS Bar
Tonality
Harmonic Motion
i/G i/G V/G
Orchestration
3, and Mallet Perc play Melody; CL 1-3 play A. Sax, Cornet 1-3, and FH play Me
L, T. Sax, B. Sax, Trom 2-3, Baritone, and Tuba High WWs, Temple Blc, and Mallet Perc play Melody, Lows and Timpani Mallet Perc play Rhythm A; Lows, Te
sustains play quarter note accomp. play Rhythm B
General
Character
Rebuilding, joyous, hard working
Page 7
Measure # 96 97 98 99 100 101 102 103 104 105 106 107 108 109
Form
Theme 2
Phrase Structure
Tempo
Tempo I Quarter = 120-132
Dynamics
MF (Building) F Fp ….........
Meter/Rhythm
Tonality
Harmonic Motion
V/G
Orchestration
ACL, Bssn, Trom 1-3, and Baritone play
Melody; A. Sax and Cornet 1-3 play High WWs, Cornet 1-3
A. Sax,
A. Sax, Cornet 1-3, and FH play Melody; High WWs and Rhythm A; High WWs, BCL, T. Sax, B. Cornet 1-3, and FH
Mallet Perc play Rhythm A; Lows, Temple Blo, and Timpani Sax, FH, Tuba, Temp. Blcks, and Mallet FH, pitched melody;
play Rhythm B Perc play Rhythm B perc. Unison lows Fp
General
Character
Rebuilding, joyous, hard working
Page 8
Measure # 110 111 112 113 114 115 116 117 118 119 120 121 122 123
Form
Theme 2
Phrase Structure
Tempo
Tempo I Quarter = 120-132
Dynamics
Fp …......... F Fp Fp Fp F
Meter/Rhythm
Tonality
Harmonic Motion
i/G
Orchestration
same as High WWs A. Sax, B. Sax,

Cornet 1-3, FH, Temple Blocks
109 but High WWs, A. Sax, and Cornet 1-3 play Melody; and pitched Trom 1-3 play Melody; Low A. Sax, Cornet 1-3,
WW 16th pitched perc. Melody; Cornet Low WWs, Trom 1-3, perc. play Melody; High WWs and Low Pitched Percussion pla
notes 1-3 sustains Baritone, and Tuba sustain Melody WWs sustain Brass sustain
General
Character
Chaotic, exciting Rebuild
Page 9
Measure # 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139
Form
Phrase Structure
Tempo
Rallentando
Dynamics
FF
Meter/Rhythm
Tonality
Harmonic Motion
V/G i/G
Orchestration
High WWs, A. Sax 1-2, Cornet 1, &
Mallet Perc. Play melody; Low WWs,
High WWs,
A. Sax, Cornet 1-3, and FH play Melody; High WWs and A. Sax, and All winds and Cornet 2-3, FH 1-2, Trom 1-3, Baritone,
Pitched Percussion play Rhythm A; Low WWs and Low Brass Mallet Perc Mallet Perc. Tuba, Timpani, and Gong play pedal tone
play Rhythm B play Melody Play unison accompaniment
General
Character
Rebuilding, joyous, hard working Climax of piece Strong, powerful, fanfare
Page 10
Measure # 140 141 142 143 144 145 146 147 148 149 150 151
Form
Recapitulation of Introduction
Phrase Structure
Tempo
A Tempo Quarter = 120-132
Dynamics
Fp F FF
Meter/Rhythm
16th note run All
in WWs Sustain
Tonality
Harmonic Motion
V/G i/G
Orchestration
High WWs, A. Sax 1-2, Cornet 1, & Low WWs and Low Brass
Mallet Perc. Play melody; Low WWs, play Melody; High WWs,
High WWs, A. Sax, and
Cornet 2-3, FH 1-2, Trom 1-3, Baritone, A. Sax, Cornet 1-3, FH, All band Malet Perc. 16th note runs; Low WWs, Low Brass, and Temple
Tuba, Timpani, and Gong play pedal tone and Mallet Perc play interlocking Low WWs, Low Brass, Blcks play Melody; High WWs and
accompaniment accomp. rhythms and Timpani sustain Mallet Perc sustain
General
Character
Strong, powerful, fanfare Dark, ominous The Big Finish
Page 11
Measure # 152 153

Form
Phrase Structure
Tempo
Dynamics
Fp FF
Meter/Rhythm
All
All Sustain Sustain
Tonality
Harmonic Motion
Orchestration
Low WW,
Low Brass,
and All
Timpani Fp unison
General
Character
The Big Finish
Page 12
Means for
Expression
All entrances need to be strong and powerful
Conducting
Concerns
Left hand for brass Fp
Rehearsal
Consideration
Air support is necessary in these sections Air support Articulation Low brass dragging,
Page 13
Means for
Expression
ances need to be strong and powerful Softer entrances but long lines
Conducting
Concerns
Strong marcatto, help with brass DESC Legato contrast
Rehearsal
Consideration
Low brass dragging, articulation in accomp. Correct syncopated rhythm Air support Eighth note lines supported
Page 14
Means for
Expression All entrances need
to be strong and
Softer entrances but long lines powerful Quieter, softer sustaining lines Nicer, prettie
Conducting
Concerns
Grow a little Desc a little Legato but don't want eighths to
Legato contrast Legato cresc Left hand for brass Legato Desc Ritardando bit bit drag. LH musicality
Rehearsal
Consideration
Solo with eighth note accomp.
Eighth note lines supported Air support Ritardando Try not to cover up
Page 15
Means for
Expression
Same as before but more inv
Nicer, prettier Hopeful, emotional entire ensemble
Conducting
Concerns
Legato but don't want eighths to
drag. LH musicality Ritardando Long sustain vs obvious staccatos Crescendo
Rehearsal
Consideration Air
Solo with eighth note accomp. suppo Maintain
Try not to cover up rt Ritardando tempo Duet, watch articulation differences Ensemble balance, arti
Page 16
Means for
Expression
Same as before but more involved with the
entire ensemble. LONG growth STRONG
Conducting
Concerns
Timpani Ritardando, Fp then quarter
Crescendo Legato vs staccato Crescendo cresc legato notes
Rehearsal
Consideration Fp correctly so
quarter notes
Ensemble balance, articulation Air support are heard
Page 17
Means for
Expression
STRONG Calmer, quieting down. Hopeful, emotional
Conducting
Concerns
Perc
cues Rit, desc Solo! Pickup into 73 Sustain vs staccato Cresc, LH musicality
Rehearsal
Consideration
Trombone on Pickups, eighth note support, solo lines,
Solo 2 articulation, dynamics Ritardando
Page 18
Means for
Expression
Hopeful, emotional Exciting!
Conducting
Concerns
Rit, desc Strong accented Cut time?
Rehearsal
Consideration
Tempo
Ritardando Change Three interchanging rhythms that trade
Page 19
Means for
Expression
Hopeful, encouraging
Conducting
Concerns
strong
Back in 4 for melody accented Fp with melody
Rehearsal
Consideration
Fp get out of the way
Three interchanging rhythms that trade off for moving lines
Page 20
Means for
Expression
Strong, chaotic All entrances
Conducting
Concerns
Strong
Fp with melody Strong accented Fp with eighth notes Cresc Strong eighth notes Perc accented
Rehearsal
Consideration
Fp get out of the way Fp get out of the way for moving
for moving lines lines Passing eighths I
Page 21
Means for
Expression
What we've been building
All entrances need to be powerful and strong to, strong All entrances need to b
Conducting
Concerns
Strong Rallentando, subdivided
accented Cut time eighths?? LH for brass
Rehearsal
Consideration
Interchanging parts Rallentando LH for brass
Page 22
Means for
Expression
All entrances need to be powerful and strong Strong brass, frantic wood winds
Conducting
Concerns
Strong with marcatto, help with brass Fp with WW run Growth Strong Conduct 4
Rehearsal
Consideration
Brass drag with accompan with 16th notes WWs quieter
Page 23
Means for
Expression
STRONG
Conducting
Concerns
Fp Loud
Rehearsal
Consideration
Fp
Page 24

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Dance of Fire - Tracz Analysis Template

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Composition _Dance of Fire______

Composer Quincy Hilliard___

Tempo Andante Cantabile Quarter =

Tempo Andante Cantabile Quarter =

Tempo Molto A Tempo …..... Quarter

same as High WWs A. Sax, B. Sax,

Measure # 152 153

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