Suite Divertimento

Jay Gilbert (b. 1956)

Unit Study by Sarah Wolfe
Publisher: Southern Music Company
Date of Publication: 1997
Duration: c. 9:10

Unit 1: Composer

Jay Gilbert was born February 2, 1956 in Madison, Wisconsin. He began his career as a band

director at a public school in Wisconsin, teaching instrumental music to elementary, middle, and

high school students. Later in his career, he was appointed Assistant Director of Bands at Baylor

University in Waco, Texas. He received his BME from University of Wisconsin-Madison, his

MM from Northwestern University in Evanston, Illinois, and his DM in Conducting, also from

Northwestern University. He is currently the Director of Bands and Chair of the Music

Department at Doane University in Crete, Nebraska.

Unit 2: Composition

Gilbert’s ​Suite Divertimento​ was published in 1997. It is composed in three movements:

“Prologue”, “Pastorale”, and “Parade”. The main themes of all three movements are derived

from a four note motive: Bb-C-F-G, and reflect the character of each movement's respective title.

“Prologue” is an eclectic fanfare that uses elements of popular music in the concert band setting.

The “Pastorale” movement is slow with lilting rhythms, with an energetic and stormy middle

section. The final “Parade” movement is a slow march which uses new themes along with those

previously used in the piece, and builds up to a climactic ending.​ ​ ​Suite Divertimento​ has a run

time of about 9 minutes 10 seconds, and is approximately a grade IV piece.

Unit 3: Historical Perspective

Suite Divertimento ​was commissioned by the Lewisville High School Symphonic Band by

Michael T. Brown, assistant director of bands at the school. The piece premiered in the

Meyerson Symphony Center in Dallas, Texas on February 7, 1996. It was published the

following year. The intent of the piece was to take the basic motif of Bb-C-F-G and make it into

a piece that could be used as a teaching tool for bands of varying levels.

Unit 4: Technical Considerations

The grade level of this work ranges from a III to a V, depending on the state. Most states list it as

a grade III or IV. In the J.W. Pepper catalog, the piece is listed as Medium. The first and third

movements seem to provide no issues regarding the range that each instrument will have to play.

However, the second movement has an alto saxophone solo (m. 9-26) that utilizes the upper

palm key register. It is important to find a student who has comfortable technique in that register.

Throughout the piece you will see the use of chromaticism and accidentals. Rhythmically, there

is a large amount of syncopation, and often used duple rhythms in triple meters. There are also

several instances of ostinatos, which are played in all parts. Many percussion instruments are

used, but are all basics for the band classroom: hi-hat, bells, vibes, bass drum, snare drum,

tam-tam, suspended cymbal, tom-toms, triangle, sleigh bells, tambourine, crash cymbals, field

drum, chimes, and xylophone. The time signatures used in this piece are 4/4, 6/8/, 3/2, and 2/2.
Unit 5: Stylistic Considerations

There are many considerations regarding articulation that can be applied across all three

movements of this piece. Ostinatos are a very important recurring motif throughout the piece,

and it is important that articulation be consistent. When an accent is seen over a note, there

should be weight given to the articulation. When there are two notes, the first with a staccato

followed by a note with an accent, the articulation should be “short-long”. This goes for all three

movements. In contrast with the crisp staccato, there are often passages of smooth slurred notes.

These are meant to stand out against the short, articulated notes. In all solos that occur during the

“Pastorale”, the articulation should be as smooth and connected as possible, despite there not

being any articulation markings. Dynamics play an important role throughout all three

movements, but are particularly important in the final “Parade” movement. The entire movement

is meant to be a slow build to the ending, so it must not be started too loudly so there is room to

build.

Unit 6: Musical Elements

MELODY:

All melodic ideas within this piece are centered around the Bb-C-F-G motif. In movement I, the

melody is first introduced by the low brass and low reeds. This group maintains the melody

throughout the entirety of the movement. At m. 24, the trumpets introduce a new theme centered

around the Bb-C-F-G motif, which actually alludes to the main melody of movement II. In both

movements II and III, the main melodic line is presented with solos in the high woodwinds and

alto saxophone. The melodies are passed around to different sections, and also played by the

whole group.
HARMONY:

The scales of Bb major and Ab major are used in this composition. While all of the chord

progressions follow traditional tonal methods, chromaticism is an important element of this

piece. It is used the most often in the first movement, but non-chord tones make appearances in

the following two movements as well. The chromatic tones are used as passing tones, not to

create large amounts of dissonance.

RHYTHM:

Rhythmic ostinatos, syncopation, and articulation considerations are all key elements of this

piece. Each movements’ respective melody is accompanied by a repeating ostinato. Ostinatos are

also used to fill in moments of silence. Syncopation is introduced at the very beginning of the

entire piece. It is especially important in movement II, when the melodic line plays rhythms that

sound in ¾ in the 6/8 time signature. There are also times when the 3 pattern is juxtaposed by a 2

feel such as the clarinet solo vs. the horns at m. 76 of movement II. The articulation

considerations are important to create the style. The first movement should have a quasi-rock

feel, so rhythm and articulation considerations are very important.

Unit 7: Form and Structure

Mvt. I: “Prologue”

Section Measure Event Tonal Center

Opening 1-23 Introduction- 2 bars Bb major throughout

of ostinato in flutes, entire movement
clarinets

Theme 1 2-8 Alto saxophone and

horns introduce idea
of chromaticism
Theme 2 9-13 Low brass and low
reeds introduce theme
2 (Bb-F-G motif),
theme 1 continues in
horns and altos

Theme 1 variation 12-15 Theme 1 comes to the

forefront with slight
variation

Theme 2 16-23 Low brass and low

reeds play theme 2,
alto saxophones
introduce a new
ostinato, flutes, oboe,
snare drum, and vibes
continue to play
opening ostinato,
builds to climax at m.
24

Theme 3 24-36 New theme

introduced in brass,
uses the Bb-C-F-G
motif, taken over by
woodwinds in m. 28,
accompanied by horn
ostinato

Transition 37-47 Drone tones, trumpets

allude to theme
(Bb-C-F), alto
saxophone solo

Theme 1 48-62 Clarinets play theme

1 with rhythmic
ostinato in flutes,
augmentation of
theme 1 in horns,
ends with flutes
Mvt. II: “Pastorale”

Section Measure Event Tonal Center

Opening 1-8 Clarinet solo Ab major

introduces a portion
of the main theme,
accompanied by
trumpet

Theme 1 9-26 Alto saxophone solo

plays main theme
(based on Bb-C-G-F
motif, diminution of
theme 3 from mvt.
I), accompanied by
clarinets and low
brass/low reeds

Theme 1 cont. 27-42 Theme 1 played in

different sections of
the band, horn and
alto saxophone
countermelody
(introduces duple
eighth notes), low
brass/low reed
accompaniment

Theme 2 43-61 Allegro section, strict F minor

ostinato in
flutes/oboe,
euphonium solo,
ostinato and solo
material played by
whole band, pesante
transition

Transition 62-75 Rhythmically Ab major

transition from strict
rhythms back to
lilting rhythms

Theme 1 76-90 Main theme played as

clarinet solo,
 accompanied by
syncopated horn
rhythm, rhythms and
time gradually slow
to end, ends with
flute solo

Mvt. III: “Parade”

Section Measure Event Tonal Center

Opening 1-15 Entire band plays for Bb major throughout

the first two bars entire movement
(Bb-C-F), then very
limited
instrumentation: low
clarinet
accompaniment,
solos passed between
alto saxophone, horn,
and flute

Theme 1 16-38 Trombones play main

theme (Bb-C-F-G
motif), interjections
by different
instruments
throughout

Theme 2 39-53 Alto saxophone solo,

horn and percussion
accompaniment

Theme 1 54-75 Muted trumpets play

main theme,
interjections from
different instruments,
instrumentation
increasing

Theme 1 cont. 76-95 High woodwinds play

main theme,
counterline in alto
 saxophone and horn,
instrumentation
increasing

Theme 1+theme 2 96-116 Theme 1 and theme 2

played over top of
each other, whole
band instrumentation

Transition 117-131 Ostinato and

interjection material
played throughout the
band, instrumentation
builds to next section

Theme 1 132-154 Main theme in low

brass, high woodwind
ostinato, interjections
throughout, whole
band instrumentation

Unit 8: Suggested Listening

Arnold, Malcom:
Prelude, Siciliano, and Rondo
Holst, Gustav:
First Suite in E-flat
Second Suite in F
Jager, Robert:
Third Suite
Milburn, Dwayne:
American Hymnsong Suite

Unit 9: Additional References and Resources

“Jay Gilbert.” ​Doane University - Earn Your Shield - Nebraska Colleges​,

www.doane.edu/jay-gilbert​.

“Jay Gilbert.” ​Wind Repertory Project​,​ ​www.windrep.org/Jay_Gilbert​.

J.W. Pepper. “Suite Divertimento by Jay Gilbert: J.W. Pepper Sheet Music.” ​Suite Divertimento
 by Jay Gilbert| J.W. Pepper Sheet Music,​

www.jwpepper.com/Suite-Divertimento/2390789.item#.XnExbi2ZNAY​.

Keiser Southern Music, 2017. ​Suite Divertimento By Jay Gilbert.​ [video] Available at:

<​https://www.youtube.com/watch?v=hO9TcWgsNMg&list=RDhO9TcWgsNMg&start_a

dio=1​> [Accessed 24 March 2020].

“Suite Divertimento (Gilbert).” ​Wind Repertory Project,​

www.windrep.org/Suite_Divertimento_(Gilbert)​.