——B R A N D— ant CRP VR sie PUBLISHERS COMEDY OVERTU! John Irelan Arr. Ray Steadmai ——-- CONCERT BAND SERIFS atta nos Full Score Set incl score): 10004 Score only, 11004COMEDY OVERTURE Originally composed for Brass Band in 1934 "Comedy Overture" is} itg.name, a scrious piece of writing, ‘The term Overture does nor imply that there is anything else to follow; it is used in the 19th century sense of Concert Ovet Mendelssohn's 'Tingal’s Cave’ - in oulwer words, a miniarure Tos ‘The 1930's was a period of Ircland’s mature writing - yielding. (1930), the Legend for piano and orchestra (1933), and the chéfal work - ‘These ‘Things Shall Be’ (1936-1937), We are fortunate therefore to, have Overture’ and ’A Downland Suite’ (£932) written for the Baiid medium at this time. As with “A Maritime Overture’ (written in 1944 for Military: Band) tieland approaches his material symphonically. The opening three notes suaitvimmediately the two seminal intervals of 2 semitone and a third. These are brooding and dark in Bs minor. It is these intervals which make up much of the themaric’¢oment of ‘Comedy’, sometimes appearing in inverted form, and sometinies\in majot forms as well. The concept that some musical intervals are consonant, some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar,4, the interval is expanded to a fourth - with an ascending scmi-quaver tripilec- and dien expanded to a fifth. The instability of the third pushes it towards a ‘perfect’ esolition in the fourth or the fifth The slow introduction is built entirely araund’ tervals in Bb minor and leads through an Oboe cadenza, to an Allegro mederito brilliante in Bb major. Once again the semitone (Inverted),and a third:{major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of "Piccadilly’. (Much of the material in ‘Cumedy" was re-conceived by Iseland for dfchestra and published two years later under the title ‘A London Overture’jzi'" S The expansion of the interval of a'tliird through a fourth, fifth, sixth and seventh now takes place yuickly before our very earsat the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the-wiitien metre. But this restlessness leads to a tranquillo built arourcl an arpeggio figure and presented by flute and clarinet, Ireland weaves his flowing cqunterpoint around this melody until the original slow inuoduction returns leading{0 a stretto effect as the rising Bass motils became more urgent, requesting a resdlution of the tension of that original semitone and minor third. Yet resolution is with further, unrelated trans of Ireland's nature i at this point as the music becomes almost becalmed in a ection marked pianissimo. It is almost as if another side lowed to shine through the stem counterpoint and virally a full recapitulation of the chirpy ‘brilliante’, with small additional Wucties of counierpoint, followed by the first tranquillo section - this time in the tonic of Bb ‘thajor. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing ‘vivace’.. The opening tension has at last resolved itself into the most perfect interval of all.Overture: COMEDY Joun Irecanp ‘Ans, Ray STEADMAN-ALLEN Andante moderate + Pb ato sare Bb tome Sa a © Copyright 1987 G. & M, Brand Publications Lad, Wingrave, Bucks, EnglandBhat cheoe.sb abe ce Eb atosune 1 tomer So i | wet jPh ako Cur ib Base Clehte cle Be Pawel, roe poate ses f Bb Teane f. hag.[5] Atlegro moderato briliante 4-8 Bho 2 banca, pascal Bh Ako So Dh vemee S. 2 tae, om ahBb ate ci Bb nase cla 2 ate tes Dh raor Sex, po core, bores. by ‘Tae,sbeits a Fh Alto cle ib sue cle rb ako tars. i Bb Teves, z neethous, Bb ate clr bs nase Car. aiesta Be Augers ab tiene Sa, 5 ber SoeBhewes, a bate cla, sb mage Cle.Boe Ia bane clr Bb masa car, 2 auosiae Bb tower da. Eh mt. fixi nawe Ela ussene Ps ato so. ab Teme 6a hon, sa]Bh ces Bhallecin. Bb Bhar clan, Eb ta na newer Sa. Ps aa sxshear Bh cia. ham che. eae A mee oa ig Beesmote. helen a1 iy mass ce Eb ts Bee Dh Taser tx Bb par. Sx, x bea.Bb Teme SaDeclare Rak ae ‘Bb aan Clee ab Tenor fa1 bhoters. a ue Bh Ate Car,bs clas. bake clr ee i ss arom shrasei, 1 wor, S,Ui ie ere = i mereEhaAba ctor, BS Rave Cie, ne 8 ako sa. hb Fexoe her, son Pers{Be] reales anton bata char, Bb naws cla. hahosess. i 1 Tenor eb bar. er]0 howe. Db Ale Clr. ban cor,Bb ate ctor. bb nase Cie, rewae f eto sae Bh tems5) At cur maroon j Ph ato save iene ER Po ave new btm Sa; i wane Bere. he — 4aoc. ee shies cl = wh ato some i bras Se Eb mae bw hoo:shone. 1 Bhlaea, abate char 1B Baas Cio ssn | hata sate bo rear Hoe Bh mas. Bu,Bb At ca, 1 muse Clr. russ if Bh atosex. f ‘Bh mor Sor ‘eb ne. |i elena aeb ate Cir 1b bess cla.1b Ate ce Bb baw Clr mioes teamson jf ise ta Vea. see]Po ae cla, BS baa ClaBhan Cae sb nase car ro avosax I sh raoeh tke cae i ae cae. nemsee if ftom shtescteeTranyuillyato cr nage car,dim. poco rali, [e] 2 tempo Dh tare. i a Bb At Clr Bb Bess ier i fi k + FR}, moe, ety al aga Fy are He zl a = FI as | Pe H Wee ? feBs Desa sao see zones. mae]Bhan cae 1 base cae seen 2 ao sine. Bb Teor Sa. har. Se16001 10002 2179 10004 10005 10177 10006 16194 10008 10193 10156 10909 30010 40175 10011 10043, 10714 10014 10018 10016 10017 10018 10021 YO1S8. 10022 10024 10025 10176 10173 10215 10026 10027 10028 old 10039 suusz $0054 10155 OTHER TITLES AVAILABLE AT ADVANCED LEVEL BARN DANCE AND COWBOY HYMN: B.B. & C.F, (March) CANONS AND CADENZAS COMEDY OVERTURE CONCERTO FOR TIMPAN] AND BAND DANCES FROM MORNING OF THE YEAR DOWNLAND SUITE (A) DREAMS AND FANCIES FANTASIA ON AN ENGLISH FOLK SONG (Dashing Away with a Smoothing Tron) FANTASY TRIPTYCH FUGAL CONCERTO (A) (Flute, Oboe and small Wind Band) GALLOPING MAJOR (The) JOURNEY AND CELEBRATION LAND OF THE LONG WHITE CLOUD MARITIME OVERTURE (A) MOORSIDE SUITE (A) NORTHERN LAMENT. OXFORD SCHERZO RESURGAM SINFONIETTA SINFONIETTA SONGS OF THE WEST SUITE IN Bb SYMPHONY AD 78 SYMPHONY OF WINDS TROMBONE CONCERTO ADVANCE TITLES AVAILABEE IN T] CARTOON CIRCUS RING DAWN FLIGHT DEFENDERS, THE FETE GALANTE NEW HORIZONS (Trump: ROYAL TOURNAMENT SIR GODFREY KNELLER'S CHORAL NOZ FOR ORGAN (Chosen Gems fp $Winds No.3) OMENSCH, BEWEINDEIN SUNDE GROSS (Chosen Geitis for Winds No.1) PRELUDE IN THE DORIAN \oDE (Chosen: Gems fat Winds No.2) TUSCAN ‘SERENADE (Euphonium Feature) Philip Sparke Ord Hume, arr. Walker David Bedtord John Jreland, arr. Ray Stea Gordon Jacab™ Holst, arr. Geoffrey Brand John ireland, arr. Ray-Steadman-Allen Tob ke Holst, arr. D. Wright Derek Bonrgenis Bryan Kelly Enc Rall, arr. Geoffrey Brand Derek Bourgeois Holst, arr. James Cumow Gordon Jacob Gordon Jacob Derek Bourgeois Derek Bourgeois ROYAL TOURNAMENT SERIES Paul Hart Paul Hart Philip Wilby Roduey Newton Joseph Horovitz Gordon Langford Derek Bourgeois Gordon Jacob GRAINGER'S CHOSEN GEMS FOR WINDS César Franck, arr. Grainger Bach/Grainger, ed. Brion/Brand de Cabezon, arr. Grainger Fauré, arr. Percy GraingerCOMEDY OVERTURE FULL SCORE PICCOLO 1ST FLUTE 2ND FLUTE 4ST OBOE 2ND OBOE* E> CLARINET* L AST F HORN 2 3 3 1 1 1 1ST Bb CLARINET 4 4 4 1 2 1 1 2 2ND F HORN 3RD F HORN 47H F HORN AST Bb TRUMPE’ 2ND Bb CLARINET 3RD Bb CLARINET Bb ALTO CLARINET* BASS TROMBONE Bb BASS CLARINET . “EUPHONIUM (Baritone) 1ST BASSOON 2ND BASSOON* 1ST Eb ALTO SAXOPHONE 2ND Eb ALTO SAXOPHONE Bb TENOR SAXOPHONE % Eb BARITONE SAXOPHONE®: bow Nw NN KN ON Be ee “an ms Canada include transposed parts for Eb Horns, Bb Trombonés'4, Bb Bass 4. he @Ontinent of Europe also inchide transposed parts Basses (Tubas) ® and Eb Basses (4) and ©) th an Asterisk (*) are NOT ESSENTIAL, although their presence will obviously enable a fuller realisation of the composer's intentions tbe achieved. Catalogue No. 10004