GUIDE TO SCORE STUDY FOR THE WIND BAND CONDUCTOR FRANK BATTISTI AND ROBERT GAROFALOGUIDE TO SCORE STUDY for THE WIND BAND CONDUCTOR by Frank Battisti & Robert Garofalo Copyright © 1990 MEREDITH MUSIC PUBLICATIONS, International Copyright Secured Made in U.S.A. All Rights ReservedPublished By MEREDITH MUSIC PUBLICATIONS. a division of G.W. Music, Inc. MEREDITH MUSIC PUBLICATIONS and its stylized double M logo are trademarks of MEREDITH MUSIC PUBLICATIONS, a division of G.W. Music, Inc. Cover design by John Heinly No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any informational storage or retrieval system without permission in writing from the publisher. EPUB ISBN: 978-1-4768-5067-2 Print ISBN: 0-9624308-6-2 Copyright © 1990 MEREDITH MUSIC PUBLICATIONS International Copyright Secured. Printed and bound in U.S.A. _Alll Rights Reserved. First Edition November 1990Preface During an informal conversation between the authors which took place at a lunch counter at the Mid-West Band & Orchestra Clinic in Chicago a few years ago, Frank Battisti casually expressed the idea that he wanted to write a book with me. Surprised and curious, | asked: “On what topic?” “Score study,” he replied. This episode initiated a lengthy collaboration between the authors which resulted in this book. The ideas about score study that are contained in this book are the result of many discussions and writing sessions which took place in several countries on both sides of the Atlantic Ocean over a long period of time Particularly productive meetings took place in Kortrijk, Belgium, during the 2nd International Conference of the ‘World Association of Symphonic Bands and Ensembles and at Clare Hall, Cambridge University, England, when both authors were on sabbatical leave. In the United States both national and regional conferences of the College Band Directors National Association (from New Hampshire to Texas) afforded convenient opportunities to work on the project. During the writing of the book, we engaged in many spirited discussions, some verging on becoming heated arguments. Our initial outline changed radically as topics were added or deleted in the interest of clarity. We ‘wanted the proposed guide to be as clear as possible to the reader. ‘One important topic that was omitted, for example, had to do with making value judgements about quality in music. | felt that at some point in the process the conductor should evaluate the artistic merit of the ‘composition he is studying. Frank agreed. However, he felt that the book was about the process of studying a score and not about the aesthetics of music. Further, he felt that we could not discuss artistic merit without establishing criteria for making value judgements about quality in music. That issue, we concluded, was t00 complex to be treated secondarily Frank went on to say, however, that a conductor should feel some sense of responsibility for maintaining and even advancing the quality of the literature that is performed by wind bands and ensembles. One of the primary responsibilities of the school band director is to foster the development of appreciation of music in students so. that they will become discriminating listeners and performers. In this regard, the selection of quality performance literature encompassing all genres of music is extremely important. At our first working session on the book we screened over a dozen wind band scores for possible use in the guide. As our ideas about score study evolved, it became clear that we had to use only one composition as the model “application score” throughout the book. We chose Percy Grainger’s Irish Tune from County Derry for that purpose because it is interesting, yet not too complex, and relatively short. This work also provided us with the opportunity to complete a new full score edition of the composition with the approval of the publisher Carl Fischer. ‘We wrote this book because we believe there is a need for instruction and guidance in the area of score study. Experience has shown that many novice conductors learn the craft of conducting before they learn how to study a score. This reversed learning sequence often cteates a peculiar situation where a neophite conductor begins to conduct an ensemble before he or she has developed an interpretive mental image of the music. The problem is compounded by the fact that very few books or articles treat the score study process in detail. Although most conducting books adequately cover the techniques of conducting - beat patterns and styles, Preparatory gestures, cut offs, and so on ~ they devote precious few pages, if any, to score study. This may partially explain why some aspiring conductors do not have good knowledge of scores and are therefore ill- prepared to stimulate players to create cohesive and interesting musical performances. This guide to score study was written especially for students who aspire to be wind band conductors. The book could be used effectively in conducting courses and workshops, instrumental music education classes, studio conducting lessons, and the like. Anyone who teaches conducting or is involved in the training of conductors, as well as experienced band conductors, may find the book useful. Although this score study guide was written for condue- tors of wind band music, the procedures will work equally well for conductors of other types of music — orchestral, choral, opera, and so on. We chose to write the book for band conductors because we are committed to the wind band as a vibrant and viable medium of musical expres- sion. The term wind band is used throughout to encom- pass the broad concept of a flexible ensemble capable of performing a wide variety of literature (both original works and transcriptions) written for woodwind, brass, and percussion instruments. Robert Garofalo, Washington, D.C.Acknowledgements We extend our appreciation and gratitude to the following individuals and institutions for their coopera~ tion and assistance in preparing this book: John Boerner, Vice President, Carl Fischer Inc.; Stewart Manville, Archivist, Percy Grainger Library; Mr. B. McKenna, Keeper of Manuscripts, National Library of Ireland; Kay Dreyfus, Curator, Grainger Museum. John Bird, Grainger’s biographer, deserves special recognition here because he provided valuable comments, record- ings, and other materials. We also wish to thank Vondis Miller, Garwood Whaley, and Patrick Rooney who read the manuscript and offered constructive criticism. Particularly helpful assistance was provided by Tom Duffy, Director of Bands, Yale University. His editorial suggestions appear throughout step 1 of the book. We are especially indebted to George Wheelock, who provided editorial assistance during the final drafting of the book. George's skill at writing (he is a professor of English) and his knowledge of music made him an ideal person to consult for manuscript revisions. His insightful improvements appear on virtually every page of the book. Finally, we wish to thank our institutions ~ The Benjamin T. Rome School of Music of The Catholic University of America and the New England Conser- vvatory of Music— for their cooperation and support in allowing time for us to complete this book. Robert Garofalo, Washington Frank Battisti, Boston Meredith Music Publications acknowledges the following publishers for granting permission to use theit copyrighted materials in this text: Carl Fischer, Inc. European American Music Distributors Corporation Grainger Muscum, University of Melbourne E.C. Kerby Ltd. Hal Leonard Publishing Corporation Theodore Presser Company G. Schirmer, Inc. Copyright © 1990 MEREDITH MUSIC PUBLICATIONS, International Copyright Secured Made in U.S.A. All Rights ReservedContents et ae ie a te eee ae leat ll te Acknowledgements... 0 0 ee ee iv Introduction . . . . . fea el fae at oe fee The Score Study Guide 2. 2. ee ee 8 Step 1 Score Orientation . . 2... 2.2. 0. 4 Step 2 ScoreReading . 2... 2.2... -22 Step 3 Score Analysis. 6 6 2 ee Step 4 Score Interpretation . . 2... . 1... S4 (Coda Bee tects te tap te ele beel te eet te ot Appendices 2... ee ee .71 [A Transpositions and Clef 2 2 2 ee ee Score Orientation Practice Materials. . 2). 1). 1 e+ 1 79 Score Reading Practice Materials. 2 5. ee ee ee 2 OS Suggestions for Marking the Score... . - - 100 Grainger Mater’ © 2 2 2 ee 106 Selected Bibliography... . . - ee ee ee TM am 90eTo Charlotte and Ann for their support and understanding.Introduction ‘To communicate the expressive potential of a musical ‘composition to an ensemble in an effective and efficient manner, a conductor must first acquire an under- standing of the score. Interpretive decisions are based on insight and knowledge gained through thoughtful and imaginative study of the score. Hence the conductor's first task is score study. Nature and Discipline of Score Study The conductor should approach score study as an imaginative musician, a creator, and not simply as a decoder of notation. A performing musician should have a strong desire to create a personal musical statement. A composer notates ideas in the score in order to ‘transmit a musical creation to someone else. The conductor's challenge is to transform the notation into an expressive image. A valid score study process makes possible the interpretation of music through the conduc- tor’s creative being. To create music on the podium, the conductor must know the score completely and have a clear conceptual image of the piece in his or her mind, When conducting, the priority should be the realization of the mental model of the music and not simply the mechanical execution of the composer's notation. To reach that stage, it is necessary for the conductor to have completely internalized the score through study. If the conductor has not totally consumed the music and formulated an interpretation, he or she cannot create on the podium but can only direct players in the perfor- mance of notes. ‘We hope that the score study process that is presented in this book will be of assistance to the creative develop- ment of the conductor. The process is based on the use of basic musical skills and knowledge. The development of these prerequisites for score study requires a love of music and a desire to create. ‘The attitude or mind set of the conductor during score study is important. He or she should approach the task with commitment and a mind focused on the music. Score study is solitary work which demands great ‘concentration. (During the process, one should resist the natural tendancy to be thinking about the mechanics of conducting the piece in front of an ensemble.) The conductor should only study a score when the mind is fresh and the environment is free from distractions. Good concentration during score study greatly helps an individual in translating musical notation into a sound image in the mind, It also helps the person to retain the image. ‘When studying a score, the conductor works with a silent instrument ~ his or her own mind. The conductor who has not mastered the skills of working with his or her silent instrument to acquire score knowledge and an interpretive image is seriously handicapped, for without score knowledge and an image, there is no possibility of the person being an effective musical leader from the podium; regardless of the individual’s proficiency at the craft of conducting Although the conductor’s mind is devoid of external or physical sound vibrations during silent score study, the mental process is by no means a soundless experi- ence. The mind must always be alive and vibrant during score study. The exercise of a keen musical imagination is important here. Though written more than half a century ago, Hermann Scherchen’s statement about the conductor's’ mind and imagination is valid for wind band conductors today: ‘More than any other artist, the conductor must be a master mind, with an imagination capable of conceiving and materializing a musical image. Only when a work has come to absolute perfection within him can he undertake to materialize it by means of the orchestra .... We have to distin ‘guish, then, between the preparatory process, by which the conductor evolves the highest possible ‘deal conception of a work, and the realization in sounds, the actual conducting The experienced wind band conductor spends much more time working with his silent instrument than with his sound instrument. Score study takes time if itis to be done thoroughly. The amount of time it will take for a conductor to learn a given score will be determined in large part by the length, complexity, and artistic qual- ities of the music and by the individual’s accumulated musical knowledge, experience, and skills, especially his score reading ability. Of course, these variables will differ greatly from score to score and from conductor to conductor. It would be wise for the young conductor to establish a disciplined routine of daily score study. As a performing musician, a conductor's musical preparation should be similar to that of the musicians in ensemble. Both need to spend time every day in the practice room mastering their instruments and the music which they plan to create in rehearsals and concerts. For some conductors, the practice room may be an office or the quiet solitude of a home study; for others, it may be an airplane or a train, Each conductor must determine where and when to study, and each must decide how much time is needed to acquire thorough knowledge of the score and an interpretive sound image of the music. As a minimum, the conductor should require of himself or herself no less disciplined study or practice than is demanded from the musicians in the ensemble. 'Hermann Scherchen, Handbook of Conducting (London Oxford University Press, 1933), p. 1The busy school band director, for example, must find a workable routine so that he or she can devote time to score study every day. This person must also practice and learn music outside of rehearsals. He or she must not put “practicing” last on the list of things to do, for example, after fund raising, marching band routines, ordering buses, and so on. Of course this applies to all types of band conductors ~ college/university, commu- nity, military, or professional. After all, the subject is music and music is the score. The wind band conductor should focus his or her mind, time, and attention on the musi Learning new repertoire through the discipline of daily score study both helps the conductor improve his score reading skills and promotes musical growth, thus avoiding the common pitfali of stagnauon. “Each conductor must establish personal goals with regard to learning new scores. Knowledge and Skill Requirements ‘The wind band conductor needs to have solid training and/or experience in the following disciplines of music: Music History, Literature, and Style: Knowledge of the history and literature of Western art music, espe- ally the evolution of compositional styles and perfor- mance practices, provides the conductor with a chronological perspective. To continue life long study of these broad subjects, the conductor needs research skills; also, reading knowledge of foreign languages is recommended, Music Theory and Analysis: The basic ablility to analyze music of diverse compositional styles and idioms should be developed in every conductor. In addi- tion to familiarity with the entire range of musical forms, techniques, and styles of music through the 19th century, the conductor must develop a specific know!- edge of 20th century compositions because a large part ‘of the wind band’s literature was composed in the present century. Composition: A musical score is a physical manifesta- tion of a composer's creative mind and musical imagina- tion. The conductor's primary responsibilty is the study and interpretation of the composer's score with as much imagination, insight, and understanding as possible. Therefore, every conductor should try to understand how the process of composing music works. One of the best ways to do that is to study composition. This is a ‘good way to gain insight to the processes involved in the creation of a musical composition. The conductor who hhas had training in music composition (chat is expres- sing one’s feelings and musical ideas by organizing the raw materials of music— tones, chythms, timbres, and 0 on) should be better able to understand the expressive ideas and craftsmanship inherent in the musical scores of others. With experience in music composition, the conductor moves away from the position of the outsider looking in and moves closer to the position of the insider looking in, The person will be in a position to more fully comprehend the inner workings of 2 composer's mind. The young conductor should not shy away from studying composition because of perceived lack of talent. One does not have to have a lot of talent to try one’s hand at composition. The study of composition, no miatter how basic, should at least improve one’s analytical skills and, hence, one’s ablility to study a score with more understanding and fluency. Ear Training and Sightsinging: The conductor utilizes ‘two types of aural skills in the application of his arc and craft—inner hearing and outer hearing. An inner hhearing sound image developed during score study provides the goal to be realized. Outer hearing evaluates what is being achieved when conducting. One's ability to accurately and fluently read a score (that is, to see the notation and simultaneously hear the music in the ‘mind’s ear) is dependent, in large part, on the develop- ment of one’s inner hearing skill, Although inner and ‘outer hearing in music are closely related to each other, it is the latter skill that establishes the foundation for developing inner hearing ability. At the undergraduate level, outer hearing skills are usually taught in such ‘courses as ear training and sight singing. Young conduc- tors who are weak in these subjects may find that they have difficulty reading and hearing a score without the aid of recordings or the piano. Any deficiency can and should be viewed as a challenge to be overcome. Orchestration, Transpositions, and Clefs: The con- ductor needs to acquire a thorough knowledge of instru- ment transpositions, especially those transpositions that are found in wind band scores. As well, the conductor must be able to apply the movable C clef in a score so as to instantly translate transposed instrument lines to ‘concert pitch (without actually transposing). Experience hhas shown that many wind band conductors are extremely deficient in this important score reading skill. See Appendix A for detailed information on this topic. Secondary Instruments: The wind band conductor needs to be thoroughly familiar with the musical and technical possibilities and limitations of the various woodwind, brass, and percussion instruments encoun- tered in scores. One of the best ways to acquire this expertise, although not the only way, is to play the instruments. Undergraduate secondary instrument courses are helpful in this regard because they frequently provide the student with useful, albeit limited, hands-on experiences. However, because it is virtually impossible to learn all of the instruments while in college, it prob- ably will be necessary for the young conductor to continue studying the instruments after graduation.Although the ability to play at the keyboard with facility and poise is not an indispens- able skill requirement for the conductor, it is very useful. The keyboard is the basic working instrument of all ‘musicians, conductors included. One should develop as ‘much skill on the instrument as possible. Instrumental Performance: In addition to developing performance ability on at least one musical instrument, the conductor should acquire much experience playing quality literature in skilled performing ensembles of all types and sizes. 3 The young musician who aspires to be a conductor should not be discouraged by the realization of deficien- cies in the musical disciplines listed above. After all, skills can be learned or improved upon, and knowledge and experience can be acquired in time. It is important for each individual conductor not only to recognize deficiencies, but to work hard at correcting them. As conductor Claudio Abbado succinctly noted: “There is never a. moment when one has arrived. You have to study all your life.”? "Michael Kernan, “Music's Enfant Terrible,” The Washington Post March 20, 1972 The Score Study Guide Score study for the conductor is a process through which musical notation and other information provided in the score are systematically examined and thoroughly assimilated. Any process used by a conductor to study a score should lead to one goal — a personal interpreta- tion of the music. This proposed guide to score study was designed to help the conductor achieve that goal. The guide is organized into four sequential steps: STEP 1-SCORE ORIENTATION: This initial step of the process, which is organized into three phases, provides an overview of the entire score from the front cover to the last page of music. It also provides a method by which important questions can be answered — questions which must be consi- dered before moving on to the next step in the process, STEP 2 -SCORE READING: This step involves a number of slow readings of the score at tempos which permit one to continue from beginning to end without stopping. The primary objective is to make possible an unbroken inner hearing image of the ‘composition from beginning to end. As one explores the overall musical landscape of the score, one should also be developing feelings for the expressive- ness of the sound image that is emerging in the mind. STEP 3— SCORE ANALYSIS: Here the conductor completes a thorough structural and_ stylistic analysis of the work. The operations of this step are analagous to those of a scientist who, wishing to understand its inner workings, studies a living organism in minute detail under the laboratory microscope. During score analysis, the conductor strives to develop a clear understanding of musical details and how they relate to the expressive poten- tial of the entire composition. In addition, he or she attempts to find support for the intuitive feelings and ideas about the music that developed spontane- ‘ously throughout step 2. The conductor may find that confirmation or may discover that the analysis challenges the initial responses to the music STEP 4—SCORE INTERPRETATION: In step 4 the conductor synthesizes all that was discovered, learned, and experienced in the previous steps and arrives at his or her unique interpretation of the music. Completion of this step should provide the conductor with a clear interpretive conception of the music, enabling him or her to lead players in the rehearsals and performance of the composition. Each step of the following score study guide begins with discussion of the procedures for the step, including guidelines for application. The second part of the step illustrates the application of the study procedures to a wind band score. For this purpose, the authors have chosen to use their own newly-edited full score to Irish ‘Tune from County Derry by Percy Grainger. To begin score study, the conductor should have the following basic materials on hand: a full score, condensed score, and complete set of parts to the selected work; a’ note pad and pencils; a metronome; and the following reference sources: a music dictionary, such as the Harvard Dictionary; and foreign language dictionaries as needed. It is usually a good idea to have a set of parts handy during score study as it may be necessary to clarify the information in the full score. This becomes a necessity when one is working only with a condensed score. A condensed score is, at best, an incomplete representation of a composer’s music; at worst, it can be grossly misleading. If a publisher provides both full and condensed scores, examine the condensed score to find out if it includes information that was left out of the full score. The condensed score may also be used to check one’s harmonic analysis of a piece following the completion of step 3 of the process.STEP 1 Score Orientation “The printed score is only an approximate representation of the music 4s it was conceived in the mind of the composer. It is the primary responsibility of the performer to interpret that score with as much insight, skill and understanding as he can muster.” Donald Barra The first step in the score study process requires the conductor to orient himself or herself to the composi- tion. This step, which is organized into three sequential phases, involves: ‘A. a reading of preliminary information printed in the score, B. an examination of specific information appearing. fon the first full page of music, and C. a cursory glance at each page of music (a leaf through) Each of the three phases of score orientation is discussed detail below. A. Cover and Introductory Pages: ‘The first phase of score orientation involves a careful reading of all information appearing on the cover and prefatory pages to the score, Although most information printed on the cover will reappear in either the introduc- tory pages or on the first page of the music, there are exceptions. This orientation procedure applies to the condensed score as wel (if available), as useful informa- tion may appear in the condensed score which is not in the full score. The following is an annotated list of preliminary information that could be found during this phase of score orientation. 1. Title of the Work: The title of a composition, and subtitle if included, may provide a general idea of the length of the work, the form or compositional style of the music, or the sources that inspired the creation of the composition. (This is especially true for programmatic music.) For example, what do the following titles tell you about these works? George Washington Bridge: An Impression for Band by William Schuman; Variants on a Medieaval Tune by Norman Dello Joio; English Folksong Suite by Ralph Vaughan Williams. Also, consider what infor- mation is provided by the following words as to the form, compositional procedure, or stylistic genre of the music: symphony, overture, concerto, serenade, divertimento, rondo, bourree, minuet, passacaglia, fugue, theme and variations, march, fanfare, and so Reasonable conclusions drawn on information provided by the ttle or titles of movements may not be confirmed by further study of the music itself. ‘Some composers choose tities which have nothing to do with the structure or materials of the composi- tion. Iris sufficient to consider the musical implica- tions that the title may have before proceeding with the score study. If you encounter a word in a title that is unfamiliar to you (for example, chaconne or canzona) make a mental or written note of it for future reference. Unfamiliar words that are used as titles or subtitles should be defined before proceeding to step 2. ‘The following information may appear with the title of a work: (a) date of the composition, (b) opusnumber, and/or (c) composer's catalogue number. ‘The new editions of Gustav Holst’s suites include all of this information: First Suite in E-Flat (1909), Opus 28, No. 1, H. 105. The date may help place the work in an historical and stylistic context. The ‘opus number may indicate the position of the work in the composer's total ourput. A low opus number, for example, may indicate a youthful work; a high opus number would indicate a prolific composer. Finally, the catalogue number may be useful infor- mation should there be the wish to investigate the composer’s works. 2. Composer's Name: (and possibly his birth and death dates): “What's in a name?” The answer depends on your knowledge and experience. A ‘composer's name and music may be very familiar to ‘you, or it may draw a blank. If familiar (Mozart, for example), you will expect a certain style of music ‘when you begin to study the score. The process pro- posed in this book assumes that the conductor has some knowledge of the composer's background and is generally familiar with his or her music. 3. Author, Librettist, Translator: This information may be included for works that are based on a book, play, document, or a philosophical treatise. 4, Editor, Arranger, Transcriber: This information may be useful in evaluating the integrity of the edition. S. Dedication/Commission: This statement may pro- vide information as to the level of technical diffi culty or musical sophistication of the work, or it may identify a stylistic aspect of the music or the source of inspiration for its creation. For example, works commissioned by bands — professional/mili tary, college/university, community, school bands ~ or works dedicated to virtuoso performers could indicate a certain level of technical difficulty. ‘A dedication or other note appearing on the title page can be very revealing and should not be treated lightly. One example will suffice to illustrate the point. Suite francaise by Francis Poulenc bears the inscription “¢apres Claude Gervaise (XVIe siecle).” ‘Claude Gervaise was a 16th century composer and editor of dance music. Poulenc’s music beautifully captures the style and spirit of Renaissance dances and instrumental consorts. 6. Additional Information: publisher, date of publ ‘ation, performance time, list of published instru- ment parts, and so on. 7. Introductory/Program Notes: Notes that appear in the preface to a score may include information about the composer (also the editor, arranger, or transcriber), the composition (especially when there is a poetic or extra-musical source of inspiration), s and the historical period. Some scores include intro- ductory notes, others none. Introductory notes may be written by the composer, the arranger or trans- criber, an editor, a musicologist, or some other person. The quality of notes may vary from the vague, shallow, or general to the specific, pertinent, or scholarly. Whatever the situation, carefully read any notes, judge their usefulness with regard to score study, and proceed with the process. When studying contemporary wind band scores, it may be necessary to spend extra time studying the introdue- tory notes. B. Examining the First Page of Music: ‘The next phase of score orientation is an examination of the first page of music. Two important questions need to be answered here. First, is this a transposed score or is it a score in C (concert pitch)? Second, are there any peculiarities with regard to the instrumentation and the score order? Concerning the first question, it should be noted that ‘most wind band scores are transposed scores. Those that are not are usually marked “Score in C” on the first page ‘of music. That inscription means that the score notation appears in concert pitch (is nontransposing); it does not ‘mean that the music is in the key of C major. Note, however, that even in concert pitch scores, instruments which transpose up or down an octave (piccolo, celesta, xylophone, contrabassoon, string bass) or up two ‘octaves (orchestral bells, crotales) will appear as octave transposing instruments. These instruments maintain their octave transpositions in C scores in order to avoid the problems of printing (and reading) many ledger lines either above the treble staff or below the bass staff. To determine whether a score is transposed or in C (concert pitch), compare the key signatures for the instruments listed in the left-hand column of the first page of music as you read down the page. A comparison, of the initial key signatures will usually provide the answer to the question. If all of the key signatures in the left-hand margin are identical, the score is in C (concert pitch). If, however, all of the B-flat transposing instru- ments have the same transposed key signature in relationship to the concert key of the music, the score is transposed. (The concert key is determined by looking at the key signature of nontransposing instruments.) To cross check or reinforce your conclusions, compare the key signatures of all E-flat transposing instruments; these should match. Do the same for all F transposing instruments. This procedure will not work in certain circumstances such as the following: when enharmonic key signatures are used; when old notation practices are used for horns and/or trumpets (that is, the parts appear without key signatures); and when contemporary compositional techniques’ are employed—bitonality, serial, atonal, aleatoric, and so on. Under these circumstances, ex- amine other pages of the music to determine whether or not the score is transposed. A quick way to do this is to6 find a passage in which there is a clear doubling of melodic lines between a transposing instrument and a nontransposing instrument; for example, between flute and B-flat clarinet. This comparison will usually provide the answer to the question. To find answers to the second question, examine the instrumentation and score order from top to bottom in the left-hand column of the first page of music. Ask the following questions: (a) Does the score layout make sense to me? The normal order for instrument families in wind band scores is: woodwinds, brass. and percussion. (b) Are the instruments within each family listed as [expect them to be listed? Instruments are usually listed from high to low within each family. (6) Are there any instruments listed that are ‘unfamiliar to me? If what you see in the left-hand column makes sense to you ~ that is, what you see is exactly what you expected to see — move on to the next phase of score orientation. If, however, you find something that is different from your natural orientation or way of thinking — for exam- ple, an unusual score order or an unfamiliar instru- ment —make a note of it in the score. Here is a partial list of unusual instruments that you may encounter in wind band scores. Some of these instruments are rare, others are obsolete, still others are pitched in unusual keys. ~ flute and piccolo in D-flat, alto flute, bass flute — oboe d’amore, heckelphone — clarinets in C or F (basset horn) ~ soprano saxophone, bass saxophone ~ French horns pitched in keys other than F (for example, B-flat basso horn) trumpets pitched in keys other than B-flat (for exam- ple, A trumpet) — percussion: contemporary wind band scores often call for a variety of unusual percussion instruments ~ for example, crotales, cloche, tuned glasses, water gong, and so on, When an unfamiliar instrument is encountered in a score, look it up in a dictionary and, if possible, listen to a live or recorded performance of its sound before beginning step 2 of the score study process. You won't be able to deal with an unknown instrument if you don’t know what it is, whether or not it transposes, and what it sounds like. Remember that words are inadequate to describe tone color. A dictionary definition will not provide an aural image of the sound of an instrument. Memorize anything unusual about the order of instru- ‘ments on the first page of the score. This will greatly facilitate step 2 of the score study process. Take a moment to study the score order, then look away from the page and try to recall - visualize in your mind — the order of instruments. It is important to absorb this infor- mation before proceeding with the process. ‘There are some scores in which the complete instru- mentation is not listed on the first page of the music, or in the preface. Leaf through such scores until there is a page with complete instrumentation. Once the instrumentation and score order have been determined, write the information somewhere at the beginning of the score as a reference. ‘Many wind band scores, particularly those published before 1960, do not list all of the percussion instruments, uused on the first page of music. In such cases, look through the score to find the complete percussion instrumentation and write the information on the first page of the score at an appropriate place. C. Leaf Through: After you have examined the first page of the music, you are ready to begin the last phase of score orienta- tion, Here look at each page of music in sequence from beginning to end while slowly leafing through the score. The objectives of the leaf through are threefold: to become aware of all tempos, meters, and key signatures used in the piece; to identify and clarify unfamiliar musical notation (signs and symbols) and terms (espe- cially foreign language terms); and to observe the density of notation on each page in relationship to the ‘tempi in order to determine appropriate slow reading speeds to be used in the score reading step of the study process. It is important to remember that these objec- tives are part of score orientation. Hence, you should not be reading or analyzing the music during the leaf through. Procedures for Phase 1. Observe all tempo markings as you leaf through the score. Note how the tempi are indicated — words with metronome markings (specific or approximate) or words without metronome markings. Carefully observe all tempo changes and clarify the tempo relationships. Note in particular where the fastest tempi occur in the piece. This will have a bearing on the reading speeds you will select for step 2. If there are different tempi in the piece, your slower reading tempi should also be propor- tionally related. 2. Observe meters and key signatures and notice how often they change so as to have a general idea of what to expect when beginning to read the score. If there are a lot of key changes (especially radical changes, say from 5 flats to six sharps) or frequent meter changes (especially asymmetrical meters), this may signal: “CAUTION! Don't go too fast when you begin step 2.” 3. As you leaf through the score, observe unusual or unfamiliar notation, musical terms, signs, symbols, and so oon, that will need to be clarified before you begin step 2. Unfamiliar foreign language terms should be clarified when they are found. Look them up in your reference dictionaries and write the information in the score. Failure to clarify unusual or unfamiliar items encountered during the leaf through will hinder your reading and comprehen- sion during the next step in the process.4. Observe the density of notes and rhythms on each page in relationship to the tempo. If there are many black notes on the page and the tempo is fairly fast, that may indicate the need to establish a slow reading tempo to begin step 2. During this phase of score orientation itis very impor- tant to determine the reading tempi which will be used in the next step of score study. Tempi selected should allow for the steady reading of the music from beginning to end with some degree of fluency. If the work under study is a multi-movement compo- n and this information is not revealed in the intro- duction to the score, now is the time to clarify the number of movements and the titles of each. Write this information along with page references at the beginning of the score so that you will have a quick-reference table of contents for the work. During the leaf through, it is important to observe changes in instrament transpositions occurring within a work or movement, or, in a multi-movement composi- tion, from movement to movement; for example, clarinet changing from B-flat to A, French horn changing from F to E-flat, and so on. It may be helpful to write the information in the introduction to the score with the instrumentation list, if given, or with the list of movements. Step 1: Application Score Orientation ~ Irish Tune from County Derry Having presented step 1 of the score study process (see the summary outline below), we now apply the orientation procedures to the full score of Irish Tine from County Derry. We present one possible scenario of a hypothetical school band director who has been working in the field for two years. This is a view from within his mind as he applies the orientation procedures to Irish Tune. Use the full score given on pp. 10 to 21 follow this section. SUMMARY OUTLINE Step 1 ~ Score Orientation ‘A. Read information printed on the cover and on the introductory pages to the score. B. Examine the first full page of music. Answer the following questions: 1. Is this a transposed score or is it a score in C? 2. Is there anything unusual about the instrumentation or the score layout? C. Leaf through the score: 1. Observe all tempos, meters, and key signatures. 2. Identify and clarify unfamiliar notation (signs and symbols) and unknown terms. 3. Determine appropriate slow reading tempos to be used with step two of the process.A View From Within the Mind PHASE A: Cover/Title Page: The conductor looks at the score cover and reads the information printed there. As he reads the title he thinks to himself: “This is an Irish melody from a specific county in Ireland.” The composer's name and music are somewhat familiar to this conductor; he has played other compositions by Grainger. The conductor also recognizes the names of the editors of this score edition. He played under Frank Battisti at a district band festival when in high school; and he remembers reading a book by Robert Garofalo when he was a college music student. The conductor reads the information at the bottom of the page and notes the copyright date. Page iis The conductor opens the score and sees at the top of page ii a repeat of some of the information that was on the cover—title and composer. He also reads: “Set for Military Band.” He is a bit curious about what that means in terms of instrumentation. Next, he notices the composer's dates are given under his name. This information reminds him of Grainger’s chronolog- ical placement in the history of music. Next he reads the time of performance and notes that this is a relatively short piece. The conductor reads down the list of instrumentation printed on p. ii, Two things on the list stimulate ques- tions in his mind. The first concerns the E-flat alto saxophone substitution part: “Should I use soprano saxophone if I can get one?” The second concerns the listing of the comet parts with trumpet indicated in parentheses: “Apparently the cornet timbre is the composer's preferred color in this piece. When I read this ‘score I will think and hear comet timbre. When I perform this piece how can I make the trumpets in my band sound like cornets?” Concerning the editorial notes and performance suggestions listed at the bottom of page ii, the conductor thinks: 1. “Clear cnough, any size group is possible, the key is balance.” 2, “Sounds like possible soli passage, must check this option later.” 3. “Apparently, the oboe part was adjusted by the editors for practical reasons. Check this later.” 4. “This note clarifies some of the questions I raised when I was examining the instrumentation list above.” 5. “wonder how the manuscript got there.” The conductor observes the last entry on this page and notes that the editors are from Boston and Washington. At this point in the orientation process, the conductor begins to worry about the instrumentation of his performing ensemble. He is concerned because his band does not have any oboes, the horn section is weak, and the overall instrumentation of the ensemble is not well balanced. Realizing there will be instrumentation and performance problems for his ensemble, he turns the age. Page ii: The conductor reads the information printed on page iii. His reaction: “Interesting historical information.” Next, he looks at the musical example and begins to read, that is, to sing inwardly, the melody to sce if he knows the tune. He recognizes the melody as “Danny Boy,” a popular Irish song that his uncle used to sing a long time ago. Page iv: The conductor reads the information on page iv. His reaction: “Here is background information ‘on the composer's working method and on other settings of this tune by Grainger. I wonder if our chorus, has done the choral version.” PHASE B: ‘The conductor reads the information printed at the top of the first page of the score and wonders if Grainger did any more folk music settings after this one. Concerning the dedication, he thinks to himself: “What prompted Grainger to dedicate this piece to Grieg? What was the relationship between Grieg and Grainger?" He then reads the rest of the information at the top of the page, including the tempo indication. Next, the conductor reads down the left-hand column and rechecks the instrumentation listing. He notes that the score order is normal, and that it matches the instrumentation listing on page ii. He then checks the key signatures of each instrument in the left-hand margin to determine if this is concert pitch score or a transposed score. Because the key signatures vary, he concludes thar this is a transposed score. PHASE C: As the conductor slowly leafs through the score, he observes that there are a few adjustments to the tempo, and no meter or key signature changes. He also notices that there are no unfamiliar signs, symbols, or terms to be clarified, because he is familiar with Grainger’s use of phrases like “to the fore,” “louden,” and “slacken.” Finally, during the leaf through, the conductor looks at each score page to ascertain how dense the notation, is in relationship to the tempo. He finds that the nota- tion rarely moves faster than moderately flowing quarternotes, so he immediately recognizes that he will not have to be concerned with reading fast passages with notation that is complex and possibly difficult to read. He deter- mines that “this és a score that I can read, and I will only have to slow down the tempo slightly to read it.” The conductor is now oriented to this score. He is ready to move forward to step 2 of the score study process. ‘The reader will recall that our hypothetical conductor began to think about his band after he had finished reading page ii of the introduction to the score. Although this type of response is understandable, it 9 should not hinder the score study process. When a conductor studies a score, he or she must concentrate totally on the score itself. The first order of business is to study the score and develop an interpretive image of the music in the mind. Dealing with instrumentation deficiencies and performance problems comes later. The conductor should not restrict his or her imagination during score study by thinking about the limitations of the performing ensemble. Before proceeding to the nextstep, wencourage you to practice the application of step 1 orientation procedures using introductory score pages given in Appendix B.Irish Tune From County Derry Percy Aldridge Grainger EDITED BY Frank Battisti and Robert Garofalo Copyright © 1918 by Percy Grainger. Copyright Renewed. International Copyright Secured. All Rights Reserved. Reprinted by Permission.a Irish Tune from County Derry Set for Military Band by Percy Aldridge Grainger (1882-1961) ‘Time of Performance approximately 34 mins. INSTRUMENTATION {st & 2nd Flute Ist & 2nd Oboe Eb Clarinet Ast Bh Clarinet 2nd Bb Clarinet 3rd & 4th Bb Clarinet Eb Alto Clarinet Bb Bass Clarinet Ist & 2nd Bassoon Eb Alto Saxophone I (substitute for Sop. Sax. — included in set of parts) Eb Alto Saxophone II Bb Tenor Saxophone Eb Baritone Saxophone 1st Bb Cornet (Trumpet) 2nd Bb Cornet (Trumpet) 3rd & 4th Bb Cornet (Trumpet) Ist & 3rd French Horn 2nd & 4th French Horn 1st Trombone 2nd Trombone 3rd Trombone Euphonium Tubas String Bass ‘Cymbal (Suspended) EDITORIAL NOTES & PERFORMANCE SUGGESTIONS 1. To achieve a balanced “wind ensemble” sound, this edition should be played with one player per part with the excep- tion of the B-flat clarinet and tuba parts which should have two players per part. Note, however, that this edition ‘may be played by a small, medium, or large wind band provided that the tonal weights of the instrumentation used remain proportionately correct. Achieving a precise balance of tone texture is very important. 2. To achieve a gentle texture and volume level from m. 33 to m. 57, it is suggested that each strand of music be played by a single player per pa 3. An alternate oboe part for the last 4 measures has been provided by the editors because itis difficult for oboists to play the low Ds and Cs softly and in tune. 4. Grainger’s original orchestration calls for soprano saxophone and cornets. These instruments should be used in performance if available. 5. The autograph compressed score to Irish Tune from County Derry is in the National Library of Ireland, Dublin. Frank Battisti, Boston Robert Garofalo, Washington2 The tune was collected by MISS J.ROSS, of New Town, Limavady Co. Derry (Ireland) ana PRINTED IN “The Petrie Collection of the Ancient Music of Ireland” (Dudsin, 1855) on page 67 of which collection the following remarks by GEORGE PETRIE go before the tune, which is headed: “Name unknown": For the following beautiful air I have to exprees my very grateful acknowledgment to Mise J. Ross, of N-T.-Limavady, in the county of Londonderry—e Indy who has made « large collection of the popular unpublished melodies of that county, which she has very kindly placed at my disposal, and which has added very considerably to the stock of tunes which I had previously acquired from that still very Trish county. Isey still very Irish; for though it has been planted for more than two centuries by English and Scottish settlers, the old Irish race still forms the great majority of its peasant inhabitants; and there are few, ifany, counties in which, with less foreign admixture, the ancient melodies of the country have ‘been so extensively preserved. The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was “very old,” in the cor. rectnoss of which statement I have no hesitation in expressing my perfect concurrence. es a a13 Biographer John Bird, in a letter to the editors (April 5, 1987), states the following regarding Percy Grainger’s compo- sitional method: “From what I have read and from what people have told me, Grainger would set about composing a band or orchestral work in the following way. First he would do a very rough sketch score — very untidy and in a way which no-one else on earth could read with lots of crossings-out and ‘sticky-tapings’ and soon. . . and then, the most important thing, he would do the parts. One reads of composers (such as Rimsky Korsakov) having several dozen music stands set up around the room and the composer dashing from one to another, doing the parts in simultaneous measures. When the parts had been done he would ‘clean-write’ the compressed or full score — usually the former. Well, from several sources, I have been told that this is how Percy would go about it . . . sketch score, parts, then compressed score. I have even read that most of Lincolnshire Posy was written with the parts done first, then the compressed score, often working at the parts without previous sketches (apart, of course, from the basic tune which probably he carried in his head or took from one of his folk-song tune books). All subsequent versions would be made using the original score as a basis, then he would produce the parts from this and a fresh compressed score . ..... From this, we could infer that for Irish Tie from County Derry which began as a choral work in 1902, he would use this choral score (either from memory or by having it before him) as the basic, root score for all subsequent versions, and probably in this order of work: (BFMS = British Folk-Music Setting) ‘* 1902-1904 for 6-part unaccompanied mixed chorus published by Vincent * BFMS No.5 c.1912 for 6-part unaccompanied mixed chorus published by Schott (revised version of 1902 setting) # [BFMS No.6 c.1911 for piano published by Schott} ‘* BFMS No.L5 c.1913 using the above material as the basis he would probably have written the parts first and then the full score for: ~ 10 strings or string orchestra (1 or 2 horns ad lib.) published by Schott + BFMS No.20 1918 using one or both of the above scores as a basis he would possibly. write out parts first (music stands around the room!) then from these he would produce the compressed score for: — military band published by Carl Fischer ‘¢ Much of the above, I emphasise [sic] once more, is guess work. I have no idea actually whether he did produce a full score for the military band version {to Irish Tine] and, frankly, I doubt that he did.”“4 (Logie ide memory of Ed re) Irish Tune from County Derry BE i come ‘rete ome Lge ‘soe ”as16 Ba sense, me ma718192STEP 2 Score Reading “The ability to read scores accurately and fluently is the obvious first step to understanding what 4 composer has written and how he wishes it to sound.” Erich Leinsdorf Score reading is a complex process that involves the conductor's musical imagination, intuition, inner hearing ability, memory, and emotions. By reading through a score many times, the conductor becomes personally involved with the composer’s music in a nonanalytical way. The objective should be twofold: to -acquire a skeletal image of the music, an overview of it that can be heard.with unbroken continuity in the mind without referring to the score, and to develop an intui- tive musical feeling for the expressive content and form of this image. The following guidelines will help conduc- tors read and study scores more effectively. The score reader must begin by finding a workable score reading tempo (or tempi) for the score being read. A score reading tempo must allow for reading of the score without stopping. Score reading tempi are usually slower than performance tempi. If a score has two or more tempo markings, the reader must be aware of them before setting a first reading pulse. Score reading, like reading a book, involves continuous eye movement through notation, Once the conductor begins he or she should not stop. The moment the conductor stops, he or she begins studying the score, which is a different process. ‘The conductor should approach the first reading with an open mind. He or she should not force the process ‘or look for specific things; rather, the person should just read and discover the piece naturally. The music's inherent content and expressive meaning should gradu- ally surface with each subsequent reading of the score. The conductor should try to completely read each page of music, measure by measure from left to right, up and down. Success at reading everything on each ‘page will vary from individual to individual; an inexperi- enced conductor may be able to read only the melody, while the young conductor who is a percussionist may focus on the percussion parts. With more experience at score reading, each conductor will gradually improve his orher ability to imagine a more complete sound image. To read even a relatively simple wind band score with some degree of comprehension, a conductor needs to ‘possess inner hearing ability. He or she also needs to be familiar with traditional harmony, musical terms, and the transpositions of instruments, as well as be able to instantaneously read in ¢ clefs. The conductor who tries to read a score that is beyond his or her musical skills and knowledge won't be able to do it. He or she will have to pause frequently to figure out what is going on in the music. The conductor may be able to analyze the score but will not be able to read it without stopping. A reader opening a medical book and seeing unfamiliar terms, charts, graphs, diagrams, and so on, immediately knows that he or she won't be able to read and under- stand all of what is there. The same is true for any inadequately prepared score reader. The conductor has to determine if his or her skills and knowledge are equal to the task of reading a particular score. If they are not, he or she will be wasting time. The conductor should be able to make that determination after completing phase C of score orientation.The conductor who wants to learn a score that is too difficult to read should omit the score reading part of the study process, going ahead to analyze the music. It is possible to get by without step two. However, an inability to read the score with some degree of fluency is a clear signal that the conductor will have to work hard at correcting skill and knowledge deficiencies. The conductor whose knowledge and skills do support reading a score will be able to see, hear, and absorb several musical elements with each reading. Melody is one of the first elements to emerge. Other elements could include a tempo marking, a time signa- ture, a key change, a climax phrase, an orchestrated cres- cendo, an instrument or section entrance, an embellish- ment, a stylistic articulation, an ostinato rhythmic pattern, a cadence or chord progression, a repeat sign, or even rehearsal numbers/letters. When a reader iden tifies and remembers an element, it contributes to the emerging inner hearing image of the music which develops with repeated readings. Score reading is similar to a scavenger hunt where the player discovers one clue after another until eventually the clues lead to the object. It is a matter of discovering, identifying, and relating. When on a scavenger hunt a person picks up a clue and goes to a spot. At that spot the player picks up the next clue. In reading scores the conductor identifies musical clues motives, themes, shapes, events, and so on. The more clues identified, remembered, and connected, the clearer the music becomes. Eventually, with enough clues, the goal is achieved. ‘What is the goal? The conductor should be able to put away the score, and have at least a skeletal sound image of the music in his or her mind. This allows the indi- vidual to continue to develop expressive feelings about the music away from the score as well as with the score. A conductor needs to get to this stage as quickly as possi- ble. The best way to do it is to read the score as frequently as possible. ‘A Walk through the Woods Score reading is like walking down a path through the woods with an alert, concentrated mind and an observant, perceptive attitude. Each time you do it, ‘you discover something new in the environment. If you do it three, four, or five times every day, even- ‘tually you will get to know the path and its envi- ronment so well that you will be able to walk through it with your eyes closed, yet see, hear, and smell the surroundings. While score reading, the conductor should allow his oor her feelings and ideas about the expressive content of the music to develop. To do that he or she should give free reign to musical imagination, letting emotional response unfold naturally and spontaneously. Most important, the conductor should not deny any intuitive musical responses that occur during score reading. 23 If certain parts of the music are still unclear after several readings, the conductor should go back to the score and study the problem passages to figure out what is going on at those points in the music so they can be heard in the sequential context of the score. The goal is not to understand details, but to acquire an outline of the sound of the entire work with unbroken continuity. To. check memory of the inner hearing image of the score, the conductor has to provide time during score reading to replay the music through the mind without looking at the score. Itis difficult to puta time limit on the practice of score reading, going from step 2 (score reading) to step 3 (score analysis) in the process of score study. It depends ‘on the length and complexity of the composition and the conductor's skill at score reading. A conductor should be prepared to spend whatever time is necessary ~ two, three, or four weeks or months. The conductor should avoid analyzing the music in this step because score study does nor start with analysis and he or she should not get there too soon. The conductor needs to explore the terrain ~ roam around the landscape, if you will — before beginning to dig the well. Once familiar with the terrain, he or she will be ready to organize an expedition to explore the details. If the conductor skips exploration of the musical land- scape and begins to study detail, he or she could get so far involved with detail that an inadequate or distorted overview may result. During the early stages of score study, itis sometimes difficult to know whether or not a particular detail being examined is important or not. By reading the score many times every day, the conductor should be able to formulate conclusions based on knowledge, imagination, and intuition. For example, if he or she thinks that the piece is in sonata allegro form, then the person will be looking for the recapitulation. The conductor can't do that as quickly ifhe or she begins to analyze details of the music prema- turely. By the time one conductor completes a detailed harmonic analysis of the first page of music, another conductor could finish several readings of the entire piece and have a berter overall idea of the composition. Because the composer presented an entire musical conception in the score, the conductor should start by reading the whole piece, not by analyzing the details. Fora long, multi-movement work ~ a suite, concerto, of symphony ~ the conductor should read and reread one movement at a time, making sure he or she has some grasp of the music’s content before moving on to the ‘ext movement. The conductor should avoid using the piano or other keyboard instrument to help acquire a mental image of the music. Though it's true that the piano is a powerful tool to develop external hearing skills, using the piano to aid hearing of the score diminishes the challenge of developing inner hearing ability. The conductor should g0 to the piano only as a last resort. Some experienced professional conductors play through their scores at the piano, but we are considering, young, inexperienced conductors who need to develop24 score reading skills. Score reading has nothing to do with one’s ability to play the piano; it has everything to do with one’s inner hearing ability. A professional ‘conductor doesn’t use the piano as a crutch to hear what is in a score; he uses it as an instrument to play or demonstrate the music. A young conductor has to learn how to play the music in his or her mind using musical imagination and inner hearing ability. Another temptation to avoid is listening to a recording of a work when studying the score. Listening to a recording during the reading step does not help a musi- cian develop inner hearing ability. While listening, the conductor doesn’t read the music, he or she follows it. Following along in the score and actually reading the music are two entirely different processes. The distine- tion is very important. A recording gives che young conductor too much, too soon. The danger is that the conductor may be tempted to imitate what is heard. The recorded performance may also be misleading or inadequate. Imitation is not the goal of score study —a ‘unique, personal interpretation is. The conductor's challenge is to develop and refine score reading skills so that he or she can take an unfamiliar score, learn it, and arrive at an interpretation of the piece. When a person can do that, he or she won’t have to rely on recordings or anything else to hear and discover what is going on in the score. There is one exception to what has just been said about the use of recordings. A recording of a complex ‘twentieth century work may have to be used to acquire an overview of the music if the composition is not within the conductor’s reading ability. It is important for band conductors to perform contemporary music, even if they have problems reading the scores.25 Score Study vs. Cramming by Frank Battisti It is clear that the conductor cannot always take the time to study a score slowly ifhe or she is under pressure to prepare a work for rehearsal and performance in a short amount of time. For example, when I gave the world premiere of Michael Colgrass’s Winds of Naqual, 1 was under tremendous pressure to learn the score quickly; the ink was still drying on the last pages of the score when it was time to begin rehearsing the piece. AS soon as I received the manuscript score, I began studying and analyzing the music so that I could conduct the piece. Although we were able to perform the work satis- factorily, it was not an enjoyable experience. By contrast, here is an example of how the score reading process should function. Recently, I gave aperfor- mance of Persichett’s Masquerade. I had been reading and studying this piece since it was published in 1966. During that time I had often taken this score out of the file to read. One day, as I was reading the score, it suddenly came to me: “I've got to perform this work; it’s a wonderful piece of music!” By this time I knew the piece well. I had been accumulating knowledge, musical ideas, and a feeling for the piece for many years, free from the pressure of getting it ready for a performance. This experience is very different than “learning by cram- ming.” Let me explain the two processes this way. If I were a chef and I had to prepare a meat dish, I would have to decide how to cook the meat. I could put it in the ‘oven and let it simmer slowly in its own juices, or I could put it in the pressure cooker or microwave oven and cook it very fast. Each cooking method would give the meat a different kind of taste, flavor, and aroma—a FhitTen 41 through the note head (\]). Suspensions, appoggiaturas, and retardations are further marked with numbers to, indicate type (9-8, 4-3, 6-5, 9-10). Chord symbols used in the analysis are to be translated as follows: M7 = major seventh, thus FM7 = major- major seventh chord H°7= half diminished seventh chord.a2 Example'7 (continued) tr aa ree tere SIP aps Sta — 7 4 tig istit Ft gy aa gu eleel & pet pe Faquie cir 1 bs ae sogts sti ot gt ZF ¢ (a a ee a F oat dni F at We Ree43 Example 7 (continued) 4-3 [24] SLACKEN____SLOWER 6-s ze —— = = ; Z eee gos vs tTye4pirtg a og eM gi 49) o1 ——> Ff pb 4 ane met L4 B. i) ae w 2 —s-ii a e gl ele pt og is gh et = 4) f| y ih » [eslExample 7 (continued) 4-8 ast SPEED a a Ig oe sf 5 PEP : = REEDS iE] (ja Co = |e Pet = a a Pte E fons ik ct eow— zr oD cle pit of gu F a4s Pm Juimsy >| LULL Sf Example 7 (continued) Sv S louis Joudon ze Fr = ae OF ea =F sigst ehh DS ah te ak oh bee’ T epte oom g ee e Al at eatad cl p (" a=’) ‘supe (he Root) FULL BAND |49! 4, Mee toler 4 * : 6 7 . gigs e BVi oi of pws efile eM oe FF bw en a st46 Example 7 (continued) 6-5 SLOW OFF = = Seeman 5 - ba a sist a ot ssh woot oof PM gi fv—¥3) 01 —> F eM! “yb FE dwid f Ripe PS, Pep ib whi gl wee i dea eo dud oT (Qn) cf (yt) f7 a (et) gui gg THE Sus pEMS1ONE, HERE Rese 76 CHAD, Fines of C7 a BATHIrish Tune is firmly rooted in the key of F major. In ‘example 7, a root position F major chord appears in the last measure of every sixteen-measure phrase, and the F chord consistently appears on beat 1 of the second measure of every eight-measure subphrase (although not always in root position). Between these tonic chords which surround the phrases, the composer weaves a rich and highly imaginative tonal fabric (the harmonic rhythm is relatively fast because the chords change on almost every beat). No two phrases, or measures for that ‘matter, in the entire composition are harmonized exactly the same way. For example, the first measure of each eight-measure phrase in the first statement (measures 1, 9, 17, and 25) should be compared to its corresponding ‘measure in the second statement (measures 33, 41, 49, and 57), Although the implied harmonic progression at the beginning of each phrase is always V7 to I, the voice leading and nonharmonic tones are invariably different. Every sixteen-measure phrase in Irish Tune concludes with a perfect cadence ~ V7 to I. Here again, the prog- ression is never voiced (or orchestrated) the same way. In Example 7, the cadences in measures 15-16, 31-32, 47-48, and 63-64 should be compared, especially the use of the added 9th tone to the dominant seventh chord on beat 4 of measure 31. Only one deceptive cadence (V7 to vi) appears in the harmonization of each statement of Irish Tune. In Example 7, measures 21-22 (first state- ment) and measures 53-54 (second statement) should be compared. There is only one very brief modulation to C major in Irish Tiene. It occurs at the end of the first cight- measure phrase (Example 8 A). It is instructive to ‘compare the harmony in measures 7-8 to that in meas- ures 39-40, the corresponding measure in the second statement of the tune (Example 8 B). In the second state- ment, there is no modulation because the dominant seventh chord tone (B-flat) is immediately added to the C major chord on the beat 1 of measure 40. Example 8 (A) meas. 7-8 motody] V7 —Return to F Major FMajor: 1§ iT Mejor: IV vg wiQ 117 “Lcommon Chords 47 Example 8 (cont.) ® ot 39-40 melody J = = FMajor: 1} 7 (raised 3rd) V7 —To tonic chord To enhance the tonal progression leading to the climax phrase of each statement of the melody, the ‘composer employs an altered supertonic seventh chord (G7 secondary dominant), followed by the dominant seventh (C7), and then the tonic chord (F major). This chord progression, with its traditional circle of fifths root movement, is ingeniously colored and obscured by nonharmonic tones and linear counterpoint. In Example 9, accompaniments A and B should be compared, espe- Gially the pitch changes in the top voice. Example 9 (A) meas. 24-26 a7 c F ary i) @ (raised 3rd) (8) meas. 56-58 —s G7 ct F ait) wi) oO (raised 3rd)48 Many different types of nonharmonic tones appear in Trish Tine ~ passing tones, auxiliary tones, 2ppog- giaturas, suspensions, and retardations. These expressive nonchordal tones not only enrich the harmonic texture, but they also enliven the contrapuntal motion of the part writing. The following representative examples illustrate the composer's stylistic use of nonharmonic tones. Unresolved Major-Seventh Chord Tone: The subdo- minant chord that appears in measure 4 of Irish Tune (example 7) is interesting because, in addition to the expected 6-5 appoggiatura in the melody, the counter- melody moves upward unexpectedly from the sixth tone above the root of the B-flat chord to the major seventh tone (A), where it remains. This upward motion in the top voice produces a mildly dissonant B-flat major- major seventh chord which is tied over the bar line as if in suspended animation. Major 7th Tone E: Irish Tune contains more than 15 examples in which the dissonant major 7th tone (E) is used in conjunction with the tonic chord of F Major. In Example 7, there is varied use of this tone in the following measures which are part of the first statement of the folksong: mea. 6, beat 3 passing tone in middle voice mea. 7, beat 3 chord tone mea. 10,beat2 = syncopated chord tone with accent mea. Il,beat4 = passing tone with F major chord on the beat mea. 14,beat3 = accented chord tone in the bass voice which is approached by an interval skip from a chord tone mea. 18, beat 4 = passing tone in the melody which anticipates an appoggiatura tone in the next measure mea. 20,beat2 = passing tone in the top voice ofthe accompaniment mea. 22,beat4 = similar to mea. 18 mea. 26,beat4 = similar to mea. 18, except that here the passing tone E occurs in the top voice of the accompaniment; the melody contains a passing 9th tone Gwhich anticipates a different appoggiatura tone in the next measure; the two passing tones (E and G) on beat four, and the three appog- giaturas (or unprepared suspensions) in measure 27 greatly enhance the tension {and thus the expressiveness) of this subclimax phrase. The second statement in Irish Tune also contains extensive use of the tonic chord with added major 7th tone E in various contexts. An especially noteworthy example occurs in measure 38 (Example 7). Here, the first inversion F major-seventh chord is followed by a B- flat major-seventh chord. The latter chord is further colored and embellished in the top voice with a retarda- tion (an upward resolving 9-10 suspension). Chromatic Passing Tone: There is only one chromatic passing tone in Trish Tine. It occurs in the second highest accompaniment part on the subdivision of beat 4 in ‘measure 43 (Example 7). The rhythmic motion of the passing tone here is unusual in that there are few eighth notes in the piece. E-Flat Altered Tone: The altered chord appearing on beat 4 of measure 29 may be analyzed two different ways —as a first inversion E-flat major-seventh chord as, shown in Example 7 or as a supertonic chord (g minor) with E-flat added (the E-lat being an anticipation which belongs to the F7 chord appearing in the next measure). Either way one views it, che unexpected sound of the E- flat tone here is strikingly beautiful to the ear. This altered pitch E-flat reappears in the corresponding. phrase of the second statement (measure 62), but in 2 different context. Here the E-flat is approached chromatically, and its only used in conjunction with the F7 chord. Climax Phrase ~ Suspensions, etc.: The last cight- measure phrase in Irish Tune contains a series of suspen- sions, appoggiaturas, and other nonharmonic tones that, not only enhance the climax, but help to slowly release tension leading to the final chord of the piece. In example 7, there is an unresolved 9th tone added to the d minor chord on beat 4 of measure 60. This chord which is tied over the bar line, appears here at the end of a four-measure subphrase. The dissonance created by the unresolved 9th tone (E) and the minor 3rd of the chord (F) helps to maintain tension as the music gradu- ally dies away. Next there is a series of descending half- note suspensions appearing in the top voice of the accompaniment beginning on the last beat of measure 59 and continuing through measure 62. Also, there are suspensions, 4— (3) and 9— (8), appearing above the supertonic chord on beats 3 of measure 63. These mildly dissonant nonharmonic tones, which are marked mezzo- forte, resolve downward properly; however, the resolu- tion chord on beat 4 has changed to the dominant seventh (C7). Orchestration/Texture: Note: When examining the orchestration and texture references that follow, consult the full score to Irish Tune given on pages. Irish Tune is scored for the typical military band instrumentation of the early 20th century. The original score calls for soprano saxophone as the top voice of the saxophone quartet and four cornets. The only percus- sion instrument specified in the work is a suspended cymbal. The basic texture of Irish Tune is homophonic. The number of lines in the part writing ranges from four to six, with five voices being the norm (not counting octave doublings). Within this deceptively simple chorale-like