Sammie Cohen

MUS319

Programming Project

Note: Many of these composers are from underrepresented groups including women, people of

color, and people from the LGBTQ+ community. I found many of the pieces and composers

from this spreadsheet:

https://docs.google.com/spreadsheets/d/1i4mcvDo3j6P9MiXKDbgyZ6enIGPcDhY2NTG278Re

OaI/edit#gid=1213970276. While diversity and representation was certainly a goal and big

component of my program, I chose all of these pieces based on the merit of their musical content

above all else.

Symphonic Band

❖ Celebration Fanfare- Steven Reineke, (Grade 4), 5:00’

➢ Rationale: I chose this work because it serves as a good opening piece and

demonstrates technical and lyrical playing. It’s also a bit more substantial than

many fanfares, which is ideal for a top band.

➢ Program Notes: Steven Reineke showcases his incredible orchestration in this

exciting, dynamic opener. The piece was commissioned to celebrate conductor

Erich Kunzel’s thirty years as the conductor of the Cincinnati Pops Orchestra.

This fanfare moves from a stoic, resounding beginning to the main melodic

section transitioning to a heartfelt lyrical section before culminating in a glorious,

sweeping finish.

➢ Conducting/instructional approach: For this piece, I would conduct the beginning

with a good amount of weight to capture the majesty of the opening before
 lightening the pattern when the main melodic section comes in. For the lyrical

section, I would use a lyrical motion with more resistance in my wrist to establish

a clear change. With the return of the melodic line I would go back to a lighter,

drier style and then would end very similarly to how I began. Instructionally, I

would focus on students lining up and being very clean with their notes as well as

demonstrating good contrast with the style changes. Maintaining the tempo will

also be key to playing this piece well.

❖ Perseids- Alexandra Gardner, Grade 5, 7:00’

➢ Rationale: I chose this piece primarily because of the many solo opportunities and

the fact that it is a challenging, interesting programmatic piece with lots of

textures and beautiful harmonies.

➢ Program Notes: The namesake of this piece comes from a meteor shower which

takes place annually between July and August. The remains from a comet light up

the sky as the remaining asteroids and dusty debris are heated by the sun and

interact with earth’s atmosphere resulting in colorful trails and bright fireballs.

Like many of Gardner’s works, which utilize various instrumentations, textures,

and sounds, this piece provides an evocative experience. Perseids captures the

beauty and excitement of the night sky during this incredible celestial event with

shimmering textures, enchanting melodies and harmonies, and energetic moving

lines.

➢ Conducting/instructional approach: My approach to conducting this piece would

be to maintain a relatively lyrical style throughout, making sure to maintain the

energy in the fast moving sections while still showing connection in the wrist
 motion. In some of the lighter sections, I would try to add a bit more bounce to

my conducting through a tap gesture. Instructionally, I would be sure to address

the prevalent layering of this piece and ensure that students focus on balance.

There are some challenging rhythmic features that would need to be addressed

relatively quickly as well as a few meter changes. I would also spend plenty of

time focusing on the percussion parts since they are a significant feature of this

piece.

❖ Before the Sun- Julie Giroux, (Grade 3), 4:27’

➢ Rationale: I chose this piece because I was looking for something lyrical, slow

and relatively easy to bring out the students ability to be expressive and to give

them something in the middle of the program that allows them to rest a bit. I also

wanted to include Julie Giroux in the program because students should and will

be aware of her at some point for her composition talents and place in music

education.

➢ Program Notes: Before the Sun tells the story of a family and their farm in the

hours just before the sun rises. Beautiful harmonies and flowing melodic lines

capture the tranquility and splendor of this pastoral scene. The opening of strings

and piano evoke the morning landscape and the waking creatures ready to begin a

new day. The day continues as the sun rises and a new theme arrives before the

sun once again starts to dip as a lullaby brings in the restful end of the day.

➢ Conducting/instructional approach:

I would conduct this in a lyrical style and focus on utilizing my left hand quite a

bit for the expressive elements of this piece. Since the piece remains in a lyrical
 style throughout, it will be key to bring out subtle changes and focus on the longer

build of the piece. I would also try to bring out the phrasing through shaping,

releases, and breaths. For the instructional approach, I would make sure students

are focusing on blend, balance, and listening down to the bass voices. I would

also make sure we work on capturing the character of the piece through tone,

phrasing, and dynamics.

❖ Danzon no.2- Arturo Marquez, (Grade 5), 10:02’

➢ Rationale: I chose this piece because it is an iconic piece of repertoire which

serves as the “entree” in our programmatic menu. This piece will challenge the

performers and focus on their technique, expression, and endurance.

➢ Program Notes: This piece, originally written for orchestra, is an iconic and

challenging piece of repertoire based on the genre of danzón; a Cuban style with

cultural influences from Spain, Britain, France and the people whom they

enslaved as they colonized the island over many years. The danzón became truly

established by middle class Creole people and has been interpreted as a sign of

independence from colonial rule. Marquez takes us on an emotional journey

reflecting the sentiment, joy, and spirited, dancing energy of the danzón and its

cultural connection to Latin American people.

➢ Conducting/instructional approach:

For conducting this piece, I would use a light, but lyrical style in the beginning

section, adding more dryness and tapping as the piece becomes increasingly

rhythmic and energetic and returning to the lyrical style in the more sentimental,

tango-like section. This piece does not have very extreme dynamics aside from
 some quieter sections, so I would also be careful to keep my pattern from growing

too large. The left hand will be critical for cuing and acknowledging the various

lines and for adding expressive embellishments. Instructionally, I would have

students focus on stylistic accuracy and keeping the energy of the piece moving

forward. The slower sections can easily sound boring and sappy, so I would

definitely be sure to give directions about phrasing and being expressive

musicians. There are also rhythmic challenges in here which would likely need to

be addressed.

❖ Ride- Samuel Hazo (Grade 5), 3:29’

➢ Rationale: This is an exciting, energetic piece that serves as a perfect closer,

displaying the students’ playing abilities in one final, short exhibition.

➢ Program Notes: We close out the Symphonic Band program with the exciting,

jubilant whirlwind that is Ride. This bombastic piece details Hazo’s

adrenaline-inducing experience following his fellow composer and longtime

friend Jack Stamp to Stamp’s home driving high speeds on a country road.

Changing time signatures, fast-moving melodies, and unabashed percussion begin

this piece with an invigorating energy not unlike the feeling of blazing down a

mountain road. The middle section is restrained, yet intense, holding back in its

dynamics but maintaining its speedy pulse. The end returns with electrifying

momentum before bringing us to a glorious, triumphant conclusion.

➢ Conducting/instructional approach: The quick tempo of this piece presents a big

challenge for conducting and teaching. It would be very important to subdivide in

this piece to make sure I don’t drag in my conducting. I would use a tapping
 gesture for the vast majority of this piece, though there is a brief lyrical section

that I might try to bring out either in my pattern or in some type of sweeping

gestures with my left hand. Instructionally, I would want players to focus on

keeping the tempo moving and bringing out the phrasing in this piece to avoid

simply playing the rhythms and notes.

Concert Band

❖ Next Generation Fanfare- Michael Miller (Grade 3) 2:11’

➢ Rationale: I chose this piece because it is a quick, exciting opener for a more

intermediate group of musicians. I liked how the piece is simple, yet effective and

energetic- it also provides students with an opportunity to play changing meters.

➢ Program Notes: Next Generation Fanfare is a celebratory, exciting opener that

kicks off our Concert Band program. This work takes the traditional fanfare and

adds a less conventional element of changing time signatures. Listen for the fast-

moving flutes, vibrant brass, and dynamic percussion lines as we dive into a

fantastic concert.

➢ Conducting/instructional approach: For this piece, I would keep a snappy, tap

gesture going throughout the piece in my right hand. I would be careful to adjust

the size of the pattern to the dynamics and to clearly conduct the changing time

signatures. I would use the left hand to emphasize dynamics, cue different

sections, and to clarify the time signature if necessary. Instructionally, I would try

to ensure that students understand and execute the time signature changes and

bring out the rhythms which emphasize them. In both my direction and
 conducting, I would want to focus on keeping the energy of the piece up

throughout, especially with the ending.

❖ Grandmother Song- Brent Michael Davids (Grade 3), 3:53’

➢ Rationale: I chose this piece because I think it is a really beautiful work that

authentically celebrates Native American music. Not only does it create contrast

in the program, but it allows for a unique learning and musical experience for

students.

➢ Program Notes: Brent Michael Davids is a member of the Mohican Nation, a

Native American tribe located in the Hudson Valley and is highly educated in

Native American music and cultural practices. He has used much of his career to

empower Native American composers through the foundation of projects such as

Native American Composer Apprentice Program (NACAP), the Composer

Apprentice National Outreach Endeavor (CANOE), the First Nations Composer

Initiative (FNCI), and more. Grandmother Song is inspired by the vocal music

traditions of the Mohican people, as performers sing “vocables”. The band

accentuates the sung melody and creates a soundscape inspired by indigenous

cultural elements such as talking sticks, singing reeds, rustling winds, and

shooting thunder. This piece is a wonderful, tranquil work which is unlike many

pieces typically heard in a band program.

➢ Conducting/instructional approach: For conducting this piece, I would take a very

lyrical, fluid approach. I would try to use choral conducting methods to help the

singers with their syllables, breathing, and diction. The piece remains quite

tranquil throughout and many of the cues would be very subtle as the instrumental
 entrances sort of flow in and out and serve as largely textural elements.

Instructionally, I would definitely point out the importance of the vocals and how

the band should act as a background for the singers. The band will have to focus

on controlling their sound and listening to their tone, dynamics, and articulation.

The singers will have to focus on creating phrases with their voices, which will

definitely be an interesting challenge.

❖ Excerpts from “Appalachian Spring”- Aaron Copland, arr. Robert Longfield (Grade

4), 8:06’

➢ Rationale: This is a classic piece of literature by Aaron Copland that students

should be aware of due to its influence in music composition and history. It will

also serve as a longer challenge piece to work on their endurance and musicality.

➢ Program Notes: Appalachian Spring was originally written as an orchestral ballet

suite and is an iconic piece of American music literature. This arrangement by

Robert Longfield takes excerpts from the eight movement suite and brings out the

highlighted sections of this pastoral fantasy. The original composition served as

the music for a ballet telling the story of a wedding day in rural Pennsylvania and

incorporates hymns including “Simple Gifts”. It was awarded the 1945 Pulitzer

Prize for music and remains to be a gorgeous and moving masterpiece.

➢ Conducting/instructional approach: This work would require many different styles

of conducting. Styles that would be reflected in my conducting would include

flowing lyrical portions, light, bouncy sections, and energetic dance like sections.

Instructionally this piece demands a high level of expression, balance, and blend

from the performers. I would spend the first few rehearsals working out rhythms
 and notes, however I would spend a vast majority of rehearsal time focusing on

the more expressive elements.

❖ And My Spirit Lives On- William Owens (Grade 2.5), 6:25’

➢ Rationale: I chose this piece because I thought it was a lovely, meaningful piece

which would allow students to focus on their phrasing and expressive playing.

➢ Program Notes: And My Spirit Lives On was commissioned by Takoha High

School in Texas to commemorate the life of a former student, Meg Flynn. The

piece is a moving dedication to the talent and joy she brought in her brief time on

earth. This work is a testament to those who have left us far too early and to their

spirits which truly do live on, continuing to bring light and happiness to many.

➢ Conducting/instructional approach: I would begin and end this piece with a

connected, lyrical style. In the allegro sections, I would use a lighter style to

indicate more dryness, clarity, and movement. Instructionally, I would ask that

students focus on their phrasing and transform simple notes into beautiful ideas.

The meaning of the piece should resonate and inform the emotional quality of

their playing. Establishing contrast between the different sections will also be

critical to capturing the character of the piece.

❖ Brule River Celebration- Robert Sheldon (Grade 3), 5:45’

➢ Rationale: I chose this piece because I felt that it was an excellent closing piece

with a jubilant opening, lovely, sentimental middle section, and a celebratory

finish. It also has quite a few solo opportunities.

➢ Program Notes: Brule River Celebration takes us to the breathtaking,

naturally-rich Northern Michigan landscape of forests, rivers, creeks, and lakes.

 The jubilant opening moves into a lovely, reflective section appreciating the

beauty of the plants and creatures of this gorgeous area. The final section is

radiant and exultant, closing out our concert band program with a resounding

flourish.

➢ Conducting/instructional approach: For the opening of this piece, I would conduct

in a confident, allegro style, bringing out accents and the build into the beginning,

thematic section. For the thematic section, I would use a mix of light, bouncing

tapping and a small incorporation of lyrical conducting for the brief two measure

phrases which shift to a lyrical feeling. The middle section would require much

more lyrical, expressive conducting, guiding the soloists and the band to bring out

the shaping. For the final section, I would conduct in a similar style to the

beginning and bring out the moving lines, establish contrast for the lyrical

phrases, and keep the energy up, leaving room for a big finish. Instructionally, I

would definitely try to have fun with this piece, bringing out the joyous elements

and working on expression in the middle section.

Joined Bands

❖ New Era Fanfare- Randall D. Standridge (Grade 2), 3:00’

➢ Rationale: I chose this piece because it would be a fun fanfare which both bands

could put together easily and well.

➢ Program Notes: This exciting fanfare brings our two bands together and

incorporates an electronic element of the synthesizer, bringing the fanfare into the

future. Standridge, known for his educational compositions, embraces the

 potential of new musical endeavors, providing unique performance opportunities

for students.

➢ Conducting/instructional approach: This piece would be conducted with the

snappiness of a typical fanfare and use a more connected style in the brief lyrical

section. The percussion is a very key feature in this so I would be sure to cue and

bring out their parts. Since this ensemble would be very big, I would try to keep

the dynamics relatively soft and controlled for the vast majority of the work.

Since the piece incorporates more popular music style elements, I would also use

a bit of body motion to show a sort of groove. Instructionally, I would focus on

having the combined group really line up and maintain consistency in articulation,

dynamics, and all other musical aspects.

❖ Futurism- Yuichi Abe (Grade 4), 4:32’

➢ Rationale: I originally chose this piece as an opener for the first group, however I

really liked the ending and felt that it would be a good finale for a concert.

➢ Program Notes: Futurism begins with a suspenseful opening which unfolds into a

vibrant, exciting flurry. We then transition to a lyrical section with a majestic,

introspective melody. The opening rhythmic figures return with even more energy

than before leading us to a magnificent final chord. This brilliant work serves as a

triumphant end to our concert, encapsulating the spirit of a bright, hopeful future.

➢ Conducting/instructional approach: For this piece I would keep a light, dry style

for the opening section to reflect the crisp rhythms. For the lyrical section, I

would use a more connected style and bring out the phrasing with my right and

left hands. For the final section, I would be sure to return to a dry style, while
being very expressive through facial expressions, body movement, and the left

hand. Instructionally, I would want students to focus on maintaining the energy

throughout the piece, but to make sure they build effectively to the end. I would

also want to make sure that the rhythms are very clean and that the lyrical section

is very contrasted.