GRADUATE BAND CONDUCTING RECITAL:

LESSON PLANS AND THEORETICAL / HISTORICAL ANALYSIS OF

LITERATURE

by

VERONICA LOUISE KONGS

B.M.E., BENEDICTINE COLLEGE, 1998

A REPORT

submitted in partial fulfillment of the requirements for the degree

MASTER OF MUSIC
Department of Music
College of Arts and Sciences

KANSAS STATE UNIVERSITY

Manhattan, Kansas

2007
Approved by:
Major Professor
Dr. Frank Tracz

Abstract
This report contains lesson plans as well as a theoretical and historical
analysis of the literature performed in the Graduate Conducting Recital of
Veronica Kongs. The recital was held in the Satanta Junior/Senior High School
Auditorium in Satanta, Kansas on Tuesday, May 8, 2007 at 7:00 p.m. The recital
featured performances by the Junior High and High School Concert Bands.
Literature for the Junior High Concert Band included Korean Folk Rhapsody
arranged by James Curnow and Riders on the Southern Front by Roland Barrett.
The Junior High/High School Concert Band literature consisted of For Thy Courts
Above by Ed Huckeby and Of Dark Lords and Ancient Kings by Roland Barrett.
This report utilizes two analytical methods, the Larry Blocher/Richard Miles Unit
Study model used in the Teaching Music through Performance in Band Books
and the Frank Tracz approach of macro-micro score analysis.

Table of Contents
Dedication......................................................................................................................... vi
CHAPTER 1 - Music Selection Process ....................................................................... 1
CHAPTER 2 - Lesson Plans........................................................................................... 4
Satanta Junior High Band Lesson Plans.................................................................. 4
Rehearsal Date: April 23, 2007 .............................................................................. 4
Rehearsal Date: April 24, 2007 .............................................................................. 6
Rehearsal Date: April 25, 2007 .............................................................................. 7
Rehearsal Date: April 26, 2007 .............................................................................. 8
Rehearsal Date: April 27, 2007 .............................................................................. 9
Rehearsal Date: April 30, 2007 ............................................................................ 10
Rehearsal Date: May 1, 2007............................................................................... 12
Rehearsal Date: May 2, 2007............................................................................... 13
Rehearsal Date: May 3, 2007............................................................................... 14
Rehearsal Date: May 4, 2007............................................................................... 16
Satanta Junior High / High School Band Lesson Plans....................................... 17
Rehearsal Date: March 19, 2007......................................................................... 17
Rehearsal Date: March 20, 2007......................................................................... 19
Rehearsal Date: March 21, 2007......................................................................... 21
Rehearsal Date: March 22, 2007......................................................................... 22
Rehearsal Date: March 23, 2007......................................................................... 24
Rehearsal Date: March 26, 2007......................................................................... 25
Rehearsal Date: March 27, 2007......................................................................... 27
Rehearsal Date: March 28, 2007......................................................................... 28
Rehearsal Date: March 29, 2007......................................................................... 30
Rehearsal Date: March 30, 2007......................................................................... 32
CHAPTER 3 - Personnel and Seating Charts ........................................................... 33
Satanta Junior High Band Personnel...................................................................... 33
Satanta Junior High Band Seating Chart ............................................................... 34
iii

Satanta Junior High / High School Band Personnel............................................. 35

Satanta Junior High / High School Band Seating Chart ...................................... 36
CHAPTER 4 - Korean Folk Rhapsody arr. by James Curnow............................... 37
Unit 1: Composer ....................................................................................................... 37
Unit 2: Composition.................................................................................................... 38
Unit 3: Historical Perspective ................................................................................... 39
Unit 4: Technical Considerations............................................................................. 39
Unit 5: Stylistic Considerations ................................................................................ 40
Unit 6: Musical Elements .......................................................................................... 41
Unit 7: Form and Structure ....................................................................................... 41
Unit 8: Suggested Listening...................................................................................... 43
Unit 9: Additional References and Resources....................................................... 43
Macro-Micro Analysis ................................................................................................ 44
CHAPTER 5 - Riders on the Southern Front by Roland Barrett............................ 48
Unit 1: Composer ....................................................................................................... 48
Unit 2: Composition.................................................................................................... 49
Unit 3: Historical Perspective ................................................................................... 49
Unit 4: Technical Considerations............................................................................. 50
Unit 5: Stylistic Considerations ................................................................................ 50
Unit 6: Musical Elements .......................................................................................... 51
Unit 7: Form and Structure ....................................................................................... 51
Unit 8: Suggested Listening...................................................................................... 53
Unit 9: Additional References and Resources....................................................... 54
Macro-Micro Analysis ................................................................................................ 55
CHAPTER 6 - For Thy Courts Above by Ed Huckeby ............................................ 59
Unit 1: Composer ....................................................................................................... 59
Unit 2: Composition.................................................................................................... 60
Unit 3: Historical Perspective ................................................................................... 60
Unit 4: Technical Considerations............................................................................. 63
Unit 5: Stylistic Considerations ................................................................................ 63
Unit 6: Musical Elements .......................................................................................... 63

iv

Unit 7: Form and Structure ....................................................................................... 64

Unit 8: Suggested Listening...................................................................................... 66
Unit 9: Additional References and Resources....................................................... 67
Macro-Micro Analysis ................................................................................................ 68
CHAPTER 7 - Of Dark Lords and Ancient Kings by Roland Barrett..................... 72
Unit 1: Composer ....................................................................................................... 72
Unit 2: Composition.................................................................................................... 73
Unit 3: Historical Perspective ................................................................................... 73
Unit 4: Technical Considerations............................................................................. 74
Unit 5: Stylistic Considerations ................................................................................ 74
Unit 6: Musical Elements .......................................................................................... 75
Unit 7: Form and Structure ....................................................................................... 75
Unit 8: Suggested Listening...................................................................................... 78
Unit 9: Additional References and Resources....................................................... 78
Macro-Micro Analysis ................................................................................................ 80
Bibliography .................................................................................................................... 86

Dedication
To Dad, Mom, Jeremy, Denise, Tim, and Sophia
Thank you for all of your love, help, and support!

vi

CHAPTER 1 - Music Selection Process

During my music selection process I considered the following:
1) educationally sound material that teaches important musical concepts and is
challenging to students, 2) students musical strengths and weaknesses, 3)
variety of musical styles, 4) instrumentation, 5) required music list, and 6) music
in the Satanta School District Music Library.
I used the first two weeks of February to sight-read a wide variety of
pieces to gain better insight into the students comfort areas and identify musical
concepts that needed improvement. During this time I used music already owned
by the school district that was listed on the Kansas State High School Activities
Association Required Music List, in the Teaching Music Through Performance in
Band books, or other standard band literature I had learned about at clinics,
conventions, or concerts. I also took into account the instrumentation of each
ensemble and came to the conclusion that I would need to have members of the
Junior High Band perform with the High School Band to create the most
complete ensemble possible.
During this process I decided to give the High School Band an opportunity
to help select one of our songs for contest. Since the Kansas State High School
Activities Association now requires that one piece performed at the State Music
Festival be from the Required Music List, I chose eight songs, six of which were
owned by the school district and all of which fit the other four criteria for my music
selection process, to use in the Elite Eight Music Tournament. The Satanta
Band is required to play Grade 2 literature or higher, so I chose three Grade 2
songs and five Grade 3 songs to use in the tournament. The tournament
consisted of playing two songs from the Required Music List each day and then
students voted for their favorite. The winning song moved to the winners bracket
and the losing song was eliminated. The songs used in the tournament were
1.Balladair by Frank Erickson (Grade 2), 2.Canto by W. Francis McBeth (Grade
1

3), 3.Shackelford Banks by Jay Bocook (Grade 3), 4.Yorkshire Ballad by James
Barnes (Grade 3), 5.Shenandoah by James Ployhar (Grade 2), 6.Anthem for
Winds and Percussion by Claude T. Smith (Grade 3), 7.Romanesque by James
Swearingen (Grade 2), and 8.Of Dark Lords and Ancient Kings by Roland Barrett
(Grade 3). The tournament bracket is shown below.

1. Balladair
1. Balladair
2. Canto
3. Shackelford

3. Shackelford
3. Shackelford
4. Yorkshire

8. Dark Lords

5. Shenandoah
5. Shenandoah
6. Anthem
8. Dark Lords

7. Romanesque
8. Dark Lords

8. Dark Lords

After the students selected Of Dark Lords and Ancient Kings by Roland
Barrett for the Required Music List portion of our program, I chose For Thy
Courts Above by Ed Huckeby. It provided a nice contrast to the Barrett piece,
featured the strong players in the ensemble, and provided an opportunity to
teach and focus on several musical concepts that differed from the Barrett
composition.
I selected both pieces for the Junior High Band program based upon the
same criteria listed above. The Korean Folk Rhapsody was an easy choice as it
is standard band repertoire, provides great learning opportunities for the
students, featured my strongest players, and was already in the music library.
The second selection, Riders on the Southern Front, was a piece we had sightread and the students enjoyed. It was a good fit for the ensemble, introduced
modes, and also had similarities to Of Dark Lords and Ancient Kings, which the
Junior High Band would also be rehearsing. Considering the spring schedule of
events, I felt this composition was a solid choice.

CHAPTER 2 - Lesson Plans

Satanta Junior High Band Lesson Plans
Rehearsal Date: April 23, 2007
Warm-up:
1. Foundations for Superior Performance: Warm-Ups & Technique for
Band by Richard Williams & Jeff King (a.k.a. Blue Book)

Pg. 12-13 - Technical exercises in F Major use articulation pattern #1

(includes scale, arpeggio, thirds, intervals, and chord studies using various
articulations)

Pg. 32-33 Chorales in F Major - play Chorales 3 & 4 (use legato

articulations very smooth)

Literature:
1. Korean Folk Rhapsody (mm. 1-13)

Read score notes about song to class

Percussion fan for Wind Chimes; Triangle beater for S. Cym.; plastic
mallets for Bells; hard mallets & motor on for Vibes

Clean entrances on cts. 1 & 2 in accompaniment line watch conductor

mp melody indicate spots to breathe & phrase shape, legato

Tpt & S. Cym. cresc. into m. 14 with 3rd phrase of song; clean attack on
ct. 1 of m. 14 Low Brass

Play through entire song

2. Riders on the Southern Front (mm. 74-85)

Play through mm. 74-85

74 ff; accents space between notes; ostinato dont overpower; SD

snares on; note key signature

75-79 work ct. 2 entrance; consistent playing & correct articulations;

good tone quality & balance

80 accents in Fl/Xylo line; bring out AS & TS part

82-83 highlight low instrument line

84 everyone breathe after ct. 1, not before; eighth rest;

85 dont play last note too short

Play through entire piece

Rehearsal Date: April 24, 2007

Warm-up:
1. Blue Book

Pg. 18 - Technical exercises in D minor articulation pattern #2

Play same scale but remove 1 flat/add 1 sharp to create D Dorian scale
(play in 3 groups on half notes, & twice through on 8th note pattern)

2. Play warm-up at top of Riders on the Southern Front sheet

Literature:
1. Riders on the Southern Front (mm. 64-73)

Play mm. 64-85 (note key signature)

64-67 accents (play notes with separation); ostinato accents; strive for
balance between all 4 parts playing

68-71 style change (slurred & decresc.); dont let tempo slow; AS/TS line
in mm. 68-69 echoed in low instruments in mm. 70-71

72-73 accented style returns with cresc. from mf to ff (practice through

m. 74)

Play mm. 64-85

2. Korean Folk Rhapsody (mm. 14-22)

Play mm. 1-22

Tpt. pick-ups for 3rd phrase (slur & cresc. 8th notes); indicate breath marks
& phrase shape; legato

Work dotted half note lines (slight accent on ct. 1) mp & p

Cl & AS take over mp melody at m. 17 (smooth transition) indicate

breath marks & phrase shape

21-22 cue Tri., Temple Blocks, S. Cymbals (work percussion section

here and check for correct mallets); full band cresc. to m. 23

Play through song

Rehearsal Date: April 25, 2007

Warm-up:
1. Blue Book

Pg. 12-13 - Technical exercises in F Major articulation pattern #3

Pg. 32-33 Chorales in F Major - play Chorale Melody on Bach 95 &

Bach 95 (watch conductor, moving 8th notes, sustained notes,
phrasing, legato tonguing, dynamic interest)

Literature:
1. Korean Folk Rhapsody (mm. 23-33)

Play mm. 1-33

Work staccato 8th notes in Fl, Tuba, & Percussion (consistent soft, light, &
short sound as they are passed to each instrument)

Tpt straight mutes

25-33 sustained melody in Cl, Saxes, Bar (indicate breath marks &
phrase shape)

Make sure 2 styles are present staccato & sustained; cresc. into m. 34
with S. Cym. roll

Play through song

2. Riders on the Southern Front (mm. 56-63)

Play mm. 56-85 (review style changes, balance, & good tone quality)

56 key change; accented style (work ostinato pattern); dont overpower

melody (Cl/Tpt)

62 63 change in ostinato; dont breathe before m. 64 smooth

transition with no breaks

Play through song

Rehearsal Date: April 26, 2007

Warm-up:
1. Blue Book

Pg. 18 - Technical exercises in D minor articulation pattern #4

Play same scale but remove 1 flat/add 1 sharp to create D Dorian scale
(play in 3 groups on half notes, & twice through on 8th note pattern)

2. Play warm-up at top of Riders on the Southern Front sheet

Literature:
1. Riders on the Southern Front (mm. 1-11)

Play mm. 56- end (review style changes, balance, & good tone quality)

1 p ostinato (dont conduct make them internalize beat)

3 soft clean entrance (warm & dark sound)

4-5 work cut-offs & entrances to keep idea moving without any
interruptions

6 cresc. begins; start adding instruments; bring out quarter & eighth
notes; dont cover up melody in Fl/Cl/Tpt

10-12 cresc. to downbeat of m. 12 dont anticipate new tempo; hold

accented note in m. 12 full value

Play mm. 1-12 through a few times

2. Korean Folk Rhapsody (mm. 34-42)

Play mm. 1-42

Style returns to legato/sustained tones; Fl pick-ups into m. 34 then joined

by Tpt for melody (mf); indicate breath marks & phrase shape; Dotted half
notes slight accent on ct. 1 dont over play; Brass mallets for Bells

41-42 dim.; light & playful texture returns (consistent sound in these
parts)

Play through song

Rehearsal Date: April 27, 2007

Warm-up:
1. Blue Book

Pg. 12-13 - Technical exercises in F Major articulation pattern #5

Pg. 32-33 Chorales in F Major - play Chorale 3 & Bach 95 (watch

conductor, moving 8th notes, sustained notes, phrasing, legato
tonguing, dynamic interest)

Literature:
1. Korean Folk Rhapsody (mm. 1-42)

Review concepts discussed thus far (legato vs. staccato styles; phrase
shape; consistent sound across band; what instrument has the melody)

Play through mm. 1-42 and work to achieve the above concepts

2. Riders on the Southern Front (mm. 1-11 & 56-85)

Review concepts discussed thus far (accents vs. slurring; breath marks;
phrase shape; consistent sounds; listen for melody; tone quality; breath
support)

Play through mm. 1-11 & 56-85

Rehearsal Date: April 30, 2007

Warm-up:
1. Blue Book

Pg. 10-11 - Technical exercises in Bb Major articulation pattern #6

Pg. 30-31 Chorales in Bb Major - play Chorales 1 & 2 (watch conductor,

moving 8th notes, sustained notes, phrasing, legato tonguing,
dynamic interest)

Literature:
1. Riders on the Southern Front (mm. 12-23)

Play mm. 1-23

12-15 percussion dont overplay; S. Cym. uses stick; decresc. from ff to

pp in low instruments use staggered breathing

16-23 Tpt play tongued with slight separation; Perc. light

accompaniment; Fl/Cl entrance m. 22 play with accents (adds percussive
feel to end of phrase); last note of m. 23 should be same style & volume in
Fl/Cl and Low Brass

Play through song

2. Korean Folk Rhapsody (mm. 43-57)

Review concepts discussed thus far (legato vs. staccato styles; phrase
shape; consistent sound across band; what instrument has the melody)

Play mm. 1-57

43 work Cl line (F Dorian); phrase shape; breath marks; slurred; SD

(snares off) & Tamb. - p

44 work Tpt line; phrase shape; breath marks; tongued

48 cresc. begins

50 work AS & TS melody aim for same style as Tpt at m. 44

53 work Fl, Tpt, & Bells melody aim for same style as previous
instruments on this line

10

Work melody lines together so they know how their parts fit together

56-57 rall.; practice through downbeat of next measure; WATCH

Play through song

11

Rehearsal Date: May 1, 2007

Warm-up:
1. Blue Book

Pg. 28-29 - Technical exercises in Eb Major articulation pattern #7

Pg. 34-35 Chorales in Eb Major - play chorales Melody on America &

America (watch conductor, moving 8th notes, sustained notes,
phrasing, legato tonguing, dynamic interest)

Literature:
1. Korean Folk Rhapsody (mm. 58-65)

Play mm. 1-65

Grandioso; f; legato melody; slight accent on ct. 1 of dotted half notes;

blend & balance through section

58 & 62 Gong cues

Melody in Cl 2&3/Tpt phrase shape, breath marks, blend

61 Fl & Cl 1 false 3rd phrase entry

65 decresc.; 3rd phrase pick-ups in Fl & AS

Play through song

2. Riders on the Southern Front (mm. 24-31)

Play mm. 1-31

Tongued style & percussion ostinato continue; thicker texture but make
sure melody is primary focus (balance & blend)

27 low instrument cue

30-31 Fl/Cl repeat rhythmic ending from previous phrase; decresc. into
next phrase

Play through song

12

Rehearsal Date: May 2, 2007

Warm-up:
1. Blue Book

Pg. 10-11 - Technical exercises in Bb Major articulation pattern #8

Pg. 30-31 Chorales in Bb Major - play chorales Melody on Chester &

Chester (watch conductor, moving 8th notes, sustained notes,
phrasing, legato tonguing, dynamic interest)

2. Play warm-up at top of Riders on the Southern Front sheet

Literature:
1. Riders on the Southern Front (mm. 32-39)

Play mm. 1-39

32 style change to slurred/smooth & connected; softer; discuss breath

marks; AS/TS/Bells melody until m. 35 (work dynamic shape & smooth
transition)

35 melody taken over by Fl/Cl (work dynamic shape & smooth

transition); work on Perc. (very light)

39 cresc. to f into downbeat of m. 40 (no breath before m. 40)

Play mm. 12-39

2. Korean Folk Rhapsody (mm. 66-72)

Play mm. 43-72

A little slower; watch & dont rush melody; softer

Fl & AS blend & balance; phrase shape; breathing

TS play A Cl cues

Light Tri. attack & let ring (practice with dotted half notes)

Play through song

13

Rehearsal Date: May 3, 2007

Warm-up:
1. Blue Book

Pg. 28-29 - Technical exercises in Eb Major tongue all notes

Pg. 34-35 Chorales in Eb Major - play Chorale 5 & Melody on America

(watch conductor, moving 8th notes, sustained notes, phrasing,
legato tonguing, dynamic interest)

Literature:
1. Korean Folk Rhapsody (mm. 73-79)

Play mm. 43-79

Gradual decresc. to end; concentrate on good breath support so pitches

dont go flat

72-75 work dotted quarter-eighth-quarter rhythm with all involved groups

aim for consistent sound, style, & smooth transitions from one to next

74-75 false 3rd phrase entry in low instruments

76-79 last statement of 3rd phrase; decresc.; Perc. entrances; S. Cym.

scrape with coin; turn off fan; work last measure chord (dont let pitch go
flat)

Play through song

2. Riders on the Southern Front (mm. 40-55)

Play mm. 1-39

Rehearse each of the following 4 measure phrases separately before

combining

40 key change; f; low instruments accented line with separation; Perc.

ostinato Cowbell mf

44 add contrasting slurred line (AS play cues); 4 bar phrase; point out
melody is from mm. 3-6

48 add contrasting tongued line (Tpt); 4 bar phrase; point out melody is
diminution of mm. 16-23
14

52 add Cl to Tpt line (blend)

55 use Lows & S. Cym. to connect to next phrase; low instrument line no
breath between 55-56; rehearse through m. 56 to practice transition & key
change

Play through song

15

Rehearsal Date: May 4, 2007

Warm-up:
1. Blue Book

Pg. 18 - Technical exercises in D minor articulation pattern #4

Play same scale but remove 1 flat/add 1 sharp to create D Dorian scale
(play in 3 groups on half notes, & twice through on 8th note pattern)

2. Play warm-up at top of Riders on the Southern Front sheet

Literature:
1. Riders on the Southern Front

Review concepts discussed previously (articulation styles; phrase shape &

breathing spots; blend & balance; listen for melody; good breath support &
tone quality; strive for consistency throughout ensemble)

Play through piece

2. Korean Folk Rhapsody

Review concepts discussed thus far (legato vs. staccato styles; phrase
shape; consistent sound across band; what instrument has the melody;
blend & balance; breath support & tone quality; intonation)

Play through song

16

Satanta Junior High / High School Band Lesson Plans

Rehearsal Date: March 19, 2007
Warm-up:
1. Foundations for Superior Performance: Warm-Ups & Technique for
Band by Richard Williams & Jeff King (a.k.a. Blue Book)

Pg. 12-13 - Technical exercises in F Major use articulation pattern #1

(includes scale, arpeggio, thirds, intervals, and chord studies using various
articulations)

Pg. 32-33 Chorales in F Major - play Chorales 3 & 4 (use legato

articulations very smooth)

Pg. 18 D minor scale

Literature:
1. Of Dark Lords and Ancient Kings (Opening Section, mm. 1-23)

Play through mm. 1-23 once

1-4 - Percussion ostinato (ensemble playing - dont conduct, make them

internalize tempo/subdivision; pp, p, mp)

5 - Low Brass/S. Cym. entrance (clean entrance; cresc./decresc.; rich, full,

dark tones set Mysteriously mood; slur)

11-14 - B. Cl./Hn entrance (blend with Low Brass sound); work on Hn.
fingerings using Bb side

15 7/8 (explain subdivision of beat and conduct in 3 (2+2+3); sudden

change (faster) foreshadowing of whats to come)

16-23 tempo change (quarter = 72); indicate breath marks; work gradual
cresc. to m. 23; slur; blend & balance as more instruments enter; 16th
notes in m. 19

Play through entire song

17

2. For Thy Courts Above (Closing section, mm. 77-85)

Read songs program notes to students

Play through closing section once

Legato tonguing & slurring

Pass melody from WW B WW B (dont drop the ball)

Calming to Rall. to Morendo (gradually dying away)

Conduct with subdivided pattern to keep 8th notes from rushing; esp. in
mm. 81-82 in Cl. Part

Dynamics (cresc./decresc.)

77-80 (work & of 2 entrance in Fl, Cl, Hn, & Bar keep it consistent)

Work intonation esp. on last chord

Play through entire song

18

Rehearsal Date: March 20, 2007

Warm-up:
1. Blue Book

Pg. 10-11 - Technical exercises in Bb Major use articulation pattern #2

Pg. 30-31 Chorales in Bb Major - play Chorales 1 & 2 (work breathing,

legato tonguing, & watching conductor)

Literature:
1. For Thy Courts Above (Opening section, mm. 1-9)

Play through closing section then opening section once

Review: Legato tonguing & slurring; dynamics (cresc./decresc.);

intonation; Pass melody without dropping the ball

Work m. 1 & clean entrance in m. 2 & m. 4

Building effect to climax of phrase at end of m. 7 followed by rit. to p

8-9 work rit. with Fl/Bell entrance for next phrase

2-5 (work & of 2 entrance in Hn, Tpt, Cl, & Fl keep it consistent)

Check fingerings in AS line at mm. 6-7

Play through opening & ending sections again to hear similarities

Play through entire song

2. Of Dark Lords and Ancient Kings (mm. 28-32)

Play through opening section & review concepts covered previously

28 work Tpt solo pick-up with accomp. entrance on ct. 1

Identify breath marks so phrase is smooth & continuous

Listen for blend & balance; bring out moving lines; Hn p on entrance

32 dig in to downbeat before resolving

19

3. Of Dark Lords and Ancient Kings (mm. 109-111)

Play Db Major scale on pg. 24-25 in Blue Book

Use same ideas as above but dynamic marking is ff

110-111 dig in to downbeat before resolving in next measure

Work intonation on higher notes in melody

Play through piece

20

Rehearsal Date: March 21, 2007

Warm-up:
1. Blue Book

Pg. 14-15- Technical exercises in C Major use articulation pattern #3

Pg. 36 Chorales in C Major - play Air (bring out eighth notes, dont let
sustained tones become stagnant)

Literature:
1. Of Dark Lords and Ancient Kings (mm. 69-78)

Play through slower sections and review previous concepts

Legato tonguing & slurring; quarter note = 76

dynamics (cresc.-1m./decresc.-1m.) indicated

69-70 - bring out 1st Tmb.; work on Hn entrance at p

Euph. fingerings for high notes & Hn fingerings for Bb side

Transition of melody from Hn/Euph. to soloists (listen for consistent sound

from one instrument to the next

76-78 cresc. (build to downbeat of m. 79); mp Hn entrance

Play through piece

2. For Thy Courts Above (mm. 10-19)

WW Choir - Fl/Bells pick-up with melody; as WW are added, work for

smooth entrances, cascading waterfall of sound; indicate breath marks

14-19 Brass entrance shouldnt be distracting or sudden, but blend into

the effect created by WW (pass the melody); cresc. 14-17 then decresc.

19 rit.; dotted half & half notes hold to ct. 1 of m. 20 so there is no break
in melody (smooth transition to 1st verse); play through m. 20 to feel
comfortable with time change

Play through piece

21

Rehearsal Date: March 22, 2007

Warm-up:
1. Blue Book

Pg. 14-15 - Technical exercises in C Major use articulation pattern #4

Pg. 10-11 Bb Major Scale use articulation pattern #8

Pg. 36 Chorales in C Major - play Air (bring out eighth notes, dont let
sustained tones become stagnant, watch conductor)

Literature:
1. For Thy Courts Above (mm. 36-48)

Play through mm. 1-19 & 36-48

WW Choir - Fl/Bells pick-up with melody; as WW are added, work for

smooth entrances, cascading waterfall of sound; indicate breath marks;
same as section at mm. 10-19

40-45 Brass entrance shouldnt be distracting or sudden, but blend into

the effect created by WW (pass the melody); cresc. 40-43 then decresc.

45-46 dotted half & half notes hold to ct. 1 of m. 46 so there is no break
in melody (smooth transition)

46-48 outline cues for students so they know how their part fits into big
picture; Low Brass entrance p in m. 46 to begin building toward f at m. 49;
work to cresc. and pull out (allargando) each note as m. 49 approaches;
really pull out cts. 3 & 4 in m. 48; play through m. 49 to finish phrase

Play through piece

2. Of Dark Lords and Ancient Kings (mm. 79-86)

Play through all slower sections and review concepts covered previously

Maestoso restatement of theme from m. 70

79-82 - Work notes & rhythms in groups then put together so students
know how their parts fit into the big picture; spend time on
fingerings & tuning high notes in Fl. line; slurring & legato tonguing;
cresc. from f to ff but remember good tone quality & intonation

22

81-82 work rit. (subdivide); make sure students follow not lead; dig into
downbeat before resolution on ct. 3

83-86 p (Quietly); bring out B. Cl. Line & Euph. solo; cut-off Winds & cue
W. Chimes on ct. 1, m. 85; conduct pick-up into m. 86; cut-off & cue
Chimes on ct. 4 in m. 86; tenuto

Play through piece

23

Rehearsal Date: March 23, 2007

Warm-up:
1. Blue Book

Pg. 16-17 - Technical exercises in G Major use articulation pattern #5

Pg. 38 Chorales in G Major - play Pavane (watch conductor for rubato &
dynamic indications)

Literature:
1. Of Dark Lords and Ancient Kings (mm. 49-57)

Play through all slower sections and review concepts covered previously

Ladies dancing; Legato/slurred; conduct in 2; discuss breath marks;

bring out 8th note lines

52-55 cue Perc.; start cresc. & blend as more voices are added

56-57 fp cresc. (spend time making sure the p of fp is achieved &

intonation isnt affected); Chimes/Bells/S. Cym lead into the
following phrase

Play through entire song

2. For Thy Courts Above (mm. 65-76)

Play through mm. 1-19, 36-48, & 77-85 and review concepts covered
previously

WW Choir - Fl/Bells pick-up with melody; as WW are added, work for

smooth entrances, cascading waterfall of sound; indicate breath marks;
similar to sections at mm. 10-19 & 36-48

69-74 melody is passed to 1st Cl not Brass; cresc. 69-72 then decresc.

74-75 dotted half & half notes hold to ct. 1 of m. 75 so there is no break
in melody (smooth transition); cue Chimes on ct. 2

75-76 relaxing; ct. 1 entrance together & mp; bring Euph. line out mf;
hold dotted half note to ct. 1 of m. 76 (smooth transition with help of Wind
Chimes on ct. 3)

Play through piece

24

Rehearsal Date: March 26, 2007

Warm-up:
1. Blue Book

Pg. 28-29 - Technical exercises in Eb Major use articulation pattern #6

Pg. 34-35 Chorales in Eb Major - play Chorale 5 & 6 (watch conductor,

moving 8th notes, sustained notes, phrasing, legato tonguing)

Literature:
1. For Thy Courts Above (mm. 20-27)

Play Come Thou Fount on piano and read words to class; play through
entire song

20-23 1st stanza; 4/4 time change; one breath for stanza; smooth &
connected; cresc. 2 m., decresc. 2 m.; light Timpani entrance, use Chimes
to cover breath break

24-27 2nd stanza; B. Cl/Saxes blend in to add more depth; same style
continues with 4 bar phrase & cresc. 2 m., decresc. 2 m.; m. 27 rit. &
hold last note to ct. 1 of m. 28 to eliminate break in line

Play through mm. 1-27

2. Of Dark Lords and Ancient Kings (mm. 23-27)

Faster (quarter = 132), sudden change; work articulation - accented with

space line up accents add in slurs

24 & 26 conduct in 2 (3+3)

Dotted quarter notes dont drag; Fl. 8va; cue Perc. m. 25

27 quarter = 66 & decresc.

3. Of Dark Lords and Ancient Kings (mm. 103-108)

104 - sudden change; work articulation - accented with space line up

accents add in slurs

104 & 106 conduct in 2 (3+3)

25

Dotted quarter notes dont drag; cue Tpt/Hn/Tamb m. 105

107-108 rit. while keeping full f sound (good tone quality & balance);
Perc. cresc. to ff into m. 109; ff pick-ups into m. 109

Play through entire piece

26

Rehearsal Date: March 27, 2007

Warm-up:
1. Blue Book

Pg. 12-13 - Technical exercises in F Major use articulation pattern #7

Pg. 32-33 Chorales in F Major - play Chorale 4 & Bach 95 (watch

conductor, moving 8th notes, sustained notes, phrasing, legato
tonguing)

Pg. 18 D minor scales

Literature:
1. Of Dark Lords and Ancient Kings (mm. 33-36 Aleatoric section)

Play through all slower sections and review concepts covered previously

Define aleatoric; read paragraph in score to class; play each motivic idea
& have students identify where they are found in the piece; go
through and assign different styles and speeds to each student;
start with solo Fl. then instruments will enter in indicated order one
player at a time

Work with Perc. to achieve cresc. from pp to ff; conduct pick-up to m. 35

(driving, quarter = 144) light the fuse; then m. 36 Perc. decresc. to p

Play through piece

2. For Thy Courts Above (mm. 28-35)

Remind students of words for 1st verse of hymn & to use good breath
support to achieve good tone quality; play through mm. 1-27

28-31 3rd stanza; 3/4 time change; one breath for stanza; smooth &
connected; cresc. 1 m., decresc. 1 m., repeat; use rit. to emphasize
dissonance then resolve; hold last note of m. 31 to downbeat of next m.

32-35 4th stanza; 4/4 time change; Brass takes over; one breath for
stanza; same style continues with 4 bar phrase & cresc. 2 m., decresc. 2
m.; m. 35 use rit. to bring out escape tones & hold last note to ct. 1 of m.
36 to eliminate break in line

Play 1st half of piece through m. 49

27

Rehearsal Date: March 28, 2007

Warm-up:
1. Blue Book

Pg. 28-29 - Technical exercises in Eb Major use articulation pattern #6

Pg. 34-35 Chorales in Eb Major - play Chorale 6 & America (watch

conductor, moving 8th notes, sustained notes, phrasing, legato
tonguing)

Literature:
1. For Thy Courts Above (mm. 46-56)

Read students final verse of hymn; play mm. 1-49 and review previous
concepts discussed

46-52 Majestically; work allargando into m. 49 to practice tempo, key,

dynamic, & time changes into 1st stanza; Full, rich sonorities needed;
rehearse Tpt. & Bar. together to practice call & response; 4 bar phrase
using smooth legato tonguing; cresc. 2 m., decresc. 2 m.; hold last note of
m. 52 to downbeat of m. 53

53-56 2nd stanza passed to WW; little softer; 4-bar phrase with cresc. 2
m., decresc. 2 m.; Cl cresc. on descending 8th note line; use rit. to bring
out 2nd Cl and decresc.; hold last note of m. 56 to downbeat of m. 57

Play mm. 36-56

2. Of Dark Lords and Ancient Kings (mm. 37-48)

Review faster sections of work previously covered

A theme; driving, quarter = 144

Ostinato p; work articulations; emphasize note change on & of 4; keep it

light; internalize tempo so no phasing occurs

41-48 - Melody & harmony mf (dont overplay); 4 bar phrases; clean

articulations (Lords of the Castle)

48 S. Cym. roll into next measure

28

3. Of Dark Lords and Ancient Kings (mm. 87-95)

Similar to above section but in new key

ostinato accents, staccatos, slur, light, careful subdivision

87 melody & harmony - mp (screaming whisper) but driving; accents,

slurs, tongued notes

95 Percussion cresc. into next measure

Play through both sections rehearsed today

29

Rehearsal Date: March 29, 2007

Warm-up:
1. Blue Book

Pg. 16 - Technical exercises in G minor use articulation pattern #7

Pg. 39 Chorales in G minor - play The Queenes Alman (watch

conductor, moving 8th notes, sustained notes, phrasing, legato tonguing,
dynamic contrast)

Literature:
1. Of Dark Lords and Ancient Kings (mm. 58-68)

Driving A theme; articulations in all parts; section is f with full ensemble,

but dont let ostinato overpower

65-66 rit.; SD/Tamb need to watch; cut-off on ct. 3 & moment of silence
before next section

67-68 slower, quarter = 76; decresc. work on keeping pitch from going
flat; Wind cut off is Wind Chime cue

2. Of Dark Lords and Ancient Kings (mm. 96-103)

Similar to section above but in different key; ending of phrase in m. 103 is

also beginning of next phrase

3. For Thy Courts Above (mm. 57-64)

Play Eb Major Scale on page 28 of Blue Book; play scale again using
rhythm in upper woodwind parts in m. 61

Review words in last 2 lines of hymn & importance of the last line (climax
of piece at mm. 61); play mm. 46-56

57-60 3rd stanza; 3/4 time change; Tpts begin melody (no breath after ct.
2 of m. 58) & cresc. 1 m., decresc. 1 m.; smooth entrance by rest of Brass
section to complete phrase; 4/4 time change; m. 60 molto rit. for 3 cts
while cresc. to final stanza; should be no silent break in last half of m. 60

30

61-64 Grandioso; work upper Woodwinds parts dont overpower

melody; 4 bar phrase; cresc. 3 m., decresc. 1 m.; bring out 8th note lines in
1st Cl (m. 63-64) & Bar (m. 64); rit. emphasize suspension; m. 64 hold
last note to downbeat of following measure

Play entire piece

31

Rehearsal Date: March 30, 2007

Warm-up:
1. Blue Book

Pg. 28-29 - Technical exercises in Eb Major tongue all notes

Pg. 34-35 Chorales in Eb Major - play Chorale 5 & America (watch

conductor, moving 8th notes, sustained notes, phrasing, legato
tonguing, dynamic interest)

Literature:
1. For Thy Courts Above

Play entire song after reviewing major concepts discussed previously

(breath support, tone quality, smooth entrances, slur/legato, hold last note
of phrase through downbeat of following measure, cresc./decresc.)

2. Of Dark Lords and Ancient Kings (mm. 112-122)

Play through F minor scales on page 12 of Blue Book

Start at m. 87 and play to end of song

112-117 - Driving, quarter = 144; articulations (i.e. work accents in ostinato

line)

116-117 rit. with accented quarter notes space between notes and
cresc. to fff; listen for good balance, blend, & intonation; fermata cut-off
while S. Cym. continues to cresc.

118-122 faster, quarter = 152 (warp speed); articulations (i.e. 118 slur,
119 accented)

121-122 Winds play softer so Percussion entrance can be heard; all

cresc. last 3 counts

Play through entire piece

32

CHAPTER 3 - Personnel and Seating Charts

Satanta Junior High Band Personnel
Flute
Allee Young
Megan Kuehler
Sarahi Miramontes
Vanessa Medrano
Clarinet
Jazmin Longoria
Alto Saxophone
Garrett Anton
Richard Cicack
Kelsey Blair
Andrew Aragon
Raul Pando

Trumpet
Jordan Penner
Eli Stalker
Baritone
Aaron Valdez
Tuba
Preston Ungles
Percussion
Kurtis Clawson
Austin Slater
Joanna Urquidi
Brady Merz
*Yessica Escarsega

Tenor Saxophone
Dalton Mason
Baritone Saxophone
Aubree Young

*Participated in Satanta Spring Music

Concert only.

33

Satanta Junior High Band Seating Chart

Veronica Kongs Conductor
Korean Folk Rhapsody arranged by James Curnow
Riders on the Southern Front by Roland Barrett

Gong

Table with Tri., Tamb., Cowbell, & Woodblock

Temple
Blocks

Small
S. Cym.

Large
S. Cym.

SD

Chimes

Timpani
Bells

BS

Tuba

Bar

TS

Xylophone
Vibes

AS

Tpt 2
Tpt 1
Fl

AS

Fl

Cl

AS

AS
AS

Fl
Fl

Conductor

34

Wind
Chimes
& Fan

Satanta Junior High / High School Band Personnel

Flute
Jayce Apsley
+Shelby Hill
Lana McDonald
Sarah Norris
Clarinet
Vaneza Sanchez
Kayla Decker
*Jazmin Longoria
Erica Ruiz
Magali Moreno
Keyla Thacker
Shelby Connor

Trumpet
Jeremiah Martinez
Dylan Freeman
*Jordan Penner
French Horn
Jerra Hammerschmidt
Michael Kuehler
Trombone
*Richard Cicack (played Tmb 1 part on A.S.)
Baritone
Buck Alexander

Bass Clarinet
Jennifer Sloan

Tuba
*Preston Ungles

Alto Saxophone
*Garrett Anton
*Kelsey Blair (also played Tmb 2 parts on A.S.)

Percussion
Daniel Garcia
Fernando Padilla
Heather Pickens
*Kurtis Clawson
*Austin Slater
*Joanna Urquidi
*Brady Merz
*Yessica Escarsega

Tenor Saxophone
Josh Dunn (also played Tmb. 3 parts on T.S.)
Baritone Saxophone
*Aubree Young

*JH Band Members

+Participated in Satanta Spring Music
Concert only.

35

Satanta Junior High / High School Band Seating Chart

Veronica Kongs Conductor
For Thy Courts Above by Ed Huckeby
Of Dark Lords and Ancient Kings by Roland Barrett

Gong

Table with Tri., Tamb., & Sleigh Bells

Wind
Chimes

S. Cym.

SD

BD

Chimes

Timpani
Bells

BS

Tuba
Xylophone

Tmb 1
(played
by AS)

TS
Bar

Tpt 3
Cl 3

Tpt 2
Tpt 1

Cl 3

B. Cl

Cl 2

Hn 2
AS 2

Cl 2
Cl 2

Cl 1

Fl 1

Fl 1

Cl 1

AS 1

Fl 2
Fl 2

Conductor

36

Hn 1

CHAPTER 4 - Korean Folk Rhapsody

arr. by James Curnow
Unit 1: Composer
James Curnow was born in Port Huron, Michigan in 1943 and spent his
childhood in Royal Oak, Michigan. He received a Bachelor of Science degree
from Wayne State University in Detroit, Michigan, and a Master of Music degree
from Michigan State University in East Lansing. During his time at Michigan State
University, Curnow studied euphonium with Leonard Falcone; conducting with
Dr. Harry Begian; and composition and arranging with F. Maxwell Wood, James
Gibb, Jere Hutchinson, and Irwin Fischer.
Curnow taught instrumental music in public schools for six years and at
the college and university level for twenty-six years. He has served as the
composer, arranger, educational consultant, and editor for Jenson Music
Publications and currently lives in Nicholasville, Kentucky where he serves as
president, composer, and educational consultant for Curnow Music Press, Inc. of
Lexington, Kentucky. In addition he serves as the Composer-in-Residence at
Asbury College in Wilmore, Kentucky and is the editor of all music publications
for the Salvation Army in Atlanta, Georgia. Curnow is an active conductor,
composer, and clinician throughout the United States, Canada, Australia, Japan,
and Europe.
In addition, Curnow belongs to numerous professional organizations
including the American Bandmasters Association, College Band Directors
National Association, World Association of Symphonic Bands and Wind
Ensembles, and the American Society of Composers, Authors, and Publishers
(ASCAP). He was the recipient of the National Band Associations Citation of
Excellence in 1980 and was named Outstanding Faculty Member during his
tenure as Associate Professor at the University of Illinois, Champaign-Urbana.
Curnow has also been included in the Whos Who in America, Whos Who in the

37

South and Southwest, and Composer of the Year in 1997 by both the Kentucky
Music Teachers Association and the National Music Teachers Association. Since
1979, he has received the annual ASCAP standard award.
His compositions have also won several awards including the
ASBDA/Volkwein Composition Award in 1977 for Symphonic Triptych and in
1979 for Collage for Band; the ABA/Ostwald Award in 1980 for Mutanza and in
1984 for Symphonic Variants for Euphonium and Band; the 1985 Sixth
International Competition of Original Compositions for Band for Australian
Variants Suite; and the 1994 Coup de Vents Composition Competition of Le
Havre, France for Lochinvar.
Curnow has composed over two hundred commissioned works including
Concerto for Euphonium and Orchestra (Roger Behrend and the DEG Music
Products, Inc. and Willson Band Instrument Companies), Olympic Fanfare and
Theme for the Olympic Flag (Atlanta Committee for the 1996 Olympic Games),
On Poems of John Keats for String Quartet (1997 Kentucky Music Teachers
Association/National Music Teachers Association), and Ode and Epinicion
(Michigan State University Bands in honor of David Catrons twenty-six years of
service to the University and the University Bands).
Curnows prolific composition career has thus far produced well over four
hundred published works, ranging in difficulty from grades to 6, for concert
band, brass band, orchestra, choir, and vocal and instrumental ensembles. Some
of his newest compositions include Pegasus (The Winged Horse), Album for the
Young, Bravo!, A Day in Space, and Spirit of the Pioneers.

Unit 2: Composition
Korean Folk Song Rhapsody, published in 1988 by Jenson Publications, is
based on the Korean folk song Ahrirang. This composition for young bands
takes the popular melody through several stylistic changes and uses a variety of
percussion instruments to add color to the piece. The work takes approximately
two minutes and forty seconds to perform. The words traditionally associated
with this tune are:

38

Ahrirang, Ahrirang, Ahririo,

As you proceed along the Ahririan pass,
Blue the sky with its myriad stars, so
Sadness fills my heart with its myriad woes. 1

Unit 3: Historical Perspective

Since the early years of Korean history, music has played an important
cultural role in the society. Ceremonial court music was often the most prominent
until the latter part of the Joseon era (1392-1910) when Korean folk music gained
popularity. It was during this time that common culture began to develop and
more people were able to enjoy music. Folk music was an honest, frank
portrayal of the commoners feelings and thoughts at the time, and many folk
songs were a satire against the inequalities of society.2
Traditional Korean music uses many different instruments that are divided
into three categories: Hyeonakgi (Stringed Instruments) such as the gayageum
and geomungo, Gwanakgi (Wind Instruments) such as the daegeum and
sogeum, and Taakgi (Percussion Instruments) such as the bak and pyeonjong.
Ahrirang is a folk song from the Kangwang Province but is known
throughout Korea. Like other music from Asia and the far east, Korean folk music
often uses pentatonic scales, focuses on rhythms, and utilizes its unique
instruments to add color.

Unit 4: Technical Considerations

Korean Folk Rhapsody is commonly listed as a Grade 2 composition. The
ranges are consistent with the abilities of most middle school and junior high
bands. Many instrument lines are cued in other parts to make this piece playable
by most ensembles regardless of instrumentation.
All players should be comfortable reading accidentals and playing in the
keys of F Major and Eb Major. Clarinets are also asked to play a short section in
1

Curnow, Korean Folk Rhapsody Score Notes.

Tour 2 Korea Home Page, <http://english.tour2korea.com/index.asp>.

39

F Dorian. The entire piece is written in a 3/4 time signature and rhythms are
relatively simple using eighth, quarter, dotted quarter, half, and dotted half notes.
The piece also requires Trumpets to use a straight mute.
The Percussion section requires a minimum of six players with some
players playing multiple instruments. Instrumentation includes Snare Drum,
Triangle, Temple Blocks, Gong, Small Suspended Cymbal, Large Suspended
Cymbal, Tambourine, Bells, Xylophone, Vibes with motor, Wind Chimes with
electric fan, and Timpani. The Timpani part has a total of four notes and allows
the player three measures to change each of the two drums down one whole
step. The composer also indicates specific suggestions for mallets throughout
the work including hard rubber mallets for the Temple Blocks; Triangle beater,
mallets, and coin for the Suspended Cymbals; plastic and brass Bell mallets;
hard mallets for the Vibes; hard rubber mallets for the Xylophone; hard mallets
for the Timpani; and an electric fan to keep the Wind Chimes ringing throughout
the piece.

Unit 5: Stylistic Considerations

Conductors will need to address the importance of tone quality and
articulation in this piece, especially in regard to the difference between legato,
staccato, and slur. As the melody is passed from one section to another, it is
important to keep this line prominent and seamless. The stylistic changes and
dynamic markings need some consideration to make this piece come to life.
Special attention should be given to the Percussion section to insure that proper
mallets and playing techniques are used to help create the oriental flare and
color that gives this piece its character. The metronome marking of 92 requires
careful observation and the conductor will need to spend time rehearsing the
rallentando in measures 56-57 leading into the Grandioso section followed by the
slightly slower tempo at measure 66.

40

Unit 6: Musical Elements

This piece utilizes two dominant tonal centers, F Major and Eb Major, and
includes a brief section where Clarinets play in F Dorian. Pedal tones are used
(i.e. measures 23-33) and the composer often has the low brass and woodwinds
alternating between the tonic and dominant notes. During the first half of the
piece, written in F Major, the composer uses a repetitive I bVII7 I chord
progression in the accompaniment and similarly in the second half of the work,
written in Eb Major, uses a repetitive I IV7 I chord progression. A pentatonic
melody is used and transposed throughout the composition.

Unit 7: Form and Structure

SECTION
Introduction

MEASURE
1-4

EVENT AND SCORING

Moderately (quarter note = 92); opens in
key of F Major with light texture (Flute,
Oboe, Clarinet, and Percussion) to set
mood playing a repetitive I bVII7 I
chord progression; dynamic markings
soft.

5-13

Texture from beginning continues; first

and second phrases of the pentatonic
melody are played by the Alto Sax,
Tenor Sax, and French Horn.

14-22

Texture changes (Percussion becomes

tacet and low brass play dotted half
notes); third phrase of melody played by
Trumpets and fourth phrase played by
Clarinet and Alto Sax.

Transition
Material

23-24

Two measures to establish new texture

featuring staccato eighth notes and
additional Percussion instruments to
add color; Trumpets play pedal tones of
C and F.

25-33

First and second phrases of pentatonic

melody are repeated and played by
Clarinet 1 & 2, Alto Sax, Tenor Sax,
Baritone Sax, and Baritone.
41

34-42

Third and fourth phrases of melody are

repeated and played by the Flute and
Trumpet; Texture becomes lighter and
slower with dotted half notes being
played by woodwinds and Bells; all
other Percussion parts become tacet.

Development

43-57

Texture returns to staccato eighth notes;

Percussion parts (some new
instruments) return; Low woodwinds and
brass alternate between the tonic and
dominant notes; sections of first and
third phrases of melody are used and
overlapped throughout this section
(Clarinet plays first phrase in F Dorian
while Trumpet, Alto Sax, Tenor Sax,
French Horn, Flute, Oboe, and Bells all
take turns with the third phrase of the
melody); rallentando in measures 56-57
prepare us for the statement of the
melody in the new key.

58-65

Grandioso (quarter note = 88); climax of

piece with everyone playing forte;
statement of melody in key of Eb Major;
first and second phrase of melody are
played in Clarinet 2 & 3 and Trumpet;
false melody entry (phrase 3) is heard in
the Flute, Oboe, Clarinet 1, and Bells; all
other band members play dotted half
notes; low brass and woodwinds play a
repetitive I IV7 I chord progression;
Gong enters for the first time in the
piece.

66-72

A little slower (quarter note = 84);

texture becomes thin with only Clarinet,
Alto Clarinet, and Triangle providing
harmonic accompaniment; third and
fourth phrases are played by the Flute
and Alto Sax.

42

Coda

73-79

Fourth phrase ends while bits of third

phrase (Low Brass and Woodwinds,
Flute, Oboe, Clarinet, Trumpet, and
Bells) and fourth phrase (Oboe,
Trumpet, Flute, and Alto Sax) are
passed throughout the ensemble;
gradual diminuendo to an ending of
piano; light Percussion effects in last
two measures; final cadence of bVII7 I
in Eb Major.

Unit 8: Suggested Listening

John Barnes Chance, Variations on a Korean Folk Song
James D. Ployhar, Korean Folk Song Medley
James Curnow, Fantasia on a Southern Folk Tune, Variants on an Early
American Hymn Tune
Ray Cramer, Fantasy on Sakura Sakura

Unit 9: Additional References and Resources

Benward, Bruce and White, Gary. Music in Theory and Practice. Fifth Edition.
Volumes 1 and 2. Madison, WI: WCB Brown and Benchmark Publishers,
1993.
Curnow, James. Korean Folk Rhapsody Score Notes. New Berlin, WI: Jenson
Publications, Inc., 1988.
Curnow Music Press Home Page. (consulted June 4, 2007)
<http://www.curnowmusicpress.com>.
Miles, Richard, ed. Teaching Music through Performance in Band. Volume 1.
Chicago, IL: GIA Publications, Inc., 1997.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge,
MA: The Belknap Press of Harvard University Press, 1986.
Tour 2 Korea Home Page. (consulted June 4, 2007)
<http://english.tour2korea.com/index.asp>.

43

Macro-Micro Analysis

44

45

46

47

CHAPTER 5 - Riders on the Southern Front

by Roland Barrett
Unit 1: Composer
Dr. Roland Barrett was born in Nebraska City, Nebraska, on May 23,
1955. He played trumpet in the Auburn, Nebraska, high school band and studied
with the University of Nebraska-Lincoln Professor of Trumpet, Dennis Schnieder.
After high school he attended Peru State College in Peru, Nebraska, where he
was a student of David Edress and Gill Wilson. Upon completion of his degree
work at Peru State College, Barrett served as band director at Republican Valley
High School in Indianola, Nebraska, and then at Fairbury High School in
Fairbury, Nebraska, before leaving to pursue his masters degree at the
University of Oklahoma (OU). Barretts talents were recognized during his time
as a student at OU, and he became the Assistant Director of Bands. After
maintaining this post for fifteen years and completing his doctoral work in
composition at the university, he joined the music theory and composition faculty
at OU in 2001. He currently teaches 20th century topics as well as undergraduate
and graduate music theory and composition. Barrett is also the musical arranger
for the Pride of Oklahoma marching band.
Barrett is active as a clinician, composer, and arranger and has nearly 200
published works to his credit. He has written chamber music, concert band
music, and marching band arrangements and compositions. Dr. Barrett is a
former recipient of the Michael Hennagin memorial scholarship in composition at
the University of Oklahoma and a multiple recipient of the annual ASCAPlus
award. His works have been featured on National Public Radio, on the USA
cable television network, at the Midwest Band and Orchestra Convention, at the
National Trumpet Competition, and at the International Trumpet Guild
convention. The Dallas Wind Symphony has performed his compositions as well
as numerous honor bands throughout the United States. His concert band works

48

include Of Dark Lords and Ancient Kings, On the Wings of the Chosen, Soar the
Untamed Spirit, They Stood at the Edge of the Sky, and Variations on a March
Tune.

Unit 2: Composition
Riders on the Southern Front is a Grade 2 composition published in 1998
by Wingert-Jones Music, Inc. The work takes approximately two minutes and
forty seconds to perform and includes a teachers manual to highlight the
compositions learning objectives that support the National Music Standards.
These objectives include the introduction of modes (especially focusing on the
Aeolian and Dorian modes), 4/4 time signature, stylistic markings, dynamic
indicators, tempo markings, and common percussion musical terms (i.e. L.V. and
measure repeat sign). A Concert D minor scale and arpeggio with percussion
accompaniment is also included at the top of each student page to assist in the
preparation of this piece.

Unit 3: Historical Perspective

Riders on the Southern Front depicts a time of exploration and expansion
in American history. As troops traveled through unclaimed territory, protecting
their land, sentinels were responsible for the safety of the men and women in
their camp. The watch could often be monotonous, listening and watching for any
sign of sound or movement, but sometimes the sentinels job was exciting and
full of adventure. All of these feelings are mirrored in Barretts use of contrasting
musical styles. In addition, the steady driving rhythms of galloping horses can be
heard in the ostinatos used throughout this piece.
Barrett also includes the following commentary about this work:
Use your imagination and place yourself in the rough, austere setting of a
makeshift overnight camp on a rugged frontier. As the exhausted troops sleep
for the first time in days, lonely sentinels on horseback slowly venture into the
darkness, charged with the responsibility of keeping watch over the sleeping men

49

and women of the camp. While the others get all-important rest, these brave few
carry on, for their call is to watch, and to listen, and to ride the Southern front. 3

Unit 4: Technical Considerations

Riders on the Southern Front is 85 measures long, written in a 4/4 time
signature, and utilizes whole, half, dotted half, quarter, dotted quarter, eighth, and
sixteenth notes throughout the work. The piece opens with a brief section written
in a Moderato misterioso tempo before changing to a tempo of Allegro for the
remainder of the work. This composition requires a minimum of five
percussionists with some parts responsible for multiple instruments. Alto Sax and
French Horn play unison through most of the piece, but cues are written in the
Alto Sax line when the French Horns play the melody while the Alto Sax part is
tacet.
No real demands are made on any instrument as ranges and notes are
very consistent with a Grade 2 piece. One of the more interesting aspects of the
composition is the use of the Aeolian and Dorian modes throughout the work.
Ostinato lines can also be found in the upper woodwind and percussion parts at
various points during the piece.

Unit 5: Stylistic Considerations

Conductors will need to spend time rehearsing the opening section of the
piece to achieve the dark sonorities that create the mysterious mood in the first
eleven measures of the composition. Careful attention to dynamic markings is
also necessary to achieve the desired effects throughout the piece. Ostinato
parts will need to be performed lightly and at a softer dynamic level although the
tendency will be to play them loud and heavy.
Articulation is of utmost importance in this work. Barrett uses slurred,
accented, and tongued notes to create varying styles at different points in the
piece. A prime example is measures 40 to 56 where three distinct styles are
played simultaneously. Each of these lines will need to be worked independently

Barrett, Riders on the Southern Front Score Notes.

50

to insure they are being played with the correct musical style. Only after students
are aware of this contrasting style will they be able to correctly perform these
lines concurrently.

Unit 6: Musical Elements

Riders on the Southern Front uses the Aeolian mode, starting on Bb and
D, and the Dorian mode, starting on Bb, C, and D. The texture varies throughout
the work with anywhere from two instruments playing to the full ensemble.
Ostinato is used frequently and most often found in the Flute and Percussion
sections, although the Oboe, Clarinet, and the low instruments each join in for a
few measures in the second half of the composition. Contrasting musical styles
are used to signal a new theme and are played simultaneously in the middle of
the piece.

Unit 7: Form and Structure

SECTION
Introduction

MEASURE
1-2

EVENT SCORING
Moderato misterioso (quarter note = 92);
opens with just Bells and Chimes
playing concert Bb ostinato at dynamic
marking of piano.

3-11

Key of Bb Dorian is established as wind

players enter in unison with slurred
melody at m. 3; in m. 5 Oboe, Clarinet,
and Trumpet play melody and proceed
to pass it back and forth; texture
becomes thicker; crescendo begins in
m. 8 that takes us through a key change
to Bb Aeolian in m. 10 and builds to ff
for the cadence and tempo change at m.
12.

Transition

12-15

Allegro (quarter note = 116-138);

Percussion section provides driving
ostinato while low instruments
decrescendo from ff to pp through a 17
count sustained concert Bb.

51

16-23

Light texture; Trumpet section states

tongued melody (Oboe joins in for
second half of melody) while Percussion
ostinato continues; Flute and Clarinet
give foreshadowing of an upcoming
ostinato in mm. 22-23; optional Flute
8va in mm. 22-24.

24-31

Slight variation on B theme is presented

with thicker texture; Tongued articulation
continues; Percussion ostinato
continues; Flute and Clarinet again
foreshadow upcoming ostinato in last
two measures of theme; optional Flute
8va in mm. 28-33; decrescendo in m. 31
prepares for imminent style change.

32-39

Softer dynamic marking and Percussion

ostinato ends; Alto Sax and French
Horn state slurred melody with Bells
joining in at m. 34; Flute, Oboe, and
Clarinet take over melody in m. 36 with
light Percussion accompaniment;
crescendo in m. 39 takes the piece into
key and style change.

40-47

Key change to C Dorian; Light texture

but marked forte; Percussion ostinato
from m. 12 returns with slight variations;
accented low instrument line (ostinato
style) is established; French Horn (cued
in Alto Sax) is added with contrasting
slurred A theme.

A & B

48-55

All previous lines continue; Trumpet

enters with varied B theme, tongued,
and beginning in diminution; Clarinet
then Oboe join the Trumpet later in the
phrase; Suspended Cymbal roll leads to
key, style, and ostinato change.

52

56-63

Key change to D Dorian; original B

theme returns with accents and thicker
texture played by Oboe, Clarinet, and
Trumpet; Flute, Xylophone, and Snare
Drum begin new ostinato; optional Flute
8va in mm. 56-68; Flute and Xylophone
foreshadow upcoming ostinato in mm.
62-63.

B with
Transitional
Material

64-73

Ostinato and optional Flute 8va continue

through m. 68; opens with accented B
theme idea in Oboe, Clarinet, and
Trumpet lines, but changes to
transitional material in mm. 69-73; Key
change to D Aeolian in m. 68; Alto Sax,
Tenor Sax, and French Horn play
slurred melody in mm. 68-69 which is
then echoed in low instrument lines in
mm. 70-71; full ensemble decrescendo
to mp in mm. 68-69 prepares ensemble
for the two measure crescendo from mf
to ff in mm. 72-74.

Coda

74-85

Foreshadowed ostinato appears in

Flute, Oboe, Clarinet, and Xylophone;
Snare Drum also plays a driving
rhythmic ostinato; remainder of the band
plays an accented motive; Alto Sax and
French Horn play two-measure
accented melody at m. 80 before upper
woodwind ostinato is echoed in all parts
except for low instruments and Snare
Drum; full band plays accented motive
in unison in mm. 84-85.

Unit 8: Suggested Listening

Roland Barrett, Of Dark Lords and Ancient Kings, Variations on a March Tune,
Centavo
W. Francis McBeth, Canto
David R. Holsinger, Gypsydance
James MacBeth, Meadowlands

53

Unit 9: Additional References and Resources

Barrett, Roland. Riders on the Southern Front Score Notes. Kansas City, MO:
Wingert-Jones Music, Inc., 1998.
Benward, Bruce and White, Gary. Music in Theory and Practice. Fifth Edition.
Volumes 1 and 2. Madison, WI: WCB Brown and Benchmark Publishers,
1993.
FJH Music Company, Inc. Home Page. (consulted March 4, 2007)
<http://www.fjhmusic.com>.
Gilbert, Jay. Of Dark Lords and Ancient Kings. In Teaching Music through
Performance in Band, Volume 2, ed. Richard Miles, 339-343. Chicago, IL:
GIA Publications, Inc., 1998.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge,
MA: The Belknap Press of Harvard University Press, 1986.
Roland Barrett Home Page. (consulted June 4, 2007)
<http://www.rolandbarrett.com>.

54

Macro-Micro Analysis

55

56

57

58

CHAPTER 6 - For Thy Courts Above

by Ed Huckeby
Unit 1: Composer
Ed Huckeby comes from a diverse performance background having
played French Horn in a symphony orchestra, Trumpet in a jazz band, sung and
played Bass Guitar in a contemporary Christian quintet, and piano and organ in
church. He received his Bachelor of Music Education degree from East Central
University in Ada, Oklahoma, his Masters of Music Education degree from the
University of Oklahoma, his Doctorate in Administration from Oklahoma State
University, and has completed additional course work at the University of North
Texas.
Huckeby is currently the Professor of Music and Associate Vice President
for Academic Affairs at Northeastern State University-Broken Arrow where he
also serves as chief academic administrator for the campus. Previously, he was
an arts administrator for Tulsa Ballet Theatre, Inc. and is the emeritus professor
of music at Northwestern Oklahoma State University where he held the posts of
Music Department Chairman and Dean of the Graduate School for over twenty
years. Prior to his work at the college level, Huckeby taught instrumental music in
Oklahoma public schools for eight years where his ensembles received state and
regional recognition.
Huckeby has been published in The Instrumentalist, The American Music
Teacher, and the Journal of the International Horn Society, and has been a
member of Music Educators National Conference, Oklahoma Music Educators
Association, Oklahoma Bandmasters Association, ASCAP, Phi Mu Alpha
Sinfonia, and Phi Beta Mu in which he served as the state chapter president and
a member of the national board of directors. He has been named Outstanding
Young Man in America, included in the International Whos Who in Music, and
inducted into the Oklahoma Bandmasters Association Hall of Fame in 1996.

59

Huckeby has over 120 published works and composed more than 35
commissioned works. He is active as a clinician, adjudicator, and conductor for
instrumental groups around the world. 4

Unit 2: Composition
FOR THY COURTS ABOVE was commissioned by the Sardis
Secondary School Band, Sardis, British Columbia, Canada, and is
dedicated to the memory of a band member who was killed in a
tragic auto accident. This piece is a celebration of life and is
intended to be uplifting rather than somber. It is written in an
unassuming manner to avoid detracting from the simplistic
message of the hymn tune, Come Thou Fount. . . . The title
comes from the final phrase of the lyrics, . . . Heres my heart,
Lord, take and seal it, Seal it FOR THY COURTS ABOVE. 5

Unit 3: Historical Perspective

Come Thou Fount was first written in 1757 and published in 1758 by
Robert Robinson. Robinson led a troubled youth and after hearing a sermon by
preacher George Whitefield, decided to become a Methodist preacher. It was
during this time in his life that he wrote a hymn which expressed his joy in his
new faith, 6 Come Thou Fount. The hymn is intended to be an autobiographical
sketch of Robinsons life. The first verse refers to his difficulty in staying true to
God, the second verse tells of his conversion, and in the final verse he asks God
to help his wandering heart.
Come, thou fount of evry blessing, tune my heart to sing thy grace;
streams of mercy, never ceasing, call for songs of loudest praise.
Teach me some melodious sonnet, sung by flaming tongues above.
Praise the mount! Im fixed upon it, mount of thy redeeming love.
Here I raise my Ebenezer; hither by thy help Im come;
And I hope, by thy good pleasure, safely to arrive at home.
Jesus sought me when a stranger, wandring from the fold of God;
He to rescue me from danger, interposed his precious blood.

C.L. Barnhouse Company Home Page, <http://www.barnhouse.com/>.

Huckeby, For Thy Courts Above Score Notes.

Christian History Institute Home Page, <http://chi.gospelcom.net/>.

60

O to grace how great a debtor daily Im constrained to be!

Let thy goodness, like a fetter, bind my wandring heart to thee.
Prone to wander, Lord, I feel it, prone to leave the God I love;
Heres my heart, O take and seal it, seal it for thy courts above. 7
The final stanza of the hymn is an accurate summation of Robinsons later
life. He left the Methodist Church to become a Baptist and later was accused of
becoming a Unitarian. 8 Shortly before his death, Robinson was taking a trip when
a lady asked him about a tune she was humming. He replied, Madam, I am the
poor unhappy man who wrote that hymn many years ago, and I would give a
thousand worlds, if I had them, to enjoy the feelings I had then. 9
The current musical setting of Come Thou Fount of Every Blessing, seen
on the following page, is credited to John Wyeth and was published in his
Repository of Sacred Music, Part Second in 1813.

Carlton R. Young, ed., The United Methodist Hymnal: Book of United Methodist Worship

(Nashville, TN: The United Methodist Publishing House, 1989), 400.

8

Unitarians deny the full divinity of Christ.

Christian History Institute Home Page, <http://chi.gospelcom.net/>.

61

10

10

Carlton R. Young, ed., The United Methodist Hymnal: Book of United Methodist Worship

(Nashville, TN: The United Methodist Publishing House, 1989), 400.

62

Unit 4: Technical Considerations

For Thy Courts Above is listed as a Grade 3 composition. The ranges are
consistent with the abilities of most high school bands. Several parts are cued in
other instruments making this piece playable by a variety of ensembles
regardless of their instrumentation. The percussion section requires a minimum
of six players with some players responsible for multiple instruments. The timpani
part consists of a total of three notes with no pitch changes necessary.
The work does alternate between 3/4 and 4/4 time signatures as well as
Woodwind and Brass Choir sections. The Trumpet section (3 parts) is featured
for two measures and there is a short Trumpet solo at the end of the work.
Attention will need to be given to the combination eighth and sixteenth note runs
that occur in the upper woodwind parts later in the piece.

Unit 5: Stylistic Considerations

For Thy Courts Above provides opportunities for the use of rubato. The
conductor will need to spend time on this concept to create the musical effect of
the piece and indicate to students when the pushing and pulling of the beat will
likely occur.
In addition, ritardando, allargando, and rallentando can be found
throughout the work. Time should be spent on these sections to ensure students
are watching and the desired musical effect is obtained.
The conductor will also need to address the importance of legato tonguing
and slurring. Soft attacks and smooth entrances are necessary to insure the flow
and gentle nature of the piece, especially when melody lines are passed from
woodwind instruments to brass instruments.

Unit 6: Musical Elements

The piece focuses on two dominant tonal centers, Bb Major and Eb Major.
The texture throughout the work is fairly light often utilizing half, quarter, and
eighth note rhythms with mostly traditional harmonies. During the height of the
piece, however, the texture becomes much thicker, rhythms faster, and tempo
63

slower to create the uplifting moment when we hear the final stanza of the hymn,
Heres my heart, Lord, take and seal it, seal it FOR THY COURTS ABOVE.
This work also provides a wonderful opportunity to work with the band on
ensemble playing as much of this piece alternates between Woodwind Choir and
Brass Choir. Time and consideration must also be given to playing with good
intonation, dynamic control, musicality, blend, and balance.

Unit 7: Form and Structure

SECTION
Introduction

MEASURE
1-9

EVENT AND SCORING

Religioso con rubato (quarter note = 6872); opens in 3/4 time signature and in
key of Bb Major with light texture that
builds to include entire ensemble except
Clarinet.

10-19

Woodwind choir with Flute, Oboe, and

Bells carrying melody (embellished
motivic ideas from hymn) and everyone
else playing descending eighth notes;
melody is passed to Trumpets while
upper brass and Baritone join in to
create thicker texture.

Verse 1
Phrases 1&2

20-27

Time signature changes to 4/4; verse 1,

phrase 1 (Come, thou fount of evry
blessing, tune my heart to sing thy
grace;) is stated in the French Horn
with simple Brass choir accompaniment;
Alto Sax joins Horns on the melody and
low woodwinds add thicker texture for
phrase 2 of verse 1 (streams of mercy,
never ceasing, call for songs of loudest
praise.); Timpani and Chimes are used
to emphasize cadences and assist in a
smooth transition to the next phrase of
the hymn.

64

Verse 1
Phrases 3&4

28-35

Time signature changes to 3/4; Very

light texture with Flute and Bells playing
verse 2, phrase 3 melody (Teach me
some melodious sonnet, sung by
flaming tongues above;) while double
reeds and Clarinets play simple quarter
note accompaniment; ritardando and
time signature change to 4/4 transition
to phrase 4 (praise the mount! Im fixed
upon it, mount of Gods unchanging
love.) played by the French Horn with
Brass choir quarter and half note
accompaniment; Timpani again used to
emphasize cadence.

36-48

Time signature changes to 3/4; Theme

A is repeated and almost identical to
original statement at m. 10 but with a 3
measure extension; allargando is
indicated for the 3 measure extension
that modulates to the key of Eb Major;
thick texture with entire ensemble
playing except for low Saxophones.

Verse 2
Phrases 1&2

49-56

Majestically; Time signature changes to

4/4; Verse 2 opens in key of Eb Major;
Thicker texture in phrase 1 (O to grace
how great a debtor daily Im constrained
to be;) with Trumpet carrying melody
while brass and low reeds play quarter
and half note accompaniment; Call and
response occurs between Trumpet and
Baritone; Timpani once again
emphasizes cadence; Phrase 2 (let that
grace now, like a fetter, bind my
wandring heart to thee.) is passed to
Woodwinds with Flute and Bells playing
melody while Oboe and Clarinet play a
descending eighth note line
accompaniment lighter texture.

65

Verse 2
Phrases 3&4

57-64

Time signature changes to 3/4; Phrase

3 (Prone to wander Lord I feel it
prone to leave the God I love;) opens
with Trumpet only (everyone else tacet)
and remainder of Brass join in for
second half of phrase; Time signature
changes to 4/4 at end of phrase 3 and
Percussion instruments are added to
create drama for the molto rit. and
crescendo to the climax of the piece and
final statement of phrase 4 (heres my
heart, O take and seal it, seal it for thy
courts above.); Grandioso; thick
texture with full ensemble playing and
sixteenth/eighth note runs in upper
woodwind parts; call and response
hinted at again in Alto Sax, Trumpet,
Clarinet, Oboe, and Baritone lines.

65-76

Time signature changes to 3/4; Light

texture of Theme A returns but is played
entirely by Woodwind choir, Bells,
Timpani, and Chimes; a 2 measure
extension is added to the end of Theme
A featuring an eighth note run in the
Baritone with a dotted half note chordal
accompaniment played by Brass choir;
Wind Chimes lead us into the Coda.

Coda

77-85

Calming; Coda reminiscent of

Introduction with minor changes;
Rallentando in m. 81 and Morendo in m.
84 continue the soothing and fading
effect as the piece comes to a close;
Trumpet solo in m. 83; Full Ensemble
plays last chord of piece; final cadence
(V7-I) in key of Eb Major.

Unit 8: Suggested Listening

Ed Huckeby, From Whom All Blessings Flow, Let There Be Peace on Earth
David R. Holsinger, On a Hymnsong of Philip Bliss, On a Southern Hymnsong
Claude T. Smith, Eternal Father, Strong to Save, God of Our Fathers

66

Unit 9: Additional References and Resources

Benward, Bruce and White, Gary. Music in Theory and Practice. Fifth Edition.
Volumes 1 and 2. Madison, WI: WCB Brown and Benchmark Publishers,
1993.
C.L. Barnhouse Company Home Page. (consulted March 4, 2007)
<http://www.barnhouse.com/>.
Christian History Institute Home Page. (consulted March 4, 2007)
<http://chi.gospelcom.net/>
Gospel Community Home Page. (consulted March 4, 2007)
<http://community.gospelcom.net>
Huckeby, Ed. For Thy Courts Above Score Notes. Oskaloosa, IA: C.L.
Barnhouse Company, 2001.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge,
MA: The Belknap Press of Harvard University Press, 1986.
Young, Carlton R., ed. The United Methodist Hymnal: Book of United Methodist
Worship. Nashville, TN: The United Methodist Publishing House, 1989.

67

Macro-Micro Analysis

68

69

70

71

CHAPTER 7 - Of Dark Lords and Ancient Kings

by Roland Barrett
Unit 1: Composer
Dr. Roland Barrett was born in Nebraska City, Nebraska, on May 23,
1955. He played trumpet in the Auburn, Nebraska, high school band and studied
with the University of Nebraska-Lincoln Professor of Trumpet, Dennis Schnieder.
After high school he attended Peru State College in Peru, Nebraska, where he
was a student of David Edress and Gill Wilson. Upon completion of his degree
work at Peru State College, Barrett served as band director at Republican Valley
High School in Indianola, Nebraska, and then at Fairbury High School in
Fairbury, Nebraska, before leaving to pursue his masters degree at the
University of Oklahoma (OU). Barretts talents were recognized during his time
as a student at OU, and he became the Assistant Director of Bands. After
maintaining this post for fifteen years and completing his doctoral work in
composition at the university, he joined the music theory and composition faculty
at OU in 2001. He currently teaches 20th century topics as well as undergraduate
and graduate music theory and composition. Barrett is also the musical arranger
for the Pride of Oklahoma marching band.
Barrett is active as a clinician, composer, and arranger and has nearly 200
published works to his credit. He has written chamber music, concert band
music, and marching band arrangements and compositions. Dr. Barrett is a
former recipient of the Michael Hennagin memorial scholarship in composition at
the University of Oklahoma and a multiple recipient of the annual ASCAPlus
award. His works have been featured on National Public Radio, on the USA
cable television network, at the Midwest Band and Orchestra Convention, at the
National Trumpet Competition, and at the International Trumpet Guild
convention. The Dallas Wind Symphony has performed his compositions as well
as numerous honor bands throughout the United States. His concert band works

72

include On the Wings of the Chosen, Soar the Untamed Spirit, They Stood at the
Edge of the Sky, and Variations on a March Tune.

Unit 2: Composition
Of Dark Lords and Ancient Kings is one of Barretts favorite compositions
and is his best selling piece to date. 11 Commissioned by the Central Oklahoma
Band Directors Association for their annual Honor Band Festival, the
organizations Junior High Honor Band performed the piece for its premiere on
January 8, 1994 in Oklahoma City. Wingert-Jones Music, Inc. published the
composition the following year. Of Dark Lords and Ancient Kings is rated a Grade
3 composition, lasts for approximately six minutes, and includes an aleatoric
section, ostinato, and the use of multiple percussion instruments. 12

Unit 3: Historical Perspective

Of Dark Lords and Ancient Kings showcases some of Barretts
compositional characteristics, which draw from the late twentieth century style
and reflect a few of the techniques of Claude T. Smith and W. Francis McBeth.
Barretts use of seventh and ninth (jazz) chords and multiple percussion
instruments, used in varying contexts, signify his loyalty to the late twentieth
century style. Barrett pays homage to Smiths employment of unusual meters
through his own use of a 7/8 asymmetrical meter and his placement of accents
and slurs in a 3/4 measure to give it a compound meter (6/8) feel. McBeths
influence is evident at the beginning of this work with Barretts use of the low
brass section to create dark sonorous tones. 13

11

Roland Barrett Home Page, <http://rolandbarrett.com>.

12

Jay Gilbert, Of Dark Lords and Ancient Kings, in Teaching Music Through Performance in

Band, Volume 2, ed. Richard Miles (Chicago, IL: GIA Publications, Inc., 1998), 339-343; see p. 339-340.
13

Ibid, 340.

73

Unit 4: Technical Considerations

Of Dark Lords and Ancient Kings is commonly listed as a Grade 3
composition. The ranges are consistent with the abilities of most high school
bands. The flute part does require playing high Fs, Gbs, Gs, Abs, and As; the
Baritone part requires playing high Fs and Gs; and the band in general has many
accidentals throughout the work, all of which will need some attention regarding
intonation and correct fingerings for younger students. This composition also
includes a five measure trumpet solo, a flute solo to begin the aleatoric section, a
four measure euphonium solo, and an oboe, clarinet, and trumpet solo that play
together for four measures. The percussion section requires a minimum of six
players, most of whom are responsible for multiple instruments. Using eight
players, however, will eliminate the more difficult instrument changes. The
timpani part has a total of seven notes and requires that all four timpani be
retuned toward the end of the piece. The player does have adequate time (16
measures) to retune the drums for the closing section.
Although the piece is written primarily in a 4/4 time signature, Barrett also
uses 2/4, 7/8, and 3/4 (sometimes accented to sound like 6/8) meters and an
aleatoric section to create variety in the work.

Unit 5: Stylistic Considerations

Conductors will need to pay careful attention to the dynamic and
articulation indications throughout the piece as they often signal a new theme or
idea. Barrett uses staccato, tongued, accented, legato, slurred, and tenuto
articulation markings in addition to dynamics ranging from pianissimo (pp) to
fortissimo (fff) to create various effects. Conductors will also need to keep the
ostinato from becoming too heavy so it will not overpower the melodic and
harmonic lines. This task can be made easier by having the ostinato instruments
focus on the articulations in these sections.
A dark and warm sound is of utmost importance in the opening section of
the work to create the desired mysterious mood. The more separated and

74

rhythmic percussion ostinato in the beginning should be very soft and contrast
the smooth melodic line in the low brass.
Barrett uses accents in some of the 3/4 measures to create a feeling of a
6/8 meter. Directors should conduct these measures accordingly, in a two
pattern, to bring out this brief metrical shift. One of the highlights and more
challenging portions of the piece, an aleatoric section, occurs in measures 33-34
and lasts for approximately 30-35 seconds. All involved players must perform
independently (varying speed and articulation style) from each other to create the
desired chaotic effect.

Unit 6: Musical Elements

Of Dark Lords and Ancient Kings is written primarily in the key of D minor,
but also spends time in the keys of G Major, G minor, C Major, Eb minor, F
Major, F minor, and Db Major. Barrett uses whole, dotted half, half, dotted
quarter, quarter, eighth, and sixteenth notes during the course of the piece.
Sixteenth notes are found primarily in the snare drum line and in one spot for the
upper woodwinds, euphonium, and timpani. The rhythmic difficultly comes from
the quick tempos and independence of lines needed throughout the composition.
The scoring for this piece consists of nearly everything from solo flute to
full ensemble. This alternation between thin and thick textures provides great
interest for the listener and allows instruments to play in various ensembles. A
thinly orchestrated, soft, and slow opening section (percussion only) builds to a
thickly scored, fortissimo, and driving ending (full ensemble) that produces an
increasing feeling of excitement and energy as the piece progresses.

Unit 7: Form and Structure

SECTION
Introduction

MEASURE
1-14

EVENT SCORING
Mysteriously (quarter note = 68); Key of
D minor; opens with soft Percussion
ostinato; Brass joins in at m.5 to help
create mood.

75

C Theme
Preview 1

15

Faster (quarter note = 112); 7/8

measure (2+2+3); Full Band except
Flute.

16-22

Deliberately (quarter note = 72); return

to 4/4; Flute/Clarinet/Baritone play
melody with the rest of the ensemble
entering and texture thickening as
theme comes to a close.

C Theme
Preview 2

23-27

Faster (quarter note = 132); Full Band

with style change; Flute/Oboe/Clarinet/
Trumpet play accented melody; moves
from 4/4 to 3/4 -conducted in 2 (3+3), 3,
2 (3+3)- to 4/4; Slower (quarter note =
66) in last measure of phrase.

28-32

Trumpet solo states slurred theme

accompanied by light texture; fermata
ends phrase; full ensemble quarter rest
before aleatoric section begins.

Aleatoric
Section

33-36

Not conducted; opens with motives from

C Theme Previews 1 & 2 and A Theme;
Percussion join in with rolls that
crescendo; Driving (quarter note = 144);
4/4 time signature returns; closes with
full band sustaining concert D at ff.

37-48

Flute & Percussion introduce new

ostinato and style change; Trumpet
introduces C Theme at mf; Alto Sax/
Tenor Sax/Horns join in with simple
accompaniment for last half of phrase.

49-57

Legato; conduct in 2; Key change to G

Major; Woodwinds state contrasting
theme with Baritone joining in for last
half of phrase; very light Percussion
scoring.

76

58-68

Driving; Key change to G minor; C

Theme restated with thick texture; Flute/
Clarinet 2&3/Bells introduce new
ostinato; Stately (quarter note = 76);
contrasting two-measure extension
foreshadows next section.

69-78

Key change to C Major; Thin texture

with Horn & Baritone stating new
slurred/legato theme; Oboe/Clarinet/
Trumpet/Bells solos join in to play
melody for second half of phrase.

Closing
Phrase
(E Theme
used)

79-82

Maestoso; Thick texture and legato

style; melody is repeat of first half of E
Theme; full ensemble crescendo to ff.

Transition

83-86

Quietly; legato style continues;

Woodwinds & Baritone solo with light
Percussion scoring; modulating to new
key; one 2/4 measure in middle of
phrase; tenuto rest with ringing Chime
note completes phrase.

87-95

Driving (quarter note = 144); Key

change to Eb minor; section similar to
first statement of C Theme in mm. 37-48
but softer.

96-103

Key change to F minor; Full ensemble;

section similar to C Theme statement in
mm. 58-68; low Brass has augmentation
of melody.

C Theme
Preview 2

103-108

Section similar to material in mm. 23-27;

rit. and crescendo to ff lead into next
phrase.

109-111

Maestoso (quarter note = 60); Key

change to Db Major; 1st half of B theme
is played in Full Ensemble setting;
phrase ends with Snare Drum/
Suspended Cymbal crescendo after
Winds cut-off.
77

112-117

Driving (quarter note = 144); Key

change to F minor; Thick texture; 1st
two-measures of C Theme stated in
Trumpet; Upper Woodwinds &
Percussion present new ostinato;
phrase ends with Suspended Cymbal
crescendo after Winds cut-off at fff.

Closing

118-122

Driving (quarter note = 152); Key

centered in F minor and F Major; C
Theme motive is heard; fff - Full
Ensemble ending with rhythmic
percussion line in last two measures.

Phrase

Unit 8: Suggested Listening

Roland Barrett, Sahara, Riders on the Southern Front
Gary Gackstatter, Alchemy
W. Francis McBeth, Masque
Claude T. Smith, Concert Variations, Emperata Overture
Michael Sweeney, Fires of Mazama

Unit 9: Additional References and Resources

Adler, Samuel. The Study of Orchestration. Second Edition. New York, NY: W.W.
Norton and Company, Inc., 1989.
Barrett, Roland. Of Dark Lords and Ancient King Score. Kansas City, MO:
Wingert-Jones Music, Inc., 1995.
Battisti, Frank L. The Winds of Change: The Evolution of the Contemporary
American Wind Band/Ensemble and its Conductor. Galesville, MD:
Meredith Music Publications, 2002.
Benward, Bruce and White, Gary. Music in Theory and Practice. Fifth Edition.
Volumes 1 and 2. Madison, WI: WCB Brown and Benchmark Publishers,
1993.
FJH Music Company, Inc. Home Page. (consulted March 4, 2007)
<http://www.fjhmusic.com>.
Gilbert, Jay. Of Dark Lords and Ancient Kings. In Teaching Music through
Performance in Band, Volume 2, ed. Richard Miles, 339-343. Chicago, IL:
GIA Publications, Inc., 1998.

78

J.W. Pepper Home Page. (consulted April 12, 2007)

<http://www.jwpepper.com>.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge,
MA: The Belknap Press of Harvard University Press, 1986.
Roland Barrett Home Page. (consulted June 4, 2007)
<http://www.rolandbarrett.com>.

79

Macro-Micro Analysis

80

81

82

83

84

85

Bibliography
Adler, Samuel. The Study of Orchestration. Second Edition. New York, NY: W.W.
Norton and Company, Inc., 1989.
Barrett, Roland. Of Dark Lords and Ancient King Score. Kansas City, MO:
Wingert-Jones Music, Inc., 1995.
_____. Riders on the Southern Front Score Notes. Kansas City, MO:
Wingert-Jones Music, Inc., 1998.
Battisti, Frank L. The Winds of Change: The Evolution of the Contemporary
American Wind Band/Ensemble and its Conductor. Galesville, MD:
Meredith Music Publications, 2002.
Battisti, Frank and Garofalo, Robert. Guide to Score Study for The Wind Band
Conductor. Ft. Lauderdale, FL: Meredith Music Publications, 1990.
Benward, Bruce and White, Gary. Music in Theory and Practice. Fifth Edition.
Volumes 1 and 2. Madison, WI: WCB Brown and Benchmark Publishers,
1993.
C.L. Barnhouse Company Home Page. (consulted March 4, 2007)
<http://www.barnhouse.com/>.
Christian History Institute Home Page. (consulted March 4, 2007)
<http://chi.gospelcom.net/>
Curnow, James. Korean Folk Rhapsody Score Notes. New Berlin, WI: Jenson
Publications, Inc., 1988.
Curnow Music Press Home Page. (consulted June 4, 2007)
<http://www.curnowmusicpress.com>.
FJH Music Company, Inc. Home Page. (consulted March 4, 2007)
<http://www.fjhmusic.com>.
Gilbert, Jay. Of Dark Lords and Ancient Kings. In Teaching Music through
Performance in Band. Volume 2, ed. Richard Miles, 339-343. Chicago, IL:
GIA Publications, Inc., 1998.
Gospel Community Home Page. (consulted March 4, 2007)
<http://community.gospelcom.net>

86

Huckeby, Ed. For Thy Courts Above Score Notes. Oskaloosa, IA: C.L.
Barnhouse Company, 2001.
J.W. Pepper Home Page. (consulted April 12, 2007)
<http://www.jwpepper.com>.
Labuta, Joseph A. Basic Conducting Techniques. Fourth Edition. Upper Saddle
River, NJ: Prentice Hall, 2000.
Miles, Richard, ed. Teaching Music through Performance in Band. Volume 1.
Chicago, IL: GIA Publications, Inc., 1997.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge,
MA: The Belknap Press of Harvard University Press, 1986.
Roland Barrett Home Page. (consulted June 4, 2007)
<http://www.rolandbarrett.com>.
Sabin, William A., ed. The Gregg Reference Manual. Eighth Edition. Westerville,
OH: McGraw-Hill Companies, Inc., 1996.
Tour 2 Korea Home Page. (consulted June 4, 2007)
<http://english.tour2korea.com/index.asp>.
Wingell, Richard J. Writing About Music: An Introductory Guide. Third Edition.
Upper Saddle River, NJ: Prentice Hall, 2002.
Young, Carlton R., ed. The United Methodist Hymnal: Book of United Methodist
Worship. Nashville, TN: The United Methodist Publishing House, 1989.

87