Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Grade 3

SKU: CL.012-3936-01

From Symphony No. 35, Haffner. Composed by Wolfgang Amadeus Mozart. Arranged by Bright. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR367). Extra full score. Composed 2010. Duration 3 minutes, 17 seconds. Opus III Wind Orchestra Publications #012-3936-01. Published by Opus III Wind Orchestra Publications (CL.012-3936-01).

A forceful brass introduction followed by a playfully lyric woodwind statement opens this arrangement for concert band of the third movement to Mozart’s famous Symphony No. 35. While remaining true to the original orchestral version, this arrangement maintains modest range and technical demands on the student musician. The Menuetto from Symphony No. 35 is an appropriate choice for developing bands as well as more mature ensembles and would make an excellent concert or contest selection. Don’t miss this opportunity for your students to perform music composed during the classical style period by one of the masters.

By Robert W. Smith. Concert Band. Concert Band. Belwin Symphonic Band. Grade 5. Conductor Score. 40 pages. Published by Alfred Music Publishing

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000780-140

Arranged by Peter Martin. Score Only. 8 pages. Gobelin Music Publications #GOB 000780-140. Published by Gobelin Music Publications (BT.GOB-000780-140).

'Gaudete' comes from the Finnish/Swedish 'Piae Cantiones', a collection of religious music from the 16th century. The English folk group 'Steeleye Span' featuring female lead singer Maddy Prior had a hit with this song in the seventies. Peter Martin made a scintillating arrangement for wind-band. By the use of fourths and thirds in the melody the composer harks back to the period from which the song originated (The Middle Ages)

'Gaudete' is afkomstig uit het Fins/Zweedse 'Piae Cantiones', een verzameling van religieuze muziek uit de 16e eeuw. De Engelse folk groep 'Steeleye Span' had in de zeventiger jaren een hit met dit lied. Peter Martin maakte eensprankelend arrangement voor blaasorkest. Door het gebruik van kwarten en kwinten in de melodie grijpt de componist terug naar de tijd waarin het lied ontstaan is (Middeleeuwen).

(St. Anne's Fugue). By Joh. Sebastian Bach. Arranged by Gary Bricault. For Concert Band. Grade 4. Full score and set of parts. Duration 6:00