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A Study of Orchestration Techniques for the Wind Ensemble/Wind Band As Demonstrated in Seminal Works

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A Study of Orchestration Techniques for the Wind Ensemble/Wind Band As Demonstrated in Seminal Works A STUDY OF ORCHESTRATION TECHNIQUES FOR THE WIND ENSEMBLE/WIND BAND AS DEMONSTRATED IN SEMINAL WORKS By CHRIS SHARP A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Chris Sharp 2 To all the teachers who selflessly shared with me their knowledge and experience, this study is respectfully dedicated 3 ACKNOWLEDGMENTS I would like to thank Dr. Paul Richards and the members of my committee for their time and mentorship during this process. Additional thanks go to Dr. Paul Koonce for his invaluable input and ongoing editorial commentary. I would also like to thank my many colleagues in the music education profession for their insight and contributions to this study. Many thanks also to the leadership and membership of the Gainesville Pops for donating their time and talents for my Ph.D. recital. Heartfelt thanks go to my parents for their continued love and support throughout my career. Finally, special thanks to my wife, confidant and life partner Sue, for always being there through thick and thin. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF FIGURES .........................................................................................................................8 ABSTRACT ...................................................................................................................................14 CHAPTER 1 INTRODUCTION ..................................................................................................................15 Value of Study ........................................................................................................................16 Methodology ...........................................................................................................................17 Limitations ..............................................................................................................................18 Definitions ..............................................................................................................................19 Background: The Wind Band in America ..............................................................................19 Origins of the Wind Ensemble ...............................................................................................23 2 ORCHESTRATIONAL ANALYSIS OF SEVERAL REPRESENTATIVE WORKS DRAWN FROM THE REPERTOIRE ...................................................................................27 First Suite in E-flat for Military Band, Gustav Holst, Composed 1909 .................................27 Instrumentation ................................................................................................................27 Background ......................................................................................................................30 Analysis ...........................................................................................................................32 Chaconne ..................................................................................................................32 Intermezzo ................................................................................................................41 March .......................................................................................................................49 Conclusions .....................................................................................................................53 Dionysiaques, Op. 62, No. 1, Florent Schmitt, Composed 1913 ............................................55 Instrumentation ................................................................................................................55 Background ......................................................................................................................58 Analysis ...........................................................................................................................59 Conclusions .....................................................................................................................85 Symphonies of Wind Instruments, Igor Stravinsky, Composed 1920; Revised 1947 ............86 Instrumentation ................................................................................................................86 Background ......................................................................................................................87 Analysis ...........................................................................................................................91 Conclusions ...................................................................................................................110 Lincolnshire Posy, Percy Aldridge Grainger, Composed 1937 ............................................111 Instrumentation ..............................................................................................................111 Background ....................................................................................................................113 Analysis .........................................................................................................................116 5 “Lisbon” (Sailor’s Song) ........................................................................................116 “Horkstow Grange” (The Miser and his Man: A local Tragedy) ...........................122 “Rufford Park Poachers” (Poaching Song) ............................................................128 “The Brisk Young Sailor” (who returned to wed his True Love) ..........................133 “Lord Melbourne” (War Song) ..............................................................................139 “The Lost Lady Found” (Dance Song) ..................................................................146 Conclusions ...................................................................................................................150 Theme and Variations, Op. 43a, Arnold Schoenberg, Composed 1943 ...............................151 Instrumentation ..............................................................................................................151 Background ....................................................................................................................152 Analysis .........................................................................................................................154 Conclusions ...................................................................................................................175 Symphony in B flat, Paul Hindemith, Composed 1951 ........................................................176 Instrumentation ..............................................................................................................176 Background ....................................................................................................................177 Analysis .........................................................................................................................178 Moderately fast, with vigor ....................................................................................179 Andante grazioso ....................................................................................................195 Fugue, Rather broad ...............................................................................................201 Conclusions ...................................................................................................................212 Music for Prague 1968, Karel Husa, Composed 1968 .........................................................213 Instrumentation ..............................................................................................................213 Background ....................................................................................................................215 Analysis .........................................................................................................................217 Introduction and Fanfare ........................................................................................219 Aria .........................................................................................................................225 Interlude .................................................................................................................229 Toccata and Chorale ...............................................................................................230 Conclusions ...................................................................................................................236 and the mountains rising nowhere, Joseph Schwantner, Composed 1977 ...........................237 Instrumentation ..............................................................................................................237 Background ....................................................................................................................238 Analysis .........................................................................................................................239 Conclusions ...................................................................................................................256 Winds
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