Вы находитесь на странице: 1из 5

Score and Rehearsal Preparation

Second Suite in F, for Military Band
Gustav Holst, Ed. By Colin Matthews
Boosey & Hawkes
Date & Place of Birth
September 21, 1874, Cheltenham, England
Date & Place of Death May 25, 1943, London, England
Schools Attended
Royal College of Music in London
Former Teachers
composition with Charles Stanford
Main Instrument(s)
Trombone, but also piano and organ
Posts Held

Organist at Wick Rissington

Organist and choirmaster of the choral society at Bourton-on-the-Water
Lead Trombone at the Carl Rosa Opera Company
Director of Music at St. Paul's Girls School in Hammersmith
Musical Director at the Morley College for Working Men and Women
General Composition Style and Technique
Holst was originally influenced by Wagner, Grieg, Strass, Ravel and R.V. Williams but
later became interested in English Folk Song. He enjoyed the simplicity and the
economy of the tunes.
He wrote opera, ballet, orchestral suite, folk music, choral, hymns and songs
List of Significant Works
Holst has over 200 works catalogued!
The Planets
Hymn to Jesus
First Suite in Eb
Second Suite F
A Moorside Suite
St. Pauls Suite
Brook Green Suite
The Perfect Fool
Relevant Information
Second Suite was composed in 1911, but not performed until 1922 because it was
put aside and forgotten. Holsts daughter, Imogen Holst, believes that this piece
was written for a specific occasion the 1911 Festival of the Empire held at the
Crystal Palace, which could be why it was not performed until 1922.
Second Suite is based entirely on material from folk songs and Morris Dances.
The instrumentation in the score is not exactly as Holst intended. Bass clarinet,
Baritone Sax, and Bass Sax can be omitted entirely, as they were added in 1948 to
make the work more suitable for the American concert band.
Holst was known to be an advocate for world peace. In the final movement, Fantasia
on the Dargason has included in it the Irish hymn tune, Greensleeves against the
English Dance-tune in an effort to bring forth ideas of peace and co-existence in the
world after the Irish dargason (a monster resembling a large bear) supposedly
attacked a British camp killing many soldiers.
Duration of Piece 10 minutes, 30 seconds

Date of Composition: 1911, first performed in 1922

Movement 1 March: Allegro, 120 BPM
Movement 2, Song without Words: Andante, 64 70 BPM
Movement 3, Song of the Blacksmith: Moderato e maestoso, 108 BPM
Movement 4, Fantasia on the Dargason: Allegro Moderato, 132 BPM
Level of Difficulty: Class 5 (Manitoba Optimist Festival rating) MA on JWPepper
Unusual Instrumentation: Anvil, Eb Clarinet, 2 Bassoons, Bass Saxophone
Glossary of Terms:
Crescendo (gradually become louder), Decrescendo (gradually become softer), Ritardando
(slower), allegro moderato (fast but not too fast), andante (moderate walking speed), allegro
(fast, lively), a tempo (at the original tempo)
Numbers Measures in the Score: March: 159 Song without Words: 37
Recordings Studied:
Tokyo Kosei Wind Orchestra Frederick Fennell
Cleveland Symphonic Winds Frederick Fennell
Ostrobothnia Brass Band Johan de Meij
NHK Symphony Orchestra Wind Section - Shigeo Genda
Banda Cittadina di Brescia - Giuliano Mariotti.
US Army Field Band and Soldiers' Chorus
Stith Phase 2
Relevant Literature
Overall Form of Composition: ABCAB
Flowchart X

Keys: F Major & Bb minor

Marked and Prepared Score

16. Sang through, Studied and Marked Each Individual Part in Score for Phrasing and
Breath Marks: (check off as completed)
__X Piccolo
__X Flutes
__X Oboes
__X English Horn
__X Bassoons
__X Eb Clarinet
__X Clairnets
__X Alto Clarinet
__X Bass Clarinets
__X Saxophones
__X Trumpets/Cornets
__X Horns
__X Trombones
__X Euphoniums
__X Tubas
__X Timpani
__X Snare Drum
__X Mallet Percussion
__X Remaining Percussion
17. Seating Recommendation:
Cymbals/Triangle, Snare Drum, Bass Drum
Row 4 2nd cornet, 1st cornet, Solo Cornet, Bari Sax, Tubas, Euphoniums, Trombones
Row 3 3rd Clarinets, 4th Horn, 3rd Horn, 2nd Horn, 1st Horn, Alto Sax, Tenor Sax, 5 Flutes
Row 2 2nd Clarinets, Bass Clarinets, 5 Flutes
Row 1 1st Clarinets, Solo Clarinet, Oboe, 4 Flutes, Piccolo

18. Percussion Parts Determined and Assigned:

Mvmt 1
Side Drum Jim , Bass Drum Andy, Cymbals Dr. Perkins, Triangle Andy
Mvmt 2
19. Solo/Soli/Section Parts Assigned:
Mvmt 1
E Danny Euphonium Solo
Mvmt 2
Solo Clarinet Mackenzie
A Trumpet Solo Sam
Clarinet solo Mackenzie
Alto Sax Solo Spencer
Euph Solo, Danny
Tuba Solo, TBA
20. Errors Corrected in Score and Parts:
Solo Clarinet
2nd mvt., bar before reh. A, continue slur/phrase marking across the
bar line.
Tenor Sax
1st mvt., reh. I, beat 6: F should read G
3rd & 4th Horn
3rd mvt., 3 meas. before reh. A, beat 2&: B should read A
1st Trombone
Fix fast page turn between page 1 and 2
2nd Trombone
Fix fast page turn between page 1 and 2
3rd mvt., 5 meas. after reh. C: add 4/4 meter signature
21. Anticipated Trouble Spots and Planned Rehearsal Strategies/Lessons Plans:
Movement 1: March

Measure 1 -2: clean and matching articulations ti ti ti ti ta or ti ki ti ki ta

Measure 3: entrance right in time

Articulations overall: ex measure 5 and measure 36, staccato tongue on beat 1.

Staccato syllable ti

Letter B work with a metronome to make sure that we do not slow down in the soft

Letter D Aim for a controlled, full band balance.

Snare drum balance with the band

Measures 43 46: tuning and balance through the chord changes, with metronome to
ensure the line doesnt slow down as it gets softer in volume

Euphonium solo: range, style and phrasing

Letter E accompaniment: matching length of quarter notes. Use toe syllable.

Entrances 2 before G: accurate and in time

Transition into 6/8: Group internal sense of pulse

Trumpet entry @ letter I

Gradually building a balanced crescendo into Letter K without over blowing

Transition back into the top of the piece (D.C. al Coda)

Movement 2: Song Without Words

Measure 1 A: Dovetailing of long note accompaniment. Blending the tone and

precision in the tuning. Ad lib with the solo clarinetist, watching and working together
while band listens and remains true accompaniment to soloist.

Measure 18 32: Entrances. Some are on the beat, some off the beat. Practice slowly
to ensure accuracy. Tuning and balance in the unison melodic line. I would suggest
everyone listen clearly to the oboe for pitch and balance.

Measure 30 32: ad lib, watching and continuing to play together while following the
conductor and melodic line.

Measure 33 end: Solo entries and balancing trumpet/euphonium to tuba solo.

Tuning could be a challenge in this section with sparse instrumentation and the soft
22. Practiced Conducting in Front of Mirror (check off when secure):