AUGUST MERBACK

4/29/16
G382 WIND BAND LITERATURE
CURRICULUM PLAN
4-Year Curriculum for High School Band

Like with the 3-year curriculum, the plan for the high school band is going to be centered
on providing students with a musically enriching experience with selected band repertoire. The
repertoire programmed for the students in these four years will follow a similar structure that
they saw experienced while in middle school, where each or the four concerts per year will
include one major historical band work or a substantial core work. The work that have been
selected all have a great deal of educational merit, and my hope for the students following this
plan is that they develop not only their inner musicianship and expressiveness, but also to give
them opportunities to improve on their playing abilities as well as ensemble skills.
The repertoire in this plan is quite challenging, and it will certainly require that the
students have a lot of self-discipline, and willingness to practice on their own time, which they
should be doing anyway. The pieces also demand that the students already have a fundamentally
sound foundation with their technical playing. For the woodwinds, a piece such as sparkle, where
there are a lot of long lines of sunning sixteenth notes, they are going to need to be able to have
the endurance to continue those lines, but also have the finger dexterity to efficiently play the
passages cleanly.
The repertoire will be laid out through the four years in a way that addresses different
musical aspects each year. The works will challenge the students in all of these different areas,
but hopefully will also provide them with the opportunity to be expressive, even though some of

the pieces are going to be more technically demanding. The following plan is going to be based
around the following musical aspects for each of the pieces:

Musical Elements - This will focus a lot on the harmonies of the piece as well as
melodic material and timbre. Additionally, this section will include any notable

rhythmic sections of the piece.

Form & Structure This part will focus mainly on the organizational structure of
the pieces, if applicable.
Technique Development This will focus on what technical aspects of the piece
there are, and if they will be able to be performed by the student.
Listening Will this piece be appreciated by the students? Is it something that
they will enjoy playing?
Year 1
English Folk Song Suite (Ralph Vaughan Williams)
Sparkle (Shafer Mahoney)
Suite Francaise (Darius Milhaud)
First Suite in Eb (Gustav Holst)
Year 2
Variants on a Mediaeval Tune (Norman Dello Joio)
Ballade for Band (Morton Gould)
Chant & Jubilo (W. Francis McBeth)
Symphonic Dances No. 3 (Clifton Williams)
Year 3
Prelude, Siciliano, & Rondo (Malcolm Arnold)
Fantasy on a Japanese Folk Song
Fantasia (Bach/Arr. Goldman)
Toccata Marzial (Ralph Vaughan Williams)
Year 4
Chester Overture (William Schuman)
Hammersmith (Holst)
Irish Tune from County Derry (Percy Grainger)
Toccata for Band (Frank Erickson)
Year 1
English Folk Song Suite

This work is a cornerstone work for the band medium, and certainly one for
everybody to know. To kick off the first year with a historical piece, this one would be
most appropriate. Ralph Vaughan Williams took inspiration from the local folk songs at
the time, and compiled them into one suite with three movements. Taking into
consideration some of the other pieces the band will get to throughout the four years, this
work is very doable in terms of the total centers, the rhythmic material, and its
orchestration.
There is educational merit across the entirety of this piece. In the three
movements of the peace, total centers that are featured are Ab, F, Bb, and Eb, which are
all comfortable keys for a win the band. The form of the piece is structured in such a way
that is clearly divided, and distinctly expresses the different folksong themes in the peace.
This is something that will be very beneficial for students when they begin to look at
other pieces.

Sparkle
Here is our first major core work of the first year. The formal structure of this
piece, like English Folk Song Suite, is also developed in a very clear and distinct manner
that divides the different sections of the peace. Finger dexterity in the woodwinds will
surely want to be taken into consideration when playing this piece, but it is a good
opportunity for them to develop this skill in small chunks. In this piece, students will be
able to hear the differences in the changing textures throughout the piece, and it will be a
good opportunity for them to emphasize this aspect of music.
Besides the musical aspects of this work, it also allows the students an
opportunity to develop their own individuality, because of the separation of the parts. All
voices in the band rarely have tutti sections together, and rarely lineup with one another
rhythmically.

Suite Francaise
The second historical piece for the year will be Suite Fransaice by Darius
Milhaud. Like the other pieces from this year, this piece also offers very traditionally laid
out formal structures. This is a multi-movement work but some people described as the
French version of the English Folk Songs Suite; it also takes inspiration from local folk
songs from the composers area. The melodies throughout this piece are always coupled
with equally as beautiful countermelodies, and harmonies. Never in this piece is there a
voice with a line that does not have motion to it, totally, and dynamically. This piece
explores many different textures and total areas. It will be a good addition to the
curriculum for the students for its wide variety of harmonies, dynamics, and melodies.

First Suite in Eb
Certainly one of the pinnacles of the wind band literature, Gustav Hosts first suite
in Eb provides an overall musically enriching experience for any level of performer. The
piece explores a variety of interesting textures and harmonies. From a chaconne in the
first movement to a march in the third movement, this suite shows off nobility and power.
The first movement has sixteen refrains of the chaconne, and the students will hear it
transformed through different voices of the band, and will hear how the other parts work
themselves into the chaconne. From there the piece continues with a lively second and

third movement. There are many solo opportunities in the work. Maximum musical
expression can be attained when performing this piece of genius for the wind band
literature.

Concert
Repertoire
Historical
English Folk Song
Suite

Core
Sparkle

Historical
Suite Francaise

Core
First Suite in Eb

Musical Elements
Takes inspiration
from folk songs
from around the
area that Vaughan
Williams spent
time.

The original theme

flourishes
throughout the
piece, and is
transformed as the
music progresses.
Like E.F.S.S., this
work takes
inspiration from
local folk songs.

The chaconne in
the first movement
of this suite is
repeated sixteen
times, and all in
different ways.

Form &
Structure
Broken into
multiple
movements.
Melodies are
separated clearly.

Technique
Development
Not technically
demanding for many
of the students.

The melody of the

piece is broken
into different
sections, and

Finger dexterity will

be developed when
working on this
piece. Range in the
horns will be tested
as well.

Another multimovement work

with clear
divisions of the
different melodic
themes that occur
throughout.
The variants of the
main theme of the
chaconne are
altered many
times.

The second and third

movement are
rhythmically
demanding.

Listening
Listening for the
different tonal
centers will be
valuable for the
students. Also listen
for the melodic
material, and how
the other parts fit
into that.
The students will
need to listen for the
different rhythms
throughout the work.
There are many
syncopated rhythms.
The work is
dynamically
expressive, and will
require that the
students consider the
balance.

Year
2

Balance of the
chaconne them in the
first movement and
the counter lines that
accompany it are
things to consider
when preparing this
piece. the students
should know when
they have the
chaconne line, and
when they have an
additional line.

Variants on a Mediaeval Tune

This first historical piece of the second year features unconventional tonal
structures, as well as formal structures to outline the mediaeval tune that the piece is
based off of. This work takes the variants of the tune through many of the voices in the
ensemble, and so everybody has a vital role when performing this piece. the composer

successfully incorporates this theme into a modern setting in regards to the texture and
harmonic structure of the piece. Although there are spots where tonality is abstract and
unsure, the pieces cadences are tonal landmarks of the work, and make for interesting
connections between the variances of the music.

Ballad for Band

This is a substantial core work for the wind band medium. Morton Gould did not
necessarily believe that the band medium was worthy to write for, but after hearing the
Cowboy Symphony premier, he realized the potential for the type of group. This piece
begins slowly, with many solos and a distinct melody that will be altered later in the piece
in the fast section and with the last slow section. The piece employs 21st century
harmonies and textures. The themes are passed in between the different sections of the
band, giving it a refreshing sound throughout.

Chant and Jubilo

For historical pieces, this will certainly be one for the students to know and
perform. It begins with a chant that resembles that of church organum from the 13th
century. This is the Chant movement, and the contrasting Jubilo movement is explosive
and carries a thunderous fanfare-like theme in the low brass and the percussion. The
work, while shorter than the others, contains a lot of great things for students to
experience, such as the contrasting movements, and individual opportunities in the
different voices.

Symphonic Dances No. 3 Fiesta

This piece is wonderfully lively, in all of the sections. This music will certainly
have the students all engaged at every measure of this exciting work. This piece also
serves as being a multicultural work, as Clifton Williams took inspiration from Mexican
celebrations. The piece goes through very distinct themes, and employs the Spanish flare
that Williams took to.
The piece is very doable in terms of rhythm. Something to consider when
selecting this piece for the band is the strength of the individual sections, as well as your
principle players. There are lots of opportunities in this piece to show off all of the
section when they have soli, but it is also a good chance to show off soloists, particularly
the trumpet.

Concert
Repertoire
Historical
Variants on a
Mediaeval Tune
Core
Ballad for Band

Historical
Chant and Jubilo

Core
Symphonic Dances
No. 3 Fiesta

Musical Elements
The theme of this
work is stated, and
then transformed.
Form is the focus
of the second year.
The theme stated in
the beginning is
altered throughout
the piece, and the
revisited in the last
section. Lots of
opportunities for
musical
expression.
Theme taken from
a chant that is
reminiscent of 13th
century church
organum.

The main theme of

the work is based
on Mexican
celebratory music,
and carries the
piece through
lively sonic
atmospheres.

Form &
Structure
Broken into five
variations.

Technique
Development

Slow-Fast-Slow

This work will

develop soft playing.
Other than that, the
work is not
rhythmically
demanding, or
demanding with
range.

The chant is stated

in a softer manner,
the way it would
have been
performed in the
13th century, and is
then contrasted by
a Jubilo in the next
section.
The sections are
clearly divided,
and the theme is
lively.

Listening
Connect the different
variants of the main
theme to one
another.
The work has
individualized parts
for all of the voices.
Fitting into one
anothers sound will
be vital to make the
piece be well
rounded.
The students will
want to listen to the
intonation between
each other when
playing the chant. It
is in unison the first
time it is stated, and
then harmony is
added progressively.

Year
3

Sectional solies
often occur in the
work. Playing well
with the section will
be a big
consideration when
preparing this work.

Prelude, Siciliano, & Rondo

This is another multi-movement piece for band by Malcolm Arnold, a prolific
figure in the band world and in the trumpet world. This piece alludes very much to
traditional form, and clearly divides the themes and also transforms them in a clear
manner. The work offers students for virtuosic playing as well as expressive playing,
particularly in the second movement to whoever has the solo. The sections of the music
where there are individual parts that weave in and out of each other are contrasted with
big tutti sections.

Fantasy on a Japanese Folk Song

For this first core work of the third year, we will perform this work by Samuel
Hazo. This work is inspired by a story of a young Japanese girl who falls in love with an
American, moves back with him, and then faces a lifelong struggle to decide whether to

stay with him or go back to her home village in Japan. This emotionally electric piece is
wonderfully choreographed with melodies, counter lines, and harmonic accompaniment.
This will be a fantastic opportunity for the students to be musically expressive,
and will also give them an opportunity to work on ensemble skills. Much of the work
dips in and out of different textures and climaxes, all of which require altered balance
within the group. No one section can overpower the others, although it is easy to slip into
that mistake. With the right guidance from the teacher, the students should have a good
challenge to work with when they perform this piece.

Fantasia
The next historical piece for this year will be taking the band way back to the
baroque era of music. This aesthetic will be a wonderful contrast to the Japanese Folk
song, and will couple very well with the Malcolm Arnold work. This Fugue in G Major
was originally composed by J.S. Bach, and was later arranged for band by R. F. Goldman.
The work is well balanced throughout, and does not get stuck in a rut of the same
instruments in the group having the same role for the entirety of the piece.
The classical form of this work will be refreshing for students to perform, and to
hear where a lot of the other repertoire that we perform comes from. There are strong
roots in the current band repertoire to music such as that of Bach. The students will have
an enriching experience performing this work, and listening to the beautiful harmonic
structures that line up throughout.

Toccata Marzial
The second Vaughan Williams piece of the curriculum is certainly more compact
than the English Folk Song Suite, but contains a lot of musical merit. The form of this
work and the theme is clearly separated, which will be good for students to lock into, and
take on the different responsibilities when they have the main theme. It sounds like a
march, but is actually in the form of a Sonata. Unlike the E.F.S.S., this work is based off
of Williams own original ideas.
The work features contrasting lines juxtaposed to one another, and places themes
on top of each other. The individuality of this work makes it exceptionally challenging for
students, but is doable by a band of this level.

Concert
Repertoire
Historical
Prelude, Siciliano,
& Rondo

Core
Fantasy on a
Japanese Folk
Song

Historical
Fantasia

Core
Toccata Marzial

Musical Elements
Historical form and
classical themes
are the focus for
the third year. This
work is very
traditionally
formatted, and
features classical
styles combined
with 20th century
textures and
harmonies.
Main theme taken
from a traditional
Japanese Folk
Song.

Originally by
Bach, Goldman
arranged this
Fugue for the band
medium.
The theme sounds
like a march.

Form &
Structure
Multi-movement
work. The title
speaks for itself.

Technique
Development
There are intricate
rhythms throughout
the work. The
different lines weave
in and out through
one another.

Listening
The weaving
juxtaposed lines
make lining up the
different parts a
challenge. The
students will need to
listen to be
rhythmically
accurate.

The work is built

off of multiple
climaxes, and
incorporate the
altered theme in
between these
climaxes.
The themes are in
fact in a fugal
structure.

The students will

experience extreme
dynamic contrast.
The piece is not
technically
challenging.

There are colorful

harmonies and
extreme passing
tones and
suspensions.

Not technically
demanding.

The individual parts

of the work are
always moving,
given its baroque
aesthetic.

The overall
structure of the
piece is set to be in
a sonata form.

The main melody, if

taken a brisk tempo,
can be challenging.
Dexterity for any of
the students who
play it will certainly
be developed.

Year
4

Chester Overture for Band

Another cornerstone work for wind band, this piece provides an excellent
challenge for all of the students. The main theme of the piece is presented twice in the
opening, first from the woodwinds, and then the brass, both in chorale like fashions. It
was taken from a songbook that had many tunes from the American Revolution. During
that time in 1778, it became the song of the revolution. The slow chorale section at the
beginning is then contrasted with a fast remainder of the work that takes the theme and
transforms it in several different ways. The students will be faced with a fair amount of
dexterity that is required to play some of the passages in the piece. Chester will also be a
great chance for them to work on their range, and being more comfortable in extreme
tessituras.

Irish Tune from County Derry

This work is widely known by many musicians, in and outside of the band world.
This melody of the piece is taken from an old Irish tune called Danny Boy. The choral
arrangement of this is often performed by groups of all levels. The piece is slow, and
saturated with musical climaxes and expressive gestures. The work is not technically
challenging, and is basically an extended choral, and is separated into four long phrases
that match the stanzas of the original poem. The work stays in the key of F Major, but
plays with extremely colorful harmonies that add a beautiful depth to the music.

This is one of Percy Graingers most influential works for band, and will be a
huge asset for any ensemble to perform.

Hammersmith
This is an intense work by Gustav Holst. Like English Folk Song Suite, it draws
from tunes of the town of Hammersmith. The piece provides a challenge for all of the
members in the band as far as the technique is concerned, and a challenge in regards to
ensemble skills.

Toccata for Band

This work is certainly attainable by younger groups, but has a very mature sound,
which is why a higher-level ensemble can bring the music in the piece to life. Among the
simple technical aspects of the piece, it also comes with sections that challenge older
musicians. The different themes are all part of a modified sonata form, and they are what
provide the contrast within the piece. Although the work is heavily scored for most of the
sections, Erickson composed it in a way that allows it to remain light and bouncy.

Concert
Repertoire
Historical
Chester

Core
Irish Tune

Historical
Hammersmith

Core
Toccata for Band

Musical Elements
Musical expression
is very achievable
with this work. The
main theme is
stated in the
beginning, and is
then altered
throughout.

This piece is based

off of a poem that
was made into a
song. Grainger
adapted the tune
for band, and
allows for
maximum musical
expression from all
of the performers.
This work takes its
main theme from
local folk songs of
the town of
Hammersmith.
There is a lot of
expressive
opportunities in
this work
The melody of the
work is very clear,
and is stated
throughout in
different voices.

Form &
Structure
The piece has a
slow introduction,
and then a fast
remainder of the
piece.

The piece follows

the contour of the
stanzas of the
original poem.

Technique
Development
The piece is very
technically
challenging for all of
the performers. This
will uncover a lot of
dirt in the ensemble,
and will give you,
the teacher, a chance
to develop the
individual
techniques.
Not technically
demanding.

The work places a

lot of rhythmical
responsibility on the
players.

The form is that of

a modified sonata
form.

Attainable for
groups of all levels.

Listening
Always have the
main theme in mind.

The main theme

should always be
heard, and it is easy
to be covered up at
different points in
the piece when the
melody switches to
other instruments
and accomanimental
lines thicken or thin
out.
Listen for the
individual dynamics
that occur
throughout.

Keep the music light

and bouncy. The
scoring is fairly
thick, but still
maintains a lively
character.