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Instrumentation:
Piccolo (Db part*)
8 Bb Cornets (4 1st, 2 2nd, 2 3rd)
st
nd
2 Flutes (1 1 , 1 2 )
2 Bb Trumpets (1 1st, 1 2nd)
2 Oboes (1 1st, 1 2nd)
2 Bb Flugelhorns (1 1st, 1 2nd)
English Horn
4 F Horns (Eb*)
st
nd
2 Bassoons (1 1 , 1 2 )
3 Trombones
Contrabassoon
2 Baritones (Treble*)
Eb clarinet
5 Tuba (Basses)
12 Bb clarinets (4 1st, 4 2nd, 4 3rd) String Bass*
Eb Alto clarinet
Bells/chimes
Bb Bass Clarinet
Timpani
st
2 Eb alto saxophones (1 1 , 1 2nd) Snare Drum
Bb Tenor Saxophone
Cymbals
Eb Baritone Saxophone
Bass Drum
Bb Bass Saxophone*
Woodblock
Tambourine
Background of piece:
As an active composer in the 1930s, Gould had not written any
works for band. In fact, few American composers had taken the
medium seriously enough to devote any attention to producing original
works for band; however, after having heard the University of Michigan
Band under William Revelli premiere his Cowboy Rhapsody, Gould
"realized what a great music-making machine we had."
Ballad for Band, composed in 1946, was commissioned by the
Goldman Band and was premiered by the ensemble on June 21 of the
same year. Based on the style and elements of the spiritual, Ballad
does not contain any direct quotes from existing melodies. It is,
instead, an original expression of the effect spirituals had upon him as
a composer:
As Gould comments further on this wind band work:
I have always been sensitive to and stimulated by the
sounds that I would call our American vernacularjazz,
ragtime, gospel, spirituals, hillbilly. The spirituals have always
been the essence, in many ways, of our musical art, our musical
spirit. The spiritual is an emotional, rhythmic expression. The
spiritual has a universal feeling; it comes from the soul, from the
gut. People all over the world react to them I am not aware of
the first time I heard them. It was undoubtedly a sound I heard
as a child; maybe at a revival.
Ballad is cast in a broad ABA form, with each slow A section
unfolding at a leisurely, unhurried pace. The central B section is
Formal Content:
Broad ABA form, with each slow section unfolding at a leisurely,
unhurried pace. The central B section is lively and rhythmic, but
seems only like a brief episode interrupting the reverie of the outer
sections.
Intro:
m.1-9
||--2--|--2--|--5--|
m.1
m.3
m.5
A section:
m.10
m.10-40
m.12
m.36
m.14
m.39 m.41
w/pickup
Euph. Solo
Transition:
m.16
m.18
elided
|
Fl/ob. solo
m.41 m.42
m.45
Frame
B section
theme introd,
fermata x2
m.48
m.24
m.28
w/pickup
m.41-47
|--1--|--3--|--3--|
m.21
m.29: PEAK
B section:
m.48-149
B1
(intro)
|
B2, jazzy
B3
w/ square
interjections
C&R
Clap
Section
|--8--|--4--|--7--|--5--|--3--|--5--|--6--|--6--|--4--|--4--|--5--|
m.48
m.56 m.60
m.100 m.105
B.I. x2,
2 meas. frag.
2 meas. C.I.
m.67
m.72
m.75
elided
m.80
phrases
stacked
m.86
m.92
m.96
accelerating
call & resp.
Aggressive
Style Takes
Over (110)
expansion
elided,
beat
displacement
Extension:
m.150-163
|--6--|--3--|--5--|
150
A section:
m.164-182
|--5--|--6--|--2--|--2--|--4--||
164 m.169 m.175
w/
caesura
overlap
m.177
m.179
Euph. solo |
Harmonic Content:
END
Mood:
Impressionistic feel to outer A sections, furthering Goulds assertion
that there are no direct musical quotes from spirituals, but rather a
feeling to be conveyed. Colorful!
In an interview with Dr. Thomas Stone, Gould offered insight on
how the spiritual influenced this music:
I have always been sensitive to and stimulated by the sounds
that I would call our American vernacularjazz, ragtime,
gospel, spirituals, hillbilly. The spirituals have always been the
essence, in many ways, of our musical art, our musical spirit. The
spiritual is an emotional, rhythmic expression. The spiritual has a
universal feeling; it comes from the soul, from the gut. People all
over the world react to them I am not aware of the first time I
heard them. It was undoubtedly a sound I heard as a child;
maybe at a revival.
Very interesting blend of American sounds: Copland, Persichetti,
Gershwin.
Dynamics:
Meters/Tempi/Rhythm:
Meters used are 4/4 and 3/4. A sections predominantly 4/4 with 3/4
measures used for phrasing. B section in both 3/4 and 4/4.
Melodic Content:
Articulation:
Texture/Orchestration:
Impressionistic use of instrument colors: muted trumpets,
horns and baritones in their most beautiful singing register.
Play the whole section (under tempo); then work in two chunks:
1) m.41-66
Timbral shifts: BALANCE & BLEND
2) m.67-85, 86-110
Mood loosens with introduction of jazz influence at m.67; lasts
until 86, where a contrasting, aggressive style of the brass
begins to fight with the lyrical, jazz-influenced section.
o At 86, aggressive style takes over.
m.92 slowed down so pitches can be heard for
flugels, horns, and trombones.
o Square, tight interjections are a recurring theme.
For next time: m.92-165
m.86-110
Dancing begins!
o Sing figures to make dancing happen (through accents)
o Two different styles/different voices: exaggerate style of
your line!
o *Beats 3 & 4 of m.109.
m.110-131
Clarity/immediacy of articulation and sound is imperative!
o People starting to talk over each other, finishing each
others sentences.