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OVERTURE FOR WINDS,

CHARLES CARTER
Instrumental Methods II MUS 3470

Bradley Coleman
Spring 2017
 Table of Contents

Basic Information2

Program Note...3

Historical Information..4

The Work..8

Preparation Guide14

Resources..22

1
 Basic Information

The piece that I have picked is Overture for Winds, composed by Charles Carter and published by

Bourne Inc in 1959, later assigned in 1961 to Bourne Co. This piece is rated by JW Pepper as a Junior

High Class AA piece and a Senior High Class C piece, while a good combination and back and forth of an

energetic fanfare theme and a slow lyrical section with many deceiving ritardandos hinting at a slower

section, but then returning to the original fanfare theme spread over a typical 4 minutes. In Theme A,

it is in 2/4 time marked at 152bpm; in the lyrical Theme B beginning at measure 50, it is in 4/4 time

marked at 76bpm; when Theme A happens at measure 79 it is back to 2/4 time at Tempo I; and it

finishes off in 2/4 time in a Maestoso 84bpm at measure 181 to the end. This is a fairly full composition

with Flutes, Piccolo, Oboe 1/2, Eb Clarinet, Bb Clarinets 1/2/3, Alto Clarinet, Bass Clarinet, Bassoons ,

Eb Alto Saxophones , Tenor Saxophone, Baritone Saxophone, Bb Cornet 1/2/3, F Horns 1/2/3/4,

Baritone B.C., Trombone 1/2/3, String Bass, Tuba, Timpani, and Drums (Bass Drum, Snare Drum,

Suspended Cymbal, Crash Cymbal) all in a full score that is transposed to their individual keys. It goes

through a number of keys beginning in Eb, and modulating to Bb at measure 57, until the fermata in

measure 78. The official Key change into Bb is in measure 79, changes key suddenly in measure 116 and

continues until the last note which is a band unison concert Eb. The only real unusual requirements I

can find are in measure 19 there is an odd marking for one on a part in the Flute part, and some odd

voicing moments. For example in measure 33 the Trombones, Cornet 1, Alto Sax 1, Clarinet 1 and Flutes

play the melody; in measure 63 the Baritone, Oboes, and Flutes play the transition; In measure 89 Alto

Saxes, Clarinet 2/3 play a running line and then in measure 91, Cornet 1, Tenor Sax, Clarinet 2, Eb

Clarinet, and Oboes play a running line. And throughout the entire piece, it will just be a lot of keeping

track of who has the melody/moving line to make sure that it doesnt get buried in all the commotion.

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 Program Note

This piece is a good mix between fast and exciting as well as lyrical and expressive over the 4

minutes it is heard. The first section is an energetic fanfare that serves to grab the audiences attention

right from the get-go and try to prepare them for the journey they are about to embark on. This section

has a good communication between high voices and low voices all playing rather loud, as well as

stylistically short and separated giving it the bouncy fanfare feel. The middle section is the lyrical and

expressive section with a lead in from the Baritones, the high woodwinds begin with a line that has a

rather sudden dramatic change of character to a bit of a darker color. This is where the students will be

able to show their ability to be expressive through the moving lines that move around the ensemble

rather seamlessly.

The lyrical section comes to a close with a dramatic pulling back of tempo and growing of

dynamics and intensity until a fermata lands on an extended F chord with a suspension before the

resolution of the original theme in a new key. The original theme is then moved into the low voices for

them to have some fun with until the section with runs appears. This then leads into quarter note bell

tones that begin with Cornets and Horns, but grows section by section until almost everyone is playing

bell tones at a half note length. The original theme comes back in the original key for an almost a full

iteration of it until it becomes a Trumpet feature that then leads into another type of natural crescendo

of bell tones until a Coda-like ending on a unison concert Eb.

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 Historical Information

The Work, Overture for Winds

Written in 1959 by Charles Carter, this piece is a classic in Wind Band Literature, and has

remained one of Carters most popular works. There is much that can be taught, mostly revolving

around the typical ABA overture form. In the fast sections, the motivic ideas are simple, but they are

also technically challenging because they are robust, rhythmic and rather angular. Luckily the piece isnt

a very hard one because the angular theme is repeated 10 times in Eb to begin, Bb after the lyrical

section, and returns to Eb for the last repetitions.

This is a great piece educationally because it give students a chance to learn about ABA form in

an exciting piece as well as a piece that is a catchy tune. It helps them grow their ears because in the

ritardando sections especially, there are many times when there will be an 8 bar phrase spread amongst

4 sections. This is not only a good tool to use for getting the students to count as they play, but also to

listen to the group before for how they sounded and to match that sound as much as possible.

Repetition is a key component in this piece as stated before, but the material in the B section (lyrical

section) are very reminiscent of the A section not melodically necessarily, but phrasing. There are some

instances of odd voicing combinations (Baritone, Oboe, Flute at measure 63, going into 64 is a great

example). There are also instances of layering where there are three different parts going on, measure

88/89 is a perfect example of this, the A theme seems to begin three different times only 4 measures

apart with a counter melody put in the middle to try to help build tension.

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The Composer, Charles Carter

Charles Carter is an American composer whose pieces have become standards in the

contest/festival performance by school bands. He began his music studies in the Midwest at Ohio State

University, receiving his Bachelors Degree, and receiving his Masters Degree from the Eastman School

of Music, studying with Bernard Rogers and Wayne Barlow. After Graduating from Eastman, he

returned to Ohio to work for the U.S. government where he wrote dance band arrangements and played

in dance/show bands. Dr. Manley Whitcomb, the OSU Director of Bands, asked him to write a piece to

premiere during the American Bandmasters Association meeting. Two compositions designed for the

educational market hit the printers and, published by Bourne, Inc. Metropolis and Overture in Classical

Style were released.

Carter was the arranger for the Ohio State marching band and was a part time low brass

instructor starting in 1951. In 1953, Dr. Whitcomb asked Carter if he would be willing to move to Florida

State University to be the Resident Arranger for the Florida State University Bands and assistant to the

Director of Bands, Whitcomb, and for the next 43 years Carter established his legacy. Carter arranged

for the various bands at FSU, composed band pieces for the educational field, invited to be a guest

conductor throughout the South and Midwest, publishing over 100 works through Bourne, Inc. mostly.

While at FSU, Carter arranged Dayton Smiths The Hymn to the Garnet and the Gold in 1956, being

premiered in 1958 by the Marching Chiefs. Since the release of the Hymn arrangement, numerous

traditions have appeared during the years up through the present day. In 1984, he received Kappa

Kappa Psis Distinguished Service to Music Award. He has since retired from FSU, but he is still active

with composing and arranging after he was setting trends in composition in the 1960s and the 1970s.

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Related History

In 1947, Florida State University had changed due to the signing of an act of the Legislature

returning Florida State College for Women to a coeducational status, changing the name to Florida State

University, with the Seminole chose as the new mascot, as chosen by the student body. The 1950s

brought further change to the University with the addition of five new colleges and schools of study to

the curriculum. Library Science, Social Welfare, Business, Journalism, and Nursing were added to the

already existing Arts and Sciences, Education, Home Economics, and Music, all of which had been in

existence since Florida State College days (1901). A new building was completed for the Developmental

Research School, created to provide on-site opportunities for experience and research to students in

Education. The 1960s, Florida State University constructed nine new buildings, including Oglesby Union

and the Fine Arts Building. Programs of African American Studies and Womens Studies were

established as well as the first black student enrolled in 1962 and the first black Ph.D. candidates

graduated in 1970.

Charles Carter graduated from the Eastman School of music, and worked alongside Dr. Manley

Whitcomb at Ohio State University, where Carter got his Bachelors Degree, as resident arranger and

part time low brass instructor in 1951. In 1953, Dr. Whitcomb asked Carter to move to Florida State

University with him to be the resident arranger for the Florida State University bands and assistant to

the Director of Bands. In 1956, Carter arranged the Hymn to the Garnet and the Gold, which was later

premiered by the Florida State University Marching Chiefs in 1958, from which many traditions revolving

around the hymn have appeared over the years through the current day, including after every home

football game, the Marching Chiefs play and sing the Hymn.

The tradition of the overture has been around since Opera was becoming a genre with

composers such as Monteverdi, Purcell, Handel, and Scarlatti. Jean-Baptiste Lully was the first composer

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to have the first significant use of full-scale overtures, much like in his opera Thse. Lully made his

musical form known as the French overture, that opens with a slow section in dotted rhythms, followed

by a quick section in fugal/imitative style and is often concluded with a slow passage (ABA form).

Alessandro Scarlatti is an important figure in modern day overtures because he established the form of

the Italian overture (allegro-adagio-allegro). This fast-slow-fast, ABA forms that we know for overtures

today and helped to set the form for most three movement classical symphonies and concertos.

The overture as we know it today is typically an introduction to a musical/opera that

foreshadows that musical material that will come later in the musical/opera. Some of the more famous

overtures that most people know of include Rossinis William Tell Overture from the William Tell Opera,

Tchaikovskys 1812 Overture, Mozarts Don Giovanni Overture, and Schumanns Manfred Overture. All

of these have the ABA form whether it be fast-slow-fast or slow-fast-slow, which are characteristic of

the overture genre.

Overture for Winds has the ABA, fast-slow-fast form, typical of the Italian overture with a lot of

imitation from earlier parts of the piece and even some foreshadowing throughout the piece. Imitation

occurs throughout the piece because the opening motive is repeated ten times throughout the 4

minutes and is used as an anchor if audiences or performers get lost. There is a lot of call and response,

especially in the A theme when its a slower feel where Clarinets and Trumpets/Flutes have a call and

response section, its the same rhythm just different notes. When the Baritone solo happens two

measures before the B section begins, it is foreshadowing a dramatic style change to the slow/lyrical

style and tempo change. There are three major ritardandos in the piece, every time these reappear they

are used to signal that the original fast theme is going to appear soon. This is especially noted when

going from the B theme back to the A theme there is some transition material, and the ritardando

reappears. This lets audiences and performers know that the A theme is going to reappear very soon,

keeping everyone on track.

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 The Work

Formal Analysis

Measure 1-16
Melody is an energetic, bouncy theme in Eb Major
There are constant quarter notes under the melody when it becomes a longer line

Measure 17-34 (Rehearsal A)

Style change to more flowing/lyrical
Prone to slowing down
Thinking of each fragment as a part of the overarching line, it should help to not drag

Measure 35
Pyramid of Sound

Trills

Long notes

Moving notes at 35
Cornet 1/2/3, Trombone 1/2/3

Moving notes at 37
Horns, Baritone, Alto Saxes

Measure 39-49 (Rehearsal B)

Same as measures 1-16
Melody is an energetic, bouncy theme
There are constant quarter notes under the melody when it becomes a longer line

Measure 50-52
BARITONE SOLO
Half notes have to make sure that they move at the right time to line up with the solo

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Measure 53-55
Difference between eighth notes and eighth note triplets
Will be difficult for the students especially since the triplets come off a tied quarter note
Most likely will sound like sixteenth notes for a while
Baritone counter melody as almost an echo of the melody
Long notes have to count and move at the correct time

Measure 56-59
Trumpets entrance match high woodwinds in style and volume to stay within texture
Baritone/Tenor Sax countermelody

Measure 60-63
Snare Drum entrance
Clarinets and Alto Saxes have the melody
Intonation
More Clarinet sound for the warmer sound
Flute/Oboe/Baritone pickup to 64

Measure 64-67
Tenor Sax and Baritone countermelody
When Clarinets enter, they are in the middle of the phrase and have to blend

Measure 68-70
Begins to build in intensity
Independence of parts will be important because within sections there is different parts
Especially Flutes, Oboes, Clarinets

Measure 71-78
Power struggle between Baritone/Trombones and everyone else
Baritone/Trombone grow in intensity with each 4 note motive
Trumpet states idea from the slow section
Clarinets respond quieter (76)
Final chord after suspension is an F11, b9 chord
Get their ears wrapped around it as much as possible

Measure 79-83
Theme A in Bb Major

Measure 84-99
Bouncy theme In Baritone/Tenor Sax/Bass Clarinet
Still the same theme of quarter notes during running lines to avoid rushing

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 Mes. 88
PART INDEPENDANCY
Part 1-Bass Clarinet, Bassoon, Bari Sax, Baritone, Trombone, Tuba
Part 2- Flute, Piccolo, Eb Clarinet, Bb Clarinet 1, Horns
Part 3- Bb Clarinet 2/3, Alto Sax
Mes. 95
Cornet 1 and Horns pick up
Mes. 96
Eighth notes same tempo vs. Accelerando (play with ideas)
Suspended Cymbals cant over power here

Measure 100-115 (Rehearsal F)

Bell tones in Cornets/Horns
Start mezzo piano, NOT fortissimo
Add Alto Saxes with bell tones (104)
Add Bb Clarinets with bell tones (108)
Add Flutes and Eb Clarinet with bell tones (110)
HORNS/BARITONE SUSPENSION NOTES OVERPOWER THE BAND (115)

Measure 116-155
Same as Beginning-39

Measure 156-163
Fragments of original theme in different order
16th notes section (x2), 8th notes section (x2)
Instead of 16th notes section, 8th notes section, 16th notes section, 8th notes section

Measure 164-172
Trumpets have bouncy eighth note melody
Trombones have quarter notes to help avoid rushing
Melodic fragment jumps around (169)
Clarinet
Bass Clarinet, Bassoon, Baritone
Horns , Alto Saxes, Bb Clarinet 1

Measure 173-180
Quarter notes in most all parts
Crash Cymbals on beat 1 (177)
RITARDANDO IN 178-179

Measure 181
Maestoso beginning with Crash Cymbals
Fragment of melody in Tenor Sax, Alto Sax, Bb Clarinets 1/2/3, Eb Clarinet, Oboes, Piccolo, Flutes
Final note: Unison Eb for full band

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Errata
Measure 35 in all parts
o Full Band: change dynamic to forte-piano for more dramatic dynamic change
o Small Rallentando in measure 38 before the main theme appears
Measures 50/51
o Full Band: write in decrescendo going into rehearsal C
o Baritone: write in crescendo in 50 to mezzo-forte and decrescendo on the B-natural.
Measure 57
o Baritone/Tenor Sax: Change dynamic to mezzo-forte for countermelody
Measure 60
o Snare drum piano or mezzo-piano? Be felt more than heard for rhythmic drive
Measure 84
o Trumpet forte or mezzo-forte or few on a part? Support lower voices melody
Measure 100
o Trumpet change mezzo-piano to piano for more dynamic contrast in the long, natural
crescendo.
Performance Notes
ABA Form, fast-slow-fast, much like Italian Overture.
Space between the pick-up notes (Measure 4, 12 etc)
All entrances between Rehearsal A and B are small fragments of a bigger phrase
All entrances between Rehearsal C and E are also small fragments of a bigger phrase
Measure 50, let the Baritone player lead the tempo to a point
Measure 84 LOW BRASS MELODY, have it still be bouncy like when the high woodwinds have it.
All entrances between Rehearsal F and G have to start and remain bell tones even through the
ritardando
Glossary of Terms

Theme A
The original Theme thats stated first
Theme B
The second theme that is stated after the A section finishes, usually its between two A
sections.

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Allegro con Moto
Quickly with motion, usually a bouncy melody
Io
Solo in a single part, in this case a solo in the first part
Cresc.
Gradually get louder in volume over a set number of measures
Dim.
Gradually get softer in volume over a set number of measures
Trill
Playing two notes in quick succession for a set number of beats
Ritardando
Gradually get slower in tempo over a set number of measures
A tempo
Resuming the tempo the proceeded the ritardando or accelerando
a2
Two players play the given part
Andante
Slow tempo
Tempo I
Return to the first tempo of the piece
Allarg.
Gradually broaden the tempo retaining a full, prominent tone. Similar to largo.
Bell Tones
Beginning of a note where the front end is accented for a split second and the first portion of
the sound is sustained, quieted afterward
Accent
A stress or special emphasis on a beat to mark its importance in the phrase/measure
Slur
Playing two or more notes, with no articulation between them
Stacatto
Playing a note long enough to be heard. With multiple notes, there is separation between the
notes.
Legato
Style of playing where everything is either slurred together or there is very light, tenuto
articulation
Maestoso
Playing a passage of music in a dignified and majestic fashion

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 Tenuto
A light articulation typically found in Legato styles, where there is as little space between notes
as possible.

Concepts or Skills
Holding notes full value
Knowing how their small chunk fits into the larger phrases
Dynamic contrast
Tempo contrast
Part independency

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 Preparation Guide

Objectives for Students

Students will be able to play through Overture for Winds within 10bpm of the metronome
markings without hesitation.
Students will be able to understand how their individual part fits into the portion of the bigger
phrase when they have a small portion.
Students will be able to understand the overall form of Overture for Winds and some basic
history behind the form.
Students will be able to play through rehearsal C-E without dragging and in tune.
Students will be able to know what instruments/sections share their individual part.
Students will be able to recognize how Overture for Winds is similar to other famous overtures
in form and style.

Strategies and Activities

Students will be able to play through Overture for Winds within 10bpm of the metronome
markings without hesitation.
o Begin by learning the piece much slower than needed
152bpm: 120-130bpm
76bpm: 60-70bpm
84bpm: 70-80bpm
The reason is so the students can get the technical parts of the song learned
with little to no mistakes
o Once the band can run the piece at slower tempos, then start to bring the bpm up.

Students will be able to understand how their individual part fits into the portion of the bigger
phrase when they have a small portion.
o Have students who play in a segmented line sing the whole line as if it were one
instrument playing
o Going through the whole line having the students clapping the rhythm when they enter
o Going through the whole line having the students singing the whole line
o Going through the whole line having the students playing their part
o Going through the whole line with the whole band.

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 Students will be able to understand the overall form of Overture for Winds and some basic
history behind the form.
o Research Projects explaining the basic history behind where the overture came from
Jean-Baptise Lully
(slow-fast-slow)
Alessandro Scarlatti
Italian Overture (fast-slow-fast)
Classical Symphony model, Concerto

Students will be able to know what instruments/sections share their individual part.
o As rehearsals begin to get past notes and rhythms, I will have groups with the same
parts play together to get their ears used to listening for the same parts.
Baritone/Tenor Sax countermelody between rehearsal C-D
Baritone/Oboes/Flutes pickup into D
Measure 68
Flute 1/Piccolo/Oboe/Eb Clarinet/Bb Clarinet 1/Cornet 1
Flute 2/Oboe 1/Alto Saxes/Cornet 2
Clarinet 2+3/Cornet 3/ Horns 1-4
Measure 84
Baritone/Tenor Sax/Bassoons/Bass Clarinet
Flutes/Piccolo/Eb Clarinet/Bb Clarinet 1/Horns 1-4
Bb Clarinet 2+3/Alto Sax 1+2

Students will be able to play through rehearsal C-E without dragging and in tune.
o Similar to learning what other instruments have the same parts, I will have the students
play together with their like parts and intonation will be very obvious.
o To get them to not drag I will explain multiple ways that lower dynamic level and a
longer style doesnt mean slower/lower tempo

Students will be able to recognize how Overture for Winds is similar to other famous overtures in
form and style.
o Have students to a minor research project comparing and contrasting Overture for
Winds with one other related piece
Ride, Samuel R. Hazo
Second Suite in F (first movement), Gustav Holst
1812 Overture, Pyotr Ilyich Tchaikovsky
William Tell Overture (finale), Giachino Rossini
Olympic Fanfare and Theme, John Williams
Other piece that will be preapproved by me before the assignment is turned in

Assignments for Students (Practice, Listening, Creative, etc)

Practicing
o Practice sheets, one rehearsal marking per day
Monday: A-B

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 Tuesday: B-C
Wednesday: E-F
Thursday: D-E
Friday: C-D
o Playing Tests on a random day every week or two weeks
Listening
o With a 6 week concert cycle, I will ask the students to send me a recording along with
some thought notes
Recordings of Overture for Winds, thought notes revolve around
interpretation
Recordings of similar pieces, Thought notes revolve around similarities to
Overture for Winds.
Creative
o For anyone that would be interested, doing a visual demonstration that will be put up in
the lobby for concert attendees to view before/after the concert.
Describing the form
Relating it to other pieces
Showing what instrument parts are similar to others in the different sections.

Practice Guide (include exercises as appropriate)

Overture for Winds

o A theme throughout with a metronome
Begin at tempo marking for the day, if not 5bpm faster
Parts that have quarter notes, this is the rhythm for your part
Parts that have 8th/16th notes, it will show you when you are rushing
Fragmented parts
Practice with a metronome and when you arent playing, sing the line
that is still happening to help get your ears around how your part fits
o B Theme Throughout with a metronome
Moving line especially, follow the metronome and calmly practice
The tendency here will be to rush, calmly practice this calm section
Supporting line, follow metronome to line up easier
o Maestoso with a metronome
All eighth note parts at measure 184 especially, to avoid dragging

Evaluation of Students

What will be evaluated?

o Accuracy of notes and rhythms
Especially when part independency is important
o Accuracy of Dynamics
o Accuracy of Articulations
o Consistent tempo and intonation

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 o Overall musicality
How will it be evaluated
o Playing tests every week or two weeks
Will be done by having one student at a time going into a practice room/extra
room in the band room with a recorder that is constantly running and a stand.
The students will go in one by one, say their name, play the section that will be
assigned, and be done.
o I will stay after school two or three days a week for open practice times
I will stay after and help any student who comes to practice with what they are
practicing. If a playing test is coming up, I will give more general feedback to
have them figure out more on their own to show their growth as a musician.
o I will advertise for private instructors, and who is interested will explore the option.

Rehearsal Schedule

Day 1

Sight reading all 3 pieces in the festival style. 10 minutes per song to get the band in the mindset
of how to do sight reading like we would in festival. (30)
Carter: Beginning-C, Transitions at A and B (20)

Day 2

King: First strain, March style and playing the rests (20)

Mackey: Beginning-C, Who has the melody and who has the color notes? (20)

Carter: Beginning-C, Transitions at A and B (10)

Day 3

Mackey: B-F, Balance between melody/counter melody/supporting parts (30)

Carter: 2 before C-E, Difference between triplets and 8th notes/knowing when you come in in
the middle of the melody line (20)

Day 4

King: Second strain, March style/Playing the Rests/Dynamic contrast (15)

Carter: D8 (Mes. 71)-F, Trombone/Baritone counter line and original Melody in new key as well
as low brass melody (25)

Mackey: H-end, Conversation between oboe and other parts of the band (10)

Day 5

Mackey: E-H, tuning and balance through both climaxes (F and G) (30)

King: first and second string, Playing the rests, drastic dynamic contrast

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Day 6

Guest Clinician (50)

Local Band Director, Hear all three pieces and sight reading, give comments and work with
the band to get a fresh face/perspective in front of the students.

Day 7

Carter: F-end, Transitions at G, H, Mes. 150, J, and K. Explain how the melody moves around the
band. (45)

King: Trio, Balance/dynamics/style (15)

Day 8

Mackey: F-H, control, tuning, and balance through both climaxes (F and G) (25)

Carter: 2 before C-end, transitions/dynamics/where you come in during the phrase (25)

Day 9

King: Run through, focusing on style, dynamics, and changes within each strain (20)

Mackey: B-E, tuning between instruments when one comes in during the middle of a phrase (30)

Day 10

Mackey: Beginning-B, tuning at the beginning, clean transition of melody from Oboe to Tpt (15)

Carter: Beginning-C, clean transitions of melody/split phrases (30)

King: All Transitions, keep tempo and clean transition of melody

Day 11

Mackey: Beginning-G, transitions and time changes (40)

Carter: J-Mes. 173, Trumpet keep tempo and articulations, entrances after Tpt dont rush (10)

Day 12

Carter: H-end, Clean transitions of melody, articulations (especially Bell Tones!!!!), dont rush
In Maestoso section, tuning of last 8 measures (40)

Mackey: I-end, different ways of ending the piece (how much ritard on the last 3 notes) (10)

Day 13

Mackey: C-F, clean transitions of melody, GRADUAL crescendo, connection of rehearsal D

sounding similar to the beginning (35)

King: Recording and playing back whole piece. Discussion on style, dynamics, etc (15)

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Day 14

Guest Clinician (50)

Local Band Director, Hear all three pieces and sight reading, give comments and work with
the band to get a fresh face/perspective in front of the students.

Day 15

Carter: A-B, Clarinets/Trumpets think of individual parts as one line to help it to sound like one
continuous phrase instead of random 2 measure interjections (15)

Mackey: E-H, Horn countermelody (MOMENT TO SHINE!!!) and decrescendo into Oboe solo (20)

Sight Reading: First We Dream, Morales (15)

Day 16

Mackey: A-B/D-E/H-I, Call and Responses between Oboe or Flute/Clarinet and the band, taper
off at the end of the phrase (30)

Carter: J-K, Trumpets line up 8th notes with Trombones at J. Other entrances, dont rush. Tune
quarter notes from Mes. 173-K (20)

Day 17

Sight Reading: Omega March, Edmondson (10)

King: Run through, Dynamic changes and style (15)

Mackey: Beginning-C, Melody singing and focusing on solidity of background parts (25)

Day 18

Mackey: Beginning-C, everyone playing with keeping Day 17s exercise in mind (15)

Mackey: H-end, Melody singing and focusing on the solidity of background parts (15)

King: First string, all but melody play to make sure that solidity of background parts is there (20)

Day 19

Sight Reading: Lexington March, King (10)

Mackey: H-end, everybody playing with Day 18s exercise in mind (15)

Carter: Beginning-C, Melody singing and focusing on the solidity of background parts (25)

Day 20

Sight Reading: Celtic Air and Dance, Sweeney (10)

Carter: Beginning-C, everybody playing with Day 18s exercise in mind (20)

Mackey: E-H, Melody singing and focusing on the solidity of background parts (20)

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Day 21

Sight Reading: Grays Harbor March, Hodges (10)

Mackey: E-H, everybody playing with Day 19s exercise in mind (15)

Carter: C-E, Melody singing and focusing on the solidity of background parts (15)

Sight Reading: Loch Lomond, Bobrowitz (10)

Day 22

Carter: C-E, Melody singing while keeping Day 21s exercise in mind (15)

Mackey: Run through and fixing transitions as needed (25)

King: Run through and fixing what is needed (10)

Day 23

Guest Clinician (50)

Local Band Director, Hear all three pieces and sight reading, give comments and work with
the band to get a fresh face/perspective in front of the students.

Day 24

Carter: Beginning-G, Run through and fixing transitions as needed (25)

Mackey: E-end, Run through and fixing transitions/balance as needed (25)

Day 25

Sight Reading: Meyer March, Zdechlik (10)

Carter: E-end, Run through and fixing transitions as needed (15)

Mackey: C-end, Run through and fixing transitions as needed (25)

Day 26

King: Run Through and fix transitions/style/dynamics as needed (15)

Mackey: Beginning-D, Run through and fixing transitions as needed (15)

Questions about Festival (20)

Day 27

King: Run Through (5) *Recording*

Mackey: Run through (5) *Recording*

Carter: Run through (5) *Recording*

Rehearse: Anything that is needed throughout all 3 pieces (35)

20
Day 28

Sight Reading: Overture, La Belle Helene, arr. L. Odom (15)

Carter: Run through, rehearse anything that is needed, especially relating to balance and
tempo (25)

Mackey: E-H, keeping balance/tuning/tempo in mind (10)

Questions about Festival (10)

Day 29

Hand out/go over Festival Itinerary (20)

Questions about Festival (5)

Listen to recordings from Day 27, discuss positive/negative (25)

Day 30

King: Run Through (5) *Recording*

Mackey: Run Through (5) *Recording*

Carter: Run Through (10) *Recording*

Sight Reading: Xerxes, Mackey (10) *Recording*

Play back recordings, discuss (10)

Go over Festival Itinerary, any final questions (10)

21
 Resources

Recordings

North Texas Wind Symphony (Audio)

https://www.youtube.com/watch?v=sr20TBDl3d4

University of Tennessee Concert Band (Audio/Video)

https://www.youtube.com/watch?v=ZfdiZp9q9IQ&spfreload=5

UNCG University Band (Audio/Video)

https://www.youtube.com/watch?v=1IgM_RqClBg

Dauphin County High School Band (Audio)

https://www.youtube.com/watch?v=a6I6vBTiOuI

Related Works, Same Composer

Overture In Eb
MSBOA Class B, Grade
https://www.youtube.com/watch?v=KfFE8JK-2p8\

Symphonic Sketch
MSBOA Class B, Grade
https://www.youtube.com/watch?v=17OmYztxt_E

Symphonic Overture
MSBOA Class B, Grade 4 More Advanced
https://www.youtube.com/watch?v=uNrwuMlzO7k

Rhapsodic Episode
MSBOA Class C, Grade
https://www.youtube.com/watch?v=AXTE5GoKB10

Queen City Suite

Grade
https://www.youtube.com/watch?v=HNvqZP27nAQ

Related Works, Different Composers

Ride, Samuel R. Hazo

Grade 5+, more advanced
https://www.youtube.com/watch?v=b9XPLxeUrRE&list=RDQMuqxt1BMEc2c&index=1

22
Second Suite in F (first movement), Gustav Holst
Grade 5, more advanced
https://www.youtube.com/watch?v=7nz7tvRdL94

1812 Overture, Pyotr Ilyich Tchaikovsky

Grade 3, same level
https://www.youtube.com/watch?v=VbxgYlcNxE8

William Tell Overture, Finale, Gioachino Rossini

Grade 5+, more advanced
https://www.youtube.com/watch?v=c7O91GDWGPU

Olympic Fanfare and Theme, John Williams

Grade 5+, more advanced
https://www.youtube.com/watch?v=MCqUESCoB1w

23
Bibliography
Charles Carter. Carl Fischer Music. Carl Fischer, n.d.Web. 06 Mar. 2017.

Composers Carter, Charles. TRN Music Publisher, Inc. TRN Music Publisher, Inc., n.d. Web. 06
Mar. 2017.

The Editors of Encyclopdia Britannica. Alessandro Scarlatti. Encyclopdia Britannica, Inc., 29

Mar. 2007. Web. 07 Mar. 2017. <https://www.britannica.com/biography/Alessandro-Scarlatti>

The Editors of Encyclopdia Britannica. Overture. Encyclopdia Britannica. Encyclopdia

Britannica, Inc., 8 Jan. 2007. Web. 07 Mar. 2017. <https://www.britannica.com/art/overture-music>

Ehrlich, Bobbi. Full Year Curriculum. Music 512: Music in the Jr./Sr. High Schools (n.d.): 5. Web. 6
Mar. 2017.

FSU Marching Chiefs. FSU Marching Chiefs Humble Beginnings Comments. N.p., n.d. Web. 06
Mar. 2017.

Gustav Holst Second Suite in F. YouTube. TheMasterDecoder, 14 Feb. 2011. Web. 07 Mar. 2017.
<https://www.youtube.com/watch?v=7nz7tvRdL94>

J. Ben Jones, UNCG University Band, Overture For Winds Charles Carter. YouTube. J. Ben Jones,
12 De. 2016. Web. 07 Mar. 2017. <https://www.youtube.com/watch?v=1IgM_RqClBg>

Kjos, Neil A. Queenwood/Kjos Publications. Queenwood/Kjos Publications. N.p., n.d. Web. 06 Mar.
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John Williams: Olympic Fanfare and Theme. YouTube. ReBillyRayCollins, 28 May 2011. Web. 07
Mar. 2017. <https://www.youtube.com/watch?v=MCqUESCoB1w>

Lee, Dongjae. Carter, Charles Overture for Winds: Grade 3. Musi3500. Wordpress, 05 Oct. 2014.
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Overture for Winds Charles Carter. YouTube. Joey Martin, 26 Apr. 2015. Web. 07 Mar. 2017
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Overture for Winds Charles Carter. YouTube. Jonathan Roode, 17 July 2015. Web. 7 Mar. 2017.
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Overture for Winds by Charles Carter. YouTube. Concertbandland, 7 Dec. 2010. Web. 06 Mar.
2017. <https://www.youtube.com/watch?v=sr20TBDl3d4>

Overture In E Flat St. Aloysius Wind Ensemble. YouTube. CyFyWin, 24 July 2015. Web. 07 Mar.
2017. https://www.youtube.com/watch?v=KfFE8JK-2p8

Queen City Suite Charles Carter. YouTube. WO2013-14, 04 Aug. 2015. Web. 04 Mar. 2017.
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24
Rhapsodic Episode : Charles Carter. YouTube. Thierry Burton, 16 Oct. 2014. Web. 07 Mar. 2017.
<https://www.youtube.com/watch?v=AXTE5GoKB10>

Ride By Samuel R. Hazo. YouTube. Concertbandland. 20 July 2009. Web. 07 Mar. 2017.
<https://www.youtube.com/watch?v=b9XPLxeUrRE&list=RDQMuqxt1BMEc2c&index=1>

Rossini: William Tell Overture: Final. YouTube. Classical Music, 12 July 2008. Web. 07 Mar. 2017.
<https://www.youtube.com/watch?v=c7O91GDWGPU>

Symphonic Overture. YouTube. College of New Jersey Wind Ensemble Topic, 22 Jan. 2015. Web.
07 Mar. 2017. <https://www.youtube.com/watch?v=uNrwuMlzO7k>

Symphonic Sketch by Charles Carter. YouTube. WindBandCentra, 25 Jan. 2014. Web. 07 Mar.
2017. <https://www.youtube.com/watch?v=17OmYztxt_E>

Tchaikovsky 1812 Overture (Full with Cannons). YouTube. Avrilfan2213, 21 Feb. 2011. Web. 07
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