Guide Second Suite in F - Oboe

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Song without Words: \relative c' { \key f \minor \time 4/4 \; Song of the Blacksmith: \​relative c { \key f \major \time 4/4 \tempo; Fantasia on the Dargason: \relative c''.
Table of contents

The oboe plays the original oboe solo carrying the song. Also kept is the beautifully written flowing accompaniment by the clarinet. Movement III is confident and jaunty, so play with much fitnesse and style even though there are numerous off-beat accompaniment. The french horn takes centre stage yet again introducing the main melody. Movement IV is notable for the folk tune Greensleeves interwoven into the movement.

The bassoon has a chance to shine this time with it introducing the melody. This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere else. Click here to see more titles from these independent creators and to learn more about SMP Press.

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This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. According to Vaughan Williams' wife, he welcomed the opportunity to compose a piece for band.

A military band was a change from an orchestra, and in his not-so-far off army days he had heard enough of the "ordinary monger's light stuff" to feel that a chance to play real tunes would be an agreeable and salutary experience for Bandsmen. Vaughan Williams used no fewer than nine folk songs to create the three-movement suite. T he following year Vaughan Williams wrote two more songs for military band.

Sea Songs is a simpler, one-movement work incorporating the songs "Princess Royal", "Admiral Benbow", and "Portsmouth". Toccata Marziale , like the English Folk Song Suite , takes its place among the best literature for wind band. Composed for the Commemoration of the British Empire Exhibition, Toccata Marziale provides a different perspective to Vaughan Williams' compositional style. In contrast to the English Folk Song Suite it carries a powerful sound of contrasting masses of brass and woodwinds, supporting an engaging contrapuntal format projected through the use of major, minor, and whole tone scales.

This simple yet elegant piece was composed as an overture to the pageant Music and the People. B ecause of the impact that English folk songs had on his career, Percy Grainger is included in the list of 20th Century English Renaissance composers. An eccentric personality to say the least, Grainger was a music figure of international renown. Born in Australia in , his early piano training was with his mother and Louis Pabst prior to studying in Germany for six years.

Upon receiving acclaim as a performer in London late in , Grainger began a performance career that provided the opportunity to travel throughout the world. After making England home for some years, he came to America in , and eventually became a citizen in Self-taught in composition, his style was one of innovation, using irregular meter, a wide variety of instrumental color combinations, and experimentation with electronic music.

I n addition to his masterful use of wind scoring, perhaps the most compelling aspect of Percy Grainger's music was his love of folk song. As an early musicologist, Grainger recorded many of the folk songs of England on the Edison wax cylinder phonograph. Indeed, at the turn of the century, folk singing was rapidly becoming a dying art, with a number of his singers being over eighty years old.

As an avid collector of folk songs, he compiled songs not only in England, but also throughout the world. As a result, most of his compositions were either directly or indirectly influenced by folk music.

ENS WEWS by WCU Wells School of Music - Issuu

G rainger could transform a piece into something of a musical portrait of the individual singer who sang the song for him - his or her "regular or irregular wonts of rhythm", mixed with contrasts in style and "breadth or delicacy of tone". That meant that songs would not be "cleaned up" and packaged into four measure phrases, etc. Instead the rhythm, tempo, style, and dynamics transcribed from the song would reflect each inflection, verse by verse, which the singer had presented. The result for the music world was both fascinating and challenging.

G rainger had been writing and honing his skills for many years preceding this. In fact his writing for bands preceded Holst by several years, though his music was slower in attracting the favor and attention of band conductors.

"Second Suite in F - Oboe" Sheet Music by Gustav Theodore von Holst

These works were not published, however, until a later date, thus preserving the place of homage that Holst's First Suite in E-flat has held in the band world. G rainger held a particular love for the timbre of wind instruments.

2 Finales from the Holst Suites in F & Eb - Dargason & March

He was a continual experimenter in new sounds, and sometimes championed the sound of more obscure instruments. His attraction to the double reeds is evidenced in the Hill Songs , and he described the saxophone as being the most expressive of all the instruments as well as the one most nearly approximating the human voice.

His love of color is most evident when the instrumentation of Lincolnshire Posy is compared with that of the Holst suites. Grainger used a fuller complement of clarinets and saxophones, and added mallet and tuned percussion. G rainger's use of folk song in composition is exemplified in his work Lincolnshire Posy.

Written in six movements, Grainger's newest work surely stunned the band world in presenting challenges in timbre, style, and rhythm that were not normal fodder for band directors. J ust as the military band was coming of age and maturity in Britain, the brass band continued its great popularity. The lack of English composers in the 19th century necessitated the playing of standards by other composers such as Mendelssohn, Schumann, Wagner, etc. This, coupled with the fact that the brass band phenomenon represented music for the lower and middle classes, discouraged original composition of much breadth.

The 20th century renaissance of English music, coupled with the efforts of a few enlightened patrons, changed all the aforementioned. Beginning in the s and s some of the best-known English composers were commissioned to write "test pieces" for contests. These works were designed to fit certain contest criteria, and would be performed by all entering bands.

O ddly enough, the English interest in composition for military band in the early decades for the most part did not sustain itself during the rest of the 20th century one notable exception being Gordon Jacob.

JS Bach: Concertos for Oboe and Oboe d’amore

This observation is made in contrast to the great interest in writing for bands so prevalent in the United States today. Perhaps one reason was the great interest that Britain retained in the brass band - a phenomenon that disappeared in America soon after the close of the Civil War. The American concert band, with part of its roots in the British military band, has been a primary musical outlet for both the military and the general public, first through the professional band and then through the school band movement.

By contrast, the British military band, with its woodwinds and brass, has served a different function from that of the brass band, which is more of a social event. Indeed, it has been observed that the quality of performance of the military bands has often been inferior to that of the brass bands.


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British composers have apparently considered the wind band to be lower than the brass band in the musical pecking order, and have been concerned that a performance of a work can potentially be subject to a myriad of instrumental doublings. T he impact of English composition early in the 20th century on the literature of the wind band has been most significant.

Despite the relative drought of composition over numerous decades, there has been an effort in recent years to encourage British composers of some note to write with the military or wind band in mind. The result is a new body of literature that will make its mark on the band movement for years to come.

I love it enough for a million people. I am also pretty sure I still have my sheet music around somewhere for at least the First.

for Military Band (1911)

A piece that I worked on and got completed. I posted the sheet music earlier, now you can hear what Im going for. Irish Washerwoman on The Dargason. Follow my second youtube channel for more music content. Posted from OG account. Random practice material to get my chops reading for marching band, we dont march bones, so here is my marching euphonium. Be sure to follow. This piece of music is a work of art itself, promoting through a simple, catchy line that is constantly played throughout, yet allowing other moving lines to build from it and result in an overall beautiful piece.


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