BRASS BAND HISTORY AND IDIOMATIC WRITING IN BRASS MUSIC. Elyse T. Kahler. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS

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1 BRASS BAND HISTORY AND IDIOMATIC WRITING IN BRASS MUSIC Elyse T. Kahler Thesis Preared or the Degree o MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: William Coble, Committee Chair David Schwarz, Committee Member Jon Nelson, Committee Member Joseh Klein, Chair o the Division o Coositional Studies John Murhy, Interim Director o Graduate Studies in the College o Music James Scott, Dean o the College o Music Mark Wardell, Dean o the Toulouse Graduate School

2 Kahler, Elyse T. Brass Band History and Idiomatic Writing in Brass Music. Master o Arts (Coosition), May 2013, 87., 24 igures, bibliograhy, 12 titles. The urose o this research was to exlore historical ersective o brass music. There is a brie history o brass bands in Britain. Furthermore, the aer examines the dierences between two brass band ieces in the reertoire, A Western Fanare by Eric Ewazen and Brass Syhony by Jan Koetsier. Both o these ieces were coared and contrasted against the author s newly coosed work or brass, Two Coanion Pieces or Brass Ensemble. The aer covers dierent techniques commonly used in brass writing and oints these techniques out in all three ieces.

3 Coyright 2013 by Elyse T. Kahler ii

4 TABLE OF CONTENTS Page LIST OF MUSICAL FIGURES... iv PART I: ANALYSIS AND CRITIQUE... 1 Chater 1 Introduction... 2 Chater 2 Brass Band History... 3 Chater 3 A Western Fanare... 9 Chater 4 Brass Syhony Chater 5 Two Coanion Pieces or Brass Ensemble Chater 5 Conclusion Bibliograhy PART II: TWO COMPANION PIECES FOR BRASS Movement I Movement II iii

5 LIST OF MUSICAL FIGURES Figure 1: Measure three o Eric Ewazen s A Western Fanare showing use o iths Page Figure 2: Measures o Ewazen s A Western Fanare showing the melodic movement o iths and ourths Figure 3: Measures o A Western Fanare (Ewazen, 1997), showing the circle o iths rogression Figure 4: Measures 34 and 35 o A Western Fanare showing the interjecting Horn I and II.. 12 Figure 5: Measure 19 o Ewazen s A Western Fanare demonstrating a rising cascade in the trombone, horn, and truet Figure 6: Measures o Koetsier s Brass Syhony showing the overlaing motive Figure 7: Measures o movement II o Koetsier's Brass Syhony showing the ive-note ick-u gesture Figure 8: Movement III o Koetsier s Brass Syhony measures 9-10 showing a six-note motive Figure 9: Measures o the second movement o Koetsier s Brass Syhony Figure 10: Movement I o Koetsier s Brass Syhony measures showing the augmentation o the quarter note line, with intervallic alterations Figure 11: Measures 1-2 deicting theme A o Koetsier s Brass Syhony movement I Figure 12: Measures 11 and 12 o Two Coanion Pieces Movement II showing the stacked iths in the ostinato line Figure 13: Two Coanion Pieces, Movement I, measures Figure 14: Two Coanion Pieces, Movement II, measure deicting the segment o our sixteenth-notes being used as a transition back to A Figure 15: Measures o Two Coanion Pieces or Brass Ensemble, Movement I Figure 16: Measures o Two Coanion Pieces or Brass Ensemble, Movement II Figure 17: Measure 30 o Two Coanion Pieces or Brass Ensemble, movement I showing the various cut o times or the horns and truets iv

6 Figure 18: Measures o Two Coanion Pieces Movement II showing the layering o the quarter and eighth note motive Figure 19: Measures rom Two Coanion Pieces showing the irst iteration o the ritornello that reeats throughout the entire movement Figure 20: Measures 1-4 o Two Coanion Pieces, movement I showing various time signatures Figure 21: Measures o Two Coanion Pieces or Brass Ensemble, movement II deicting changing time signatures, including irregular ones Figure 22: An excert rom the section B melody in Two Coanion Pieces or Brass Ensemble, movement I with tritones bracketed, measures Figure 23: Measures o Movement I o Two Coanion Pieces or Brass Ensemble deicting the octatonic scale Figure 24: Octatonic scale built on C# v

7 PART I ANALYSIS AND CRITIQUE 1

8 Chater 1 Introduction Two Coanion Pieces or Brass Ensemble is a new work or brass that integrates various styles and techniques into its ramework. Some o these techniques are drawn rom traditional tonal harmonies, ractices common to brass writing, and conteorary harmonic structures. The coosition o this iece rovided an oortunity to research the history o brass bands and to examine a selection o works or brass. Coositions or brass ensembles have only garnered oularity in the last centuryand-a-hal, and thereore have a smaller overall reertoire in music history. In the ast, brass instruments have traditionally been used in both military events and in civilian lie, such as the British brass bands o the 19th century and early 20th century. There are certain idiomatic techniques that are ound in many works or brass, many o which can be ound in A Western Fanare (1979) by Eric Ewazen and Syhony or Brass (1970) by Jan Koetsier. The alication o these techniques is evident in my own iece, Two Coanions Pieces or Brass Ensemble (2012), but there are additional asects not oten seen in brass band reertoire such as quickly changing time signatures. 2

9 Chater 2 Brass Band History The history o brass bands and ensembles is deely rooted in England. Brass bands can be traced back to medieval times, when towns would have their own grou o musicians, known as waits. 1 These small bands would lay in churches, or the military, and at circuses. In addition, they would also serve as watchmen in alaces to sound alarms or daybreak. These ositions with royalty were oten aid in land and were envied by the wandering minstrels o the time. This changed when Elizabeth I decreed that the vagabond musicians were rogues and were required to be in service to a seciic erson and to make that service known. Because o this, musicians began to settle down and orm guilds to rotect themselves. 2 Villages began to see their own bands orm. These bands had clarinets, ohicleides, 3 serents, and valve-less truets and horns. Any wait that had continued beyond Elizabeth s reorm and the Naoleonic Wars in mainland Euroe was coletely disintegrated by the Municial Reorm Act o The end o these waits brought about the ormation o brass bands, with reed instruments hased out by the s. One o the erormance venues or these all-brass bands was laying carols in the streets at Christmas, a tradition that is oten still racticed today. 4 1 Bainbridge Bainbridge An ohicleides is a keyed brasswind instrument, the bass member o the amily whose sorano is the keyed bugle Morley-Pegge (1); a serent is a li-energized wind instrument with side holes and a cu-shaed mouthiece, sometimes called the bass o the cornett amily Morley-Pegge (2); Newsome, Roots Tuba Christmas is an annual gathering o euhonium and tuba layers that lay Christmas tunes during the holiday season. The event has been held or almost thirty years. 3

10 Brass bands began thriving with the develoment o ublic transortation inrastructure, most notably railways. This allowed or many eole to travel urther distances in a shorter amount o time or less money. Local bands would visit neighboring cities to lay or each other and a great rivalry was born rom these meetings. 5 From these small contests with two bands came larger coetitions that served as the oundation or an abundant growth eriod or brass bands in England. The irst o these band coetitions may have occurred as early as in 1818 in Sheield. O greater historical certainty, bands were involved with other iortant occasions such as the coronations o King George IV in 1821 and Queen Victoria in The irst recorded coetition was at Burton Constable in Six years later in 1851, the irst major brass band coetition, which would become known as the Oen Brass Chaionshi (hereater reerred to as Belle Vue) was held at Belle Vue in Manchester, England. This coetition at Belle Vue would go on to be one o the largest coetitions in England or the next 150 years. 7 The other major coetition in England is the National Brass Band Chaionshi that are held in London at the Crystal Palace. The irst national chaionshi was held in 1900 and continues to this day. 8 U until this oint, the majority o music written or brass band was a mix o arrangements o oera, orchestral, oratorio selections and whatever the musicians themselves brought with them such as dance tunes (olkas, gallos, and waltzes) and marches. 9 There were two things that brought about the rise o music written seciically or brass bands: 5 Brainbridge Gammond Newsome, Roots Gammond Gammond

11 commissions or test ieces at coetitions and major English coosers writing or brass bands. A test iece was a single iece o music that every band at coetitions across the country would lay so judges had an equal latorm or judging. 10 Prior to any original test coositions, ieces were drawn rom the same ool o arrangements made u rom the reertoire o the time. In 1913, John Iles 11 commissioned Percy Fletcher to coose the irst original test iece, titled Labour and Love. 12 This iece, and newly coosed test ieces similar to it, would eventually become the syhonies o the brass band reertoire. 13 These works were aealing due to the challenge they resented brass musicians. While many o the coosers o these test ieces are only known in the circles o brass band reertoire, there are a ew coosers who, through the works they wrote or brass ensembles, heled elevate writing or brass to a new level. Gustav Holst wrote the test iece or the 1928 contest at Belle Vue (A Moorside Suite) and Edward Elgar wrote the Severn Suite or the same coetition in Malcolm Arnold could very well be considered the Mozart or Beethoven o the brass band world due to his outut o brass works including Little Suites or Brass Band, Fantasy or Brass Band, and Syhony or Brass Instruments A irst instinct would be to comment how boring that must be to hear the same iece twenty or more times, but brass band coetitions were so oular at the time that observers had no roblems listening to a work over and over again. Tickets were sold months in advance to these coetitions, attendees would buy coies o the test iece so they could ollow along, and there were even some eole who made bets concerning what band would take home the to rize. Brainbridge. 32, A major name in the world o brass bands. John Iles was the man behind the idea that eventually grew to be the National Brass Band Chaionshi. Gammond Gammond Gammond Gammond. 51, Piers. 5

12 Both World Wars ut a halt to many coetitions in Britain, such that the ew bands that remained intact ater World War II ound hardshis in maintaining their existence. A decline in the economy and eloyment in Britain and a decreasing interest in bands caused the demise o many o the ensembles. 16 A halt on roduction o brass instruments during the war and high taxes on these instruments ater the war urther hindered the rogress o bands. 17 Ater the war there were changes in instrumentation, more oortunities or new music, and the number o layers was increased. 18 In addition to this increase, a major change to the brass band during these years was the addition o ercussion, even though ceremonial anares had been using ercussion and brass instruments together or years. These anares date back to at least the 18th century and were usually used or celebrations such as coronations or weddings o royalty, holidays, or any other large ceremony. Oten these early anares would be or truets and kettledrums, with more brass instruments added later. During the 20th century some o the major works or brass and ercussion included Aaron Coland s Fanare or the Common Man (1942) and Gunther Schuller s Syhony or Brass and Percussion (1950). 19 Desite the already-widesread use o brass and ercussion, brass bands usually only had one ercussion layer. This single ercussionist generally layed snare drums, bass drums, cymbals, castanets, wood blocks, or whistles. 20 Furthermore, i scores had ercussion arts at all, it was not allowed in any contest setting. It wasn t until the 1969 British Oen 16 Newsome Modern Newsome Modern Newsome, Modern Tarr. 20 Newsome, Modern

13 Chaionshi at Belle Vue that ercussion instruments were allowed. This was due to the act that the test iece that year, Sectrum by Gilbert Vinter, included ercussion arts. This encouraged other contests to allow ercussion, which by 1973 became a requirement or most contests. 21 Religion also layed a art in the growth o brass bands, the most inluential being the Salvation Army. The Salvation Army Organization was ounded in 1865, originally called the East London Christian Mission, and later changed to the Salvation Army in The organization chose the name Salvation Army because they wanted to be known as an army or God. Many o the Salvation Army s rules and regulations were demonstrative o this doctrine. In 1878, bands were introduced by Charles Fry, a Wesleyan Methodist choir director and cornet layer. 23 It was thought that eloying musicians in the Salvation Army would attract attention rom the general mass, hoeully bringing more eole into the old o Christianity. Fry also chose to incororate brass bands seciically because the instruments were well suited to outdoor erormances, durable and by the 1870s, inexensive. 24 The reertoire layed by the Salvation Army included oular songs to urther attract eole to the cause. 25 Another way religion inluenced brass bands was through Protestant churches, and Methodist sects in articular, 26 which would encourage music in their services, such as singing hymns. This ush or music in services silled over to cultivating the ormation o brass bands 21 Newsome, Modern Herbert Herbert Herbert Herbert Brass ensembles can be seen today in the Methodist church, esecially or secial Christmas and Easter services. 7

14 in Sunday Schools and missions. 27 Because o the strains o the work week (Monday Friday lus a hal-a-day on Saturday), Sundays were the only chance musicians had to rehearse and give concerts. This caused some concern among conservative Christians, who viewed these erormances as working on the Sabbath. Nevertheless, oen-air erormances in gardens and arks on Sunday aternoons thrived during the Victorian era in Britain; 28 desite the antagonism rom those who oosed the work, these erormances drew thousands to hear the brass bands, even so many as 20,000 at some concerts in Bristol Downs. 29 Sunday erormances were not the only controversy that has surrounded brass bands. Throughout the years, many have thought that utting bands u against each other in coetitions might seem inaroriate, esecially in relation to the notion that music is irst and oremost an art. This disagreement is still revalent, esecially among educators who eel that utting students u against each other, whether it is individually through chair tests, or as a grou at marching or concert band coetitions, takes away rom the heart o erorming music or its own sake, and instead uts an undesirable level on the iortance o being the best. Brass bands have thrived in the ast century and a hal due to the rise in rominence o coetitions or the ensemble. Because o this, coosers have begun to write even more music or the ensemble in the orm o syhonies, anares, and other works. 27 Bainbridge Bainbridge Bainbridge

15 Chater 3 A Western Fanare A Western Fanare (1997) by Eric Ewazen (b. 1954) is a short one-movement work written or our truets, six horns, three trombones, bass trombone, tuba, and otional ercussion. 30 It was written in the sring o 1997 and erormed the ollowing summer as a concert oener at the Music Academy o the West in Santa Barbara, Caliornia. The Music Academy commissioned this work or its 50th anniversary, and Ewazen dedicated the iece to the Academy. 31 The iece has become a standard exale o brass ensemble writing due to the common techniques it uses in its melodic, harmonic, and motivic style. The iece makes extensive use o the ith, in both melody and harmonic rogressions. Even within the oening measures o the anare, the oen ith o Bb and F sets the stage or the iece s basis in quintal harmonies. All the instruments have some orm o the oen ith o Bb and F in their arts, whether it is the held long notes between the trombone and tuba or the ostinato in the horn and orchestral bells. There are also numerous exales o intervallic iths (and its inversion, the ourth) being used such as this exale o a rising iths bass line, which contributes to the quintal harmony. In conjunction with this bass line, there are tonal rogressions that ollow the circle o iths. This circle o iths rogression hels to move the music orward harmonically and creates a urther sense o unity throughout the iece. 30 There is also an arrangement done by the cooser or brass quintet. 31 Ewazen. 2. 9

16 Figure 1: Measure three o Eric Ewazen s A Western Fanare showing use o iths. 10

17 Figure 2: Measures o Ewazen s A Western Fanare showing the melodic movement o iths and ourths. Figure 3: Measures o A Western Fanare (Ewazen, 1997), showing the circle o iths rogression. Another common technique oten ound in brass ensembles are interjections, sudden and unexected bursts o sound interruting the main low o the melody and accoaniment, such as the sixteenth-notes in the ollowing exale. 11

18 Figure 4: Measures 34 and 35 o A Western Fanare showing the interjecting Horn I and II. U until this irst instance o the igure, other instruments only lay quarter or eighth notes, so the sixteenth-note line layed by Horn I and II rovide a contrast. It is common or only one or two voices to interject with a divergent igure that ooses the other voices long notes or moving melodic lines. Cascading notes by layering instruments over one another as all ascend or descend in itch together creates a general eeling o rising or lowering in the music. 12

19 Figure 5: Measure 19 o Ewazen s A Western Fanare demonstrating a rising cascade in the trombone, horn, and truet. These overlying collections o notes allow or a seamless connection that gives the audience a general eeling o lit. A Western Fanare illustrates many techniques oten seen in works or brass instruments, but these aren t the only idioms or brass ensembles. Koetsier s Brass Syhony demonstrates other common ractices in his three movement work or brass ensemble. 13

20 Chater 4 Brass Syhony Jan Koetsier s Brass Syhony was commissioned by Philli Jones and remiered on February 21, It was irst recorded by the Phili Jones Brass Ensemble in 1981 and is a stale o brass ensemble literature. 32 It is scored or our truets, horn, our trombones, and tuba. Koetsier uses three eighth ick-u notes as a motive throughout the irst movement o the Brass Syhony and also reerences this motive in the other movements. Figure 6: Measures o Koetsier s Brass Syhony showing the overlaing motive. This our-note motive occurs throughout the entire iece, including the second bar o the irst movement in the second and ourth truets and the accoanying trombone line in measures 116 and 118, just to name a ew exales. In the second and third movements, the our-note motive has transormed into six notes. 32 Koetsier

21 Figure 7: Measures o movement II o Koetsier's Brass Syhony showing the ive-note ick-u gesture. This motive also occurs throughout the third movement. Figure 8: Movement III o Koetsier s Brass Syhony measures 9-10 showing a six-note motive. This ick-u note motive, whether it is in its our-note or six-note orm is something that connects the irst and third movement together creating a sense o cohesiveness throughout the iece. Another way Koetsier transorms a section o music is by augmenting the rhythm. A straight quarter note line is introduced in the 1st truet art and reeated throughout other instruments near the beginning o the iece. 15

22 Figure 9: Measures o the second movement o Koetsier s Brass Syhony. 33 But later, Koetsier subsequently adds a dot to some o the quarter notes to create a sense o unbalance rom what he has already resented to the listener. Figure 10: Movement I o Koetsier s Brass Syhony measures showing the augmentation o the quarter note line, with intervallic alterations. 34 This is another way that the cooser gives the listener the unexected. It also rovides variation rom the revious quarter note to kee the iece rom being stagnant. The orm o Koetsier s irst movement is a loose Sonata-Allegro orm as evidence by the reeat o the exosition (measures 1-50) and the obvious recaitulation o the ollowing main theme in measure 140. Figure 11: Measures 1-2 deicting theme A o Koetsier s Brass Syhony movement I. 33 Box added or ehasis. 34 Box added or ehasis. 16

23 This segment is transosed many times over the course o the movement to various tonal regions and it isn t until the Teo I at measure 140 that it returns in its original orm. Koetsier uses common techniques both in brass writing and general coositional techniques. Many o these methods have stood the test o time and continue to be used in conteorary works. 17

24 Chater 5 Two Coanion Pieces or Brass Ensemble Two Coanion Pieces or Brass Ensemble (Kahler, 2013) was written in the all o 2012 and coleted that winter. It is scored or our truets, our horns, three trombones, and one tuba. Although each movement can be erormed individually, there are threads running between both movements tying them together and creating a cohesive iece. This iece was commissioned by Dr. Guglielmo Manredi and the WTAMU Brass Choir. I drew insiration and ideas rom various brass works such as Aaron Coland s Fanare or the Common Man, Paul Hindemith s Music or Strings and Brass, and my own work or brass, To the Stars, which was written in However, the most insiration came rom the two ieces discussed above, A Western Fanare (Eric Ewazen, 1997) and Brass Syhony (Koetsier, 1979). In this chater I will coare and contrast asects o my iece, Two Coanion Pieces or Brass Ensemble, with the Ewazen and Koetsier ieces. Although there is a section in the irst movement that is based on the octatonic scale, the harmonic structure o my iece is largely quintal and quartal. Similar in ashion to A Western Fanare (Ewazen, 1997), I also used the interval o an oen ith throughout both movements o my iece. Figure 12: Measures 11 and 12 o Two Coanion Pieces Movement II showing the stacked iths in the ostinato line. 18

25 This circle o iths rogression hels to move the music orward harmonically and creates a urther sense o unity throughout the iece. Like the interjecting lines in A Western Fanare by Ewazen, Two Coanion Pieces has a similar igure that unctions a dierent way. Instead o interjecting commentary, the truets or horns will coletely interrut the low o the music. Figure 13: Two Coanion Pieces, Movement I, measures

26 However, in addition to being an interruting motive, I take it one ste urther and use it as a retransition rom section B going back to section A in the irst movement o Two Coanion Pieces or Brass Ensemble. Figure 14: Two Coanion Pieces, Movement II, measure deicting the segment o our sixteenth-notes being used as a transition back to A. 20

27 Using this segment in both caacities creates a stronger sense o cohesion throughout the movement. I this sixteenth note igure had only aeared as in interrution like in measure 62 (Figure 13), it would have not had as much iact. Cascading is another aorementioned technique reviously discussed that I used in both movements o Two Coanion Pieces or Brass Ensemble. Figure 15: Measures o Two Coanion Pieces or Brass Ensemble, Movement I. Figure 16: Measures o Two Coanion Pieces or Brass Ensemble, Movement II. 21

28 Both o these exales show the use o a descending cascade in each movement. Using this descending cascade in both movements creates a sense o unity between the two. I also use a dierent style o cascading by having instruments cut o long notes at dierent times. This aids in creating a eeling o the sound dying away. Figure 17: Measure 30 o Two Coanion Pieces or Brass Ensemble, movement I showing the various cut o times or the horns and truets. 22

29 The section A motive o Movement II o Two Coanion Pieces or Brass Ensemble is introduced slowly by the horns and truets (m. 8, 15, and 19). The motive is subsequently reeated over a reetitive bass line, but with less time between each aearance o the motive segment. Figure 18: Measures o Two Coanion Pieces Movement II showing the layering o the quarter and eighth note motive. By increasing the requency o a motive over time, the momentum o the iece is ushed orward in an exciting manner. Jan Koetsier also used this technique in his Brass Syhony as shown in Figure 6 in chater three. The ritornello orm was chosen to diverge rom orms I have used in the ast such as a rondo or sonata tye orm. Two Coanion Pieces or Brass Ensemble has an introduction with a growing motive, a ritornello art (shown below), and various melodies with returns o the ritornello interjecting between each melody. 23

30 Figure 19: Measures rom Two Coanion Pieces showing the irst iteration o the ritornello that reeats throughout the entire movement. The ritornello art returns two more times throughout the course o the movement at various itch levels, orchestrations, and rhythmic variations. Koetsier also uses a ritornello, bringing the theme shown in Figure 10 in Movement I o the Brass Syhony back multile times and at various itch levels. 24

31 While Two Coanion Pieces or Brass Ensemble, has much in common with Ewazen s A Western Fanare and Koetsier s Brass Syhony, there are eatures in my iece that dier. In Two Coanion Pieces or Brass Ensemble, time signatures change oten, sometimes to irregular meters, so the listener can not easily anticiate the introduction o dierent instruments. Figure 20: Measures 1-4 o Two Coanion Pieces, movement I showing various time signatures. Figure 21: Measures o Two Coanion Pieces or Brass Ensemble, movement II deicting changing time signatures, including irregular ones. This is in direct contrast to Brass Syhony (Koetsier, 1979) and A Western Fanare (Ewazen, 1997), which rarely change meter at all. Ewazen s work remains exclusively in 4/4 or 3/4 while the Koetsier work is entirely in 4/4 or 6/4. Harmonically, Two Coanion Pieces or Brass Ensemble has much in common with Ewazen s A Western Fanare and Koetsier s Brass Syhony, esecially in the use o quintal harmonies. However, quintal harmony is not the only harmonic language I use. The B section 25

32 o movement I o my iece makes heavy use o the octatonic scale and a melody based o o the tritone. Figure 22: An excert rom the section B melody in Two Coanion Pieces or Brass Ensemble, movement I with tritones bracketed, measures The use o the tritone is in shar contrast to the mostly consonant sounds rom the A section o movement I. The sound is exanded on in the sixteenth-note runs irst heard in the horns, then truets, both built on the octatonic scale. Figure 23: Measures o Movement I o Two Coanion Pieces or Brass Ensemble deicting the octatonic scale. Figure 24: Octatonic scale built on C# These diering harmonic sounds in the A and B sections o Movement I create a stark duality, indeed, a nearly biolar eect not seen in the Ewazen or Koetsier ieces. Two Coanion Pieces or Brass Ensemble blends common techniques ound in brass writing with other ideas insired by works o other instrumentations. 26

33 Chater 5 Conclusion The number o coositions or brass bands, as well as brass ensembles, brass quintets, and other brass chamber ensembles, has increased dramatically and continues to do so into the 21st century. While there are many idiomatic styles in brass writing that have stayed constant over the years, coosers are exanding the world o brass band reertoire to include new techniques and ideas both borrowed rom other genres and created or the ensemble itsel. Because o this, brass bands and ensembles continue to lourish with coetitions still held around the world, and high schools and colleges rovide even more oortunities or new music to be written and erormed. Works like A Western Fanare, Brass Syhony, and Two Coanion Pieces or Brass Ensemble contribute to the reertoire or the ensemble and will hoeully encourage more ensembles to erorm. Brass bands and ensembles have made their mark on music history and will continue to do so in the years to come. 27

34 Bibliograhy T. Herbert, British brass band: a musical and social history (New York: Oxord University Press. 2000). Eric Ewazen, A Western Fanare (San Antonio, TX: Southern Music Co. 2002). Eric Ewazen, A Western Fanare Summit Brass Live. Recorded October 7, Summit Records. October 7, coact disc Jan Koetsier, Brass Syhony O 80. (Bulle, Switzerland: Editions BIM 1990). Jan Koetsier, Brass Syhony. Sirits o Fire. Recorded Aril 21, Summit Records. Aril 21, coact disc Reginald Morley-Pegge, et al, "Ohicleide." (Grove Music Online. Oxord Music Online. Oxord University Press, accessed February 11, 2013) htt:// Reginald Morley-Pegge, et al, "Serent" (Grove Music Online. Oxord Music Online. Oxord University Press, accessed February 11, 2013) htt:// R. Newsome, Brass roots: a hundred years o brass bands and their music, (Brookield, VT: Ashgate Pub. 1998). R. Newsome, The modern brass band: rom the 1930s to the new millennium. (Aldershot, England: Ashgate Pub. 2006). Burton-Page Piers, "Arnold, Sir Malcolm" (Grove Music Online. Oxord Music Online. Oxord University Press, accessed February 20, 2013,) htt:// Edward H. Tarr. "Fanare" Grove Music Online. Oxord Music Online. Oxord University Press, accessed February 23, 2013) htt:// TUBACHRISTMAS, "What is TubaChristmas?." Last modiied Accessed February 12, htt:// U. S. Oen Brass Band Chaionshis, "A Brie History o Brass Bands." Last modiied Accessed February 19, htt:// 28

35 PART II TWO COMPANION PIECES FOR BRASS 29

36 Coyright Elyse Kahler 2013 Horn I in F Horn II in F Horn III in F Horn IV in F Bb Truet I Bb Truet II Bb Truet III Bb Truet IV Trombone I Trombone II Trombone III Tuba q = 70 * *Players may breathe discreetly whenever necessary. Elyse Kahler Two Coanion Pieces or Brass Transosed Score No. 1 con sord. con sord. con sord. con sord. con sord. 30

37 2 Hn. I 8 con sord. con sord. con sord. Tt. I Tt. II Tt. III Tt. IV con sord. con sord. I 31

38 Hn. I Tt. I Tt. II Tt. III Tt. IV I

39 4 Hn. I Tt. I 22 senza sord. senza sord. senza sord. senza sord. Tt. II Tt. III Tt. IV I senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. 33

40 Hn. I Tt. I Tt. II Tt. III Tt. IV I 27 Con moto q =

41 6 Hn. I 32 Tt. I Tt. II con sord. Tt. III Tt. IV con sord. sim. sim. I sim. 35

42 Hn. I Tt. I Tt. II Tt. III 36 senza sord. senza sord. sub sub sub sub sub sub 7 Tt. IV I 36 sub sub sub sub sub

43 8 Hn. I Tt. I Tt. II Tt. III Tt. IV I 40 q. = 80 senza sord. 37

44 Hn. I 44 con sord. 9 Tt. I Tt. II con sord. Tt. III Tt. IV I 38

45 10 Hn. I 49 Tt. I Tt. II Tt. III Tt. IV I 39

46 Hn. I 53 senza sord. 11 Tt. I Tt. II Tt. III Tt. IV I con sord. 40

47 12 Hn. I 56 Tt. I Tt. II Tt. III con sord. Tt. IV I 41

48 Hn. I Tt. I Tt. II Tt. III Tt. IV I 42

49 14 Hn. I 63 Tt. I Tt. II Tt. III Tt. IV I con sord. con sord. senza sord. 43 con sord.

50 Hn. I Tt. I Tt. II Tt. III Tt. IV I 44

51 16 Hn. I 71 Tt. I Tt. II Tt. III Tt. IV I 45

52 Hn. I 74 con sord. con sord. con sord. 17 Tt. I Tt. II Tt. III Tt. IV I con sord. to the ore to the ore con sord. to the ore to the ore 46

53 18 Hn. I 77 Tt. I Tt. II Tt. III con sord. con sord. Tt. IV I 47

54 Hn. I Tt. I Tt. II Tt. III Tt. IV I sz sz sz sz 48

55 20 Hn. I 85 Tt. I Tt. II Tt. III Tt. IV I 49

56 Hn. I Tt. I Tt. II Tt. III Tt. IV I 89 q = 80 senza sord. senza sord. sub senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. senza sord. sub sub sub sub 50 sub sub sub sub sub sub sub 21

57 22 Hn. I Tt. I Tt. II Tt. III Tt. IV I 95 51

58 Hn. I Tt. I Tt. II Tt. III Tt. IV sim. sim. I sim. 52

59 24 Hn. I 102 Tt. I Tt. II Tt. III Tt. IV I 53

60 Hn. I Tt. I Tt. II con sord. Tt. III Tt. IV I 54 con sord.

61 26 Hn. I 109 rit. n n n Tt. I Tt. II Tt. III Tt. IV I n n n n 55 n n n n n

62 Trasnosed Score Two Coanion Pieces or Brass No. 2 Elyse Kahler Horn I in F Majestically q = 72 q = 116 n * Horn II in F Horn III in F Horn IV in F Bb Truet I Bb Truet II Bb Truet III Bb Truet IV n n n n n n Trombone I Trombone II Trombone III Tuba n Coyright Elyse Kahler 2013 n *Players may breath as necessary 56

63 2 Hn. I 6 Tt. I Tt. II Tt. III Tt. IV I 57

64 Hn. I 11 3 Tt. I Tt. II Tt. III Tt. IV I 58

65 4 Hn. I 16 Tt. I Tt. II Tt. III Tt. IV I 59

66 Hn. I 20 5 Tt. I Tt. II Tt. III Tt. IV I 60

67 6 Hn. I 25 Tt. I Tt. II Tt. III Tt. IV I 61

68 Hn. I 30 7 Tt. I Tt. II Tt. III Tt. IV I 62

69 8 Hn. I 35 Tt. I Tt. II Tt. III Tt. IV I 63

70 Hn. I 40 9 Tt. I Tt. II Tt. III Tt. IV I 64

71 10 Hn. I 45 Tt. I Tt. II Tt. III Tt. IV I 65

72 Hn. I Tt. I Tt. II Tt. III Tt. IV I

73 12 Hn. I 54 3 Tt. I 3 Tt. II Tt. III Tt. IV I 67

74 Hn. I Tt. I Tt. II 3 Tt. III 3 Tt. IV I 68

75 14 Hn. I 65 air 3 3 air Tt. I Tt. II Tt. III Tt. IV I 69

76 Hn. I Tt. I Tt. II ``` Tt. III Tt. IV air air I air 70 air

77 16 Hn. I 76 air air Tt. I con sord. Tt. II Tt. III Tt. IV air I 71

78 Hn. I Tt. I Tt. II Tt. III Tt. IV I 80 air air air senza sord. con sord. air air 17 72

79 18 Hn. I 84 Tt. I Tt. II Tt. III Tt. IV I 73

80 Hn. I Tt. I Tt. II 3 Tt. III Tt. IV I 74

81 20 Hn. I 94 3 Tt. I 3 Tt. II senza sord. 3 Tt. III Tt. IV I 75

82 Hn. I Tt. I Tt. II 98 rit. 21 Tt. III Tt. IV I 76

83 22 Hn. I 104 Slower q = 88 Tt. I Tt. II Tt. III Tt. IV I sim. 77 sim.

84 Hn. I Tt. I Tt. II Tt. III 3 Tt. IV 3 I 78

85 24 Hn. I 112 accel. sim. sim. sim. sim. Tt. I Tt. II Tt. III Tt. IV I 79

86 Hn. I Tt. I Tt. II Tt. III Tt. IV I 80

87 26 Hn. I 120 Tt. I Tt. II Tt. III Tt. IV I 81

88 Hn. I 125 q = Tt. I Tt. II Tt. III Tt. IV 3 I 3 82

89 28 Hn. I Tt. I Tt. II Tt. III Tt. IV I 83

90 Hn. I Tt. I 3 Tt. II 3 Tt. III Tt. IV I

91 30 Hn. I 134 Tt. I Tt. II Tt. III Tt. IV I 85

92 Hn. I Tt. I Tt. II Tt. III Tt. IV I 86

93 32 Hn. I 140 Tt. I Tt. II Tt. III Tt. IV I 87