Johannes Brahms, Vierzehn Deutsche Volkslieder, WoO 34, Nos. 1-14, An Arrangement, Transcription and Pedagogical Rationale for Wind Band

Transcription

1 NLV Theses Dissertations Proessional Paers and Castones Johannes Brahms Vierzehn Deutsche Volkslieder WoO Nos. 1-1 An Arrangement Transcrition and Pedagogical Rationale or Wind Band Robert Logan Biles niversity o Nevada Las Vegas bilesr@unlv.nevada.edu Follow this and additional works at: htts://digitalscholarshi.unlv.edu/thesesdissertations Part o the Music Education Commons Music Pedagogy Commons Music Perormance Commons and the Music Practice Commons Reository Citation Biles Robert Logan "Johannes Brahms Vierzehn Deutsche Volkslieder WoO Nos. 1-1 An Arrangement Transcrition and Pedagogical Rationale or Wind Band" (01). NLV Theses Dissertations Proessional Paers and Castones. 15. htts://digitalscholarshi.unlv.edu/thesesdissertations/15 This Dissertation is brought to you or ree and oen access by Digital Scholarshi@NLV. It has been acceted or inclusion in NLV Theses Dissertations Proessional Paers and Castones by an authorized administrator o Digital Scholarshi@NLV. For more inormation lease contact digitalscholarshi@unlv.edu.

2 JOHANNES BRAHMS VIERZEHN DETSCHE VOLKSLIEDER WoO NOS. 1 1 AN ARRANGEMENT TRANSCRIPTION AND PEDAGOGICAL RATIONALE FOR WIND BAND By Robert Logan Biles Bachelor o Music Education VanderCook College o Music 00 Master o Musical Arts in Saxohone Perormance niversity o Notre Dame 00 A doctoral document submitted in artial ulillment o the requirements or the Doctor o Musical Arts Deartment o Music College o Fine Arts The Graduate College niversity o Nevada Las Vegas May 01

3 Coyright by Robert Logan Biles 01 All Rights Reserved

4 THE GRADATE COLLEGE We recommend the dissertation reared under our suervision by Robert Logan Biles entitled Johannes Brahms Vierzehn Deutsche Volkslieder WoO Nos. 1-1 An Arrangement Transcrition and Pedagogical Rationale or Wind Band be acceted in artial ulillment o the requirements or the degree o Doctor o Musical Arts College o Fine Arts Thomas Leslie Committee Chair Anthony LaBounty Committee Member Timothy Jones Committee Member Nate Bynum Graduate College Reresentative Ronald Smith Ph. D. Vice President or Research and Graduate Studies and Dean o the Graduate College May 01 ii

5 ABSTRACT sing the Vierzehn Deutsche Volkslieder WoO Nos. 1 1 by Johannes Brahms this document illustrates how seciic educational objectives can be met in the wind band rehearsal through the selection and transcrition o aroriate literature. This document deines the edagogical aroriateness o these works and their transcritions by outlining the educational goals that they accomlish. The resulting wind band transcritions and arrangements or use at the secondary and ost-secondary levels are resented in two ormats. The irst is a convertible transcrition where each instrumental art contains transositions o all o the original vocal arts making it adatable or various combinations o instruments. The second ormat is a wind band adatation o each iece arranged or choirs o like instruments soloists and ercussion. The edagogical objectives used to select the Vierzehn Deutsche Volkslieder or transcrition include: (1) increasing sight-reading accuracy on simle melodic and rhythmic material () develoing roer tuning and balance using triadic harmony () increasing control o dynamics iii

6 () addressing the lacement and length o breaths (5) develoing an awareness o hrasing as it relates to melodic direction and underlying harmonic content () imroving seciic articulations including slurs staccatos and accents and (7) reining the taered breath release. The accomanying wind band transcritions and arrangements rovide a resource to hel accomlish these educational objectives. The Vierzehn Deutsche Volkslieder WoO Nos. 1 1 were originally conceived or edagogical uroses and consist rimarily o homohonic our and ive art textures. The technical simlicity o the works makes them erect or develoing basic sight-reading skills with mostly diatonic harmonies and rhythms tyically limited to whole hal quarter and eighth-notes. Additionally the key signatures F-major G-minor and Ab-major are readily acceted as the earliest and most common key signatures used in the wind band reertoire. The use o triadic harmony acilitates the discussion o roer tuning and balance or major and minor chords. Also uniorm hrase lengths allow breath lacement to occur at regular intervals. This allows young musicians to ocus on other asects o roer breathing such as release oints length o breaths and attacks. Finally Brahms s iv

7 inclusion o articulations and dynamics in each work makes rehearsal o these concets more accessible in the wind band setting. The Vierzehn Deutsche Volkslieder WoO Nos. 1 1 were selected or transcrition and arrangement because they ulill the aorementioned edagogical objectives. In short these works develo literacy and undamentals in the large ensemble setting and rovide a measurable curricular resource as well as an aesthetic addition to the reertoire. v

8 TABLE OF CONTENTS ABSTRACT... iii LIST OF FIGRES... viii CHAPTER 1 INTRODCTION... 1 CHAPTER HISTORY OF THE VIERZEHN DETSCHE VOLKSLIEDER.. CHAPTER TRANSCRIPTION CONSIDERATIONS... 9 Percussion Considerations CHAPTER SIGHT-READING APPLICATIONS... 1 Breathing Phrasing and Dynamic Alications... 1 CHAPTER 5 VON EDLER ART CHAPTER MIT LST THÄT ICH ASTEITEN... CHAPTER 7 BEI NÄCHLICHER WEIL... 7 CHAPTER 8 VOM HEILIGEN MÄRTYRER EMMERANO BISCHOFFEN Z REGENSPRG... 1 CHAPTER 9 TÄBLEIN WEISS... CHAPTER 10 ACH LIEBER HERRE JES CHRIST... 1 CHAPTER 11 SANKT RAPHAEL... 5 CHAPTER 1 IN STILLER NACHT... 8 CHAPTER 1 ABSCHIEDSLIED... 5 CHAPTER 1 DER TODTE KNABE CHAPTER 15 DIE WOLLST DEN MAYEN... CHAPTER 1 MORGENGESANG... 7 CHAPTER 17 SCHNITTER TOD CHAPTER 18 DER ENGLISCHE JÄGER CHAPTER 19 CONCLSION vi

9 APPENDIX 1 WIND BAND TRANSCRIPTIONS APPENDIX WIND BAND ARRANGEMENTS... 1 APPENDIX INSTRMENT ASSIGNMENTS... 0 BIBLIOGRAPHY VITA vii

10 FIGRES Figure 1: Brahms Sankt Rahael mm Figure : Johannes Brahms Mit Lust thät ich ausreiten m Figure : Adated rom Johannes Brahms Mit Lust thät ich ausreiten m Figure : Figure 5: Figure : Figure 7: Figure 8: Figure 9: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg Marimba... 1 Adated rom Johannes Brahms Morgengesang Flute... 1 Johannes Brahms Sankt Rahael Manuscrit mm Johannes Brahms Von edler Art Manuscrit mm Adated rom Johannes Brahms Mit Lust thät ich ausreiten mm Adated rom Johannes Brahms Mit Lust thät ich ausreiten mm Figure 10: Rhythms used in Bei nächlicher Weil... 7 Figure 11: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg mm Figure 1: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg mm Figure 1: Adated rom Johannes Brahms Täublein Weiss mm Figure 1: Adated rom Johannes Brahms Täublein Weiss mm viii

11 Figure 15: Adated rom Johannes Brahms Täublein Weiss mm Arranged by R. L. Biles... 9 Figure 1: Adated rom Johannes Brahms Ach lieber Herre Jesu Christ mm Figure 17: Johannes Brahms. Ach lieber Herre Jesu Christ mm Figure 18: Adated rom Johannes Brahms Sankt Rahael mm Figure 19: Adated rom Johannes Brahms In stiller Nacht mm Figure 0: Adated rom Johannes Brahms In stiller Nacht mm Figure 1: Adated rom Johannes Brahms In stiller Nacht mm Figure : Adated rom Johannes Brahms In stiller Nacht mm. 1. Arranged by R. L. Biles... 5 Figure : Adated rom Johannes Brahms Abschiedslied mm Figure : Adated rom Johannes Brahms Abschiedslied mm Figure 5: Adated rom Johannes Brahms Der todte Knabe mm Figure : Adated rom Johannes Brahms Die Wollust den Mayen mm Figure 7: Adated rom Johannes Brahms Morgengesang mm Figure 8: Adated rom Johannes Brahms Morgengesang mm Figure 9: Adated rom Johannes Brahms Schnitter Tod mm Figure 0: Adated rom Johannes Brahms Schnitter Tod mm ix

12 Figure 1: Adated rom Johannes Brahms Der englische Jager mm x

13 CHAPTER ONE INTRODCTION The reertoire o the wind band is comrised o two tyes o comositions those conceived and written seciically or winds and ercussion and those transcribed rom works written or other media. Original comositions or wind band owing in art to their brie history have just begun to orm a core reertoire with the works o Paul Hindemith Vincent Persichetti Warren Benson and other visionary comosers roving invaluable to the establishment o a legitimate wind band catalog. The decreased existence o roessional wind bands and the increase o wind bands in the academic setting indicate the edagogical nature o the reertoire. Many ieces are designed or student musicians at various stages o develoment. The limited ranges technical demands and erormance lengths make these works erormable by young musicians. In the area o transcritions or wind band the comositional goal is oten quite dierent. Transcritions allow musicians to erorm music they might not otherwise have the oortunity to lay. They rovide access to reertoire originally written or other musical ensembles 1

14 and assimilate it into that o the wind band. While the criteria or selecting works or transcrition are numerous and seciic to each iece they usually include the imortance o the comosition the comoser or both. Because o this many transcritions are culled rom the standard regularly erormed orchestral reertoire roviding musicians in the wind band access to historically imortant music. There have been many works arranged or young musicians that ail to indicate exactly why they are imortant edagogically and what undamental concets they exlicitly address. Though these arrangements simliy ranges technical demands and erormance lengths they leave many other imortant edagogical concets or the instructor to discern. I as Robert Reynolds wrote "the reertoire is the curriculum" 1 then the accomanying transcritions o the Vierzehn Deutsche Volkslieder WoO Nos. 1 1 rovides an addition to the wind band reertoire with clearly deined curricular useulness. The rimary edagogical objectives used to select the Vierzehn Deutsche Volkslieder or transcrition and arrangement include among others: (1) increased sight- 1 Robert Reynolds "Reertoire is the Curriculum" Music Educator's Journal 87 no. 1 (July 000) 1.

15 reading accuracy on simle melodic and rhythmic material () lacement and length o breaths and () increased control o the air stream with seciic attention to dynamics. Additionally these works rove valuable or other undamental concets such as develoing roer tuning balance hrasing articulations and reining the taered breath release. The accomanying wind band transcritions and arrangements o the Vierzehn Deutsche Volkslieder WoO Nos. 1 1 are a resource to hel accomlish these seciic educational objectives. Though there are numerous ractical alications or these works at the secondary level most incororate a similar method o use. Ater irst selecting a transcrition the conductor should have the ensemble sight-read each art in unison. To build indeendence these lines should next be combined at the conductor s discretion. Finally the ensemble should be instructed to erorm on the recommended arts (see aendix ). The revious method may be alied in the same manner to breath alignment and length as well as dynamics. Next to build indeendence throughout the ensemble and as a culminating exerience students should rehearse and erorm the arrangement o the same work.

16 CHAPTER TWO HISTORY OF THE VIERZEHN DETSCHE VOLKSLIEDER The Vierzehn Deutsche Volkslieder (Fourteen German Folksongs) was comosed by Johannes Brahms ( ) rom 18 and consists o secular and sacred texts. The work was ublished by J. Rieter-Biedermann in c.18 in two volumes each containing seven strohic settings o wellknown and obscure German oetry. Though not widely erormed the collection illustrates Brahms's ainity to olk song. I indeed "Brahms ound the aotheosis o his love o melody" through olk songs then this collection and others like it rovide signiicant insight into Brahms's comositional oundation. Brahms used olk songs throughout his career but these works dier rom many o his other olk song settings. They are simle unaccomanied and the counteroint never ventures into the comositional comlexity o ugues or canons. Instead Brahms roduces straight-orward homohonic textures that are only occasionally interruted by imitative counteroint (see ig. 1). Additionally other "elements o Brahms's style A. Craig Bell Brahms-The Vocal Music (Cranbury NJ: Associated niversity Presses 199) 5.

17 such as two-against three rhythms" are mostly absent in the Vierzehn Deutsche Volkslieder. Figure 1. Homohonic texture Source: Johannes Brahms. Sankt Rahael mm. 1. The reason or the Vierzehn Deutsche Volkslieder's relative simlicity lies in Brahms's original intention or the work. Comosed relatively early in Brahms's career at age thirty-one Brahms dedicated the iece to the Weiner George S. Bozarth and Walter Frisch "Brahms Johannes" Oxord Music Online (010) htt:// usic/51879 (accessed Aril 010). Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:18. 5

18 Singakademie. 5 The Weiner Singakademie "ounded in 1858 as Vienna's irst mixed choir" was designed as "an institution to acilitate the training o singing." 7 Brahms though always a comoser at heart agreed to serve as the conductor o the Weiner Singakademie in 18. Although his tenure there lasted only a year Brahms's time at the Weiner Singakademie introduced him to Vienna his new musical eicenter and rovided the musical setting or this work. The individual olksongs contained in the Vierzehn Deutsche Volkslieder were remiered soradically throughout 18. In stiller Nacht Abschiedslied and Schnitter Tod remiered on 15 November 18 with Brahms conducting. Mit Lust tät ich ausreiten and Bei nächtlicher Weil received their debut at a subsequent concert on January Brahms rematurely hailed as the savior o the struggling Singakademie roved ultimately to be ineective in his eorts. His second concert on 5 Leon Botstein ed. The Comleat Brahms: A Guide to the Musical Works o Johannes Brahms (New York: W. W. Norton 1999) 0. The Wiener Singakademie "Choir" (005) htt:// (accessed March 0 010). 7 Ibid 8 Wiener Singakademie "Program" (005) htt:// (accessed March 0 010).

19 January 18 was a musical catastrohe: "The Gabrieli 9 broke down and had to be started over. A critic called the singing 'almost without nuance' and described the eect o the Schütz 10 as 'an oasis assed by all too quickly in the middle o a hyer aesthetic desert.'" 11 In act the only ortions o the concert that were well received were Brahms's olk songs Mit Lust tät ich ausreiten and Bei nächtlicher Weil. In a letter to Clara Schumann the comoser stated "My olk songs arranged or choir have leased the eole here extraordinarily." 1 Desite the average erormances Brahms gave with the choir he maintained the conidence o his colleagues and was elected to three more years as the conductor o the Singakademie. Ater initially acceting he resigned rom the choir in the summer o 18. His ormal reason or resignation remains unknown. 1 Other selections rom the Vierzehn Deutsche Volkslieder were remiered by the Weiner Singakademie ater Brahms s dearture in 18. Der englische Jäger debuted in 187 with Rudol Weinwurm conducting saw the remier 9 Domine exaudi orationem meam (Ps. 10) 10 Das ist je gewißlich wahr 11 Jan Swaord Johannes Brahms: A Biograhy (New York: Alred A. Kno Inc. 1997) Ibid Jan Swaord Johannes Brahms: A Biograhy (New York: Alred A. Kno Inc. 1997) 8. 7

20 o Von edler Art with conductor Richard Heuberger. Another selection rom the Vierzehn Deutsche Volkslieder was not unveiled or 0 years. In 1899 Carl Führich directed Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg or the irst time and a year later Joseh Wöss conducted Sankt Rahael. The work most erormed by the Weiner Singakademie In stiller Nacht has been rogramed thirteen times over the san o 10 years. 1 1 Wiener Singakademie "Program" (005) htt:// (accessed March 0 010). 8

21 CHAPTER THREE TRANSCRIPTION CONSIDERATIONS The Vierzehn Deutsche Volkslieder transers well into the wind band because the range o each vocal art corresonds to seciic instruments in the ensemble. The sorano arts are in the range o lute irst clarinet irst alto saxohone irst trumet glockensiel and xylohone. The alto arts transer well into second lute oboe second clarinet second alto saxohone irst horn second trumet and xylohone. The tenor arts are best suited or irst bassoon third clarinet tenor saxohone third trumet irst trombone second trombone and euhonium. The bass arts are set or second bassoon bass clarinet baritone saxohone third trombone tuba and string bass (See Aendix ). These instrument assignments reserve the original vocal arts as closely as ossible and minimize the need or transosition. However because the convertible ormat laces every vocal art in every instrument many instances o octave transosition are necessary. For examle the convertible lute arts contain the sorano and alto voices in the original octave but the tenor and bass voices in octave transosition. 9

22 In addition to range adjustments re-notating the score or instrumental erormance requires the adjustment o beaming and the relocation o exression marks. Choral music is beamed syllabically with beaming dictated by the underlying text. Notes that take lace within a single beat on a single syllable are beamed together (see ig. ). But i the syllables change within the beat then the notes are beamed searately. Conversely instrumental music tyically beams all notes occurring within a beat together (see ig. ). Figure. Tyical choral beaming Source: Johannes Brahms. Mit Lust thät ich ausreiten m. 1: Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:. 10

23 Figure. Tyical instrumental beaming Source: Adated rom Johannes Brahms Mit Lust thät ich ausreiten m Another dierence between choral and instrumental notation is the lacement o dynamic and exression markings. In choral music these occur above the sta. This allows or a clear resentation o the text below the sta. Instrumental notation laces dynamics and exression markings below the music. These notational adjustments are used in the wind band transcritions o the Vierzehn Deutsche Volkslieder Nos PERCSSION CONSIDERATIONS Each work in the Vierzehn Deutsche Volkslieder is set or ercussion in several ormats. To accommodate the ull 1 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:7. 11

24 assortment o keyboard instruments the convertible arts are resented in three layouts: treble cle bass cle and our-mallets. The treble cle book transoses all our arts o the original vocal score to the treble cle. The bass cle book ollows the same technique using the bass cle. The our mallet book has been re-notated using the grand sta with the sorano and alto voices in the right hand and the tenor and bass voices in the let (see ig. ). Figure. Four-mallet marimba art Source: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg. Marimba mm In addition to these transcribed ormats the arrangement o the Vierzehn Deutsche Volkslieder integrates timani and non-itched ercussion in the orm o triangle tambourine and susended cymbal. Because these arts are reely comosed they are considered otional. Seciic usage o these instruments is outlined in Chaters IV-XVII. 17 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:10. 1

25 The inclusion o transcribed keyboard arts allows the ercussion section to address imortant edagogical concets in unison with the winds while the non-itched ercussion arts included in the arrangements contribute to a more aesthetic erormance exerience. 1

26 CHAPTER FOR SIGHT-READING APPLICATIONS The rimary edagogical objective o the Vierzehn Deutsche Volkslieder or wind band is the imrovement o sight-reading at the secondary level. Sight-reading is the "erormance o music rom notation that the singer or instrumentalist has not reviously seen." 18 This brie deinition does little to imart the immense imortance o this skill. The ability to translate the written age into meaningul sound is at the very oundation o instrumental erormance. Though it is a simle concet sight-reading is surrisingly diicult to address in the large ensemble rehearsal. In the wind band this diiculty stems rom the various transositions required or each instrument. It is imossible to distribute a unison melody to the ensemble or sight-reading without irst transosing it into several key signatures and or both treble-cle and bass-cle. Because o this many teachers resort to distributing method books or entire comositions or sight-reading. 18 Piers Sencer "Sight-reading" The Oxord Comanion to Music ed. Alison Latham Oxord Music Online (010) htt:// /e180 (accessed Aril ). 1

27 While many method books contain unison melodies very ew rovide the ability to erorm these melodies in a more indeendent comositional ramework. Conversely using a wind band comosition to ractice sight-reading may build instrumental indeendence while removing the ability to ractice articular sight-reading objectives using unison notes and rhythms. For examle i a wind band is working on reading hal-notes and quarter-notes but the woodwind arts continually integrate eighth-notes the concet o reading rhythm becomes obscured by the need to lay indeendently. I however the entire ensemble is rovided the same notes and rhythms then the musicians' ocus can be directed more easily to seciic concets. In an eort to imrove the reading o notes and rhythms in the large ensemble setting many instructors use chorales. The homohonic texture o these works makes it easier or young musicians to evaluate their erormance in relation to the ensemble. The accomanying wind band transcrition o the Vierzehn Deutsche Volkslieder rovides a similar resource but with one imortant dierence: each instrumental art contains transositions o every vocal art thus making it ossible or the entire ensemble or grous o dierent instruments to read each art in unison 15

28 (see ig. 5). Ater sight-reading in unison arts can then be combined with other voices and erormed in a more indeendent context. Figure 5. Samle lute transcrition Source: Adated rom Johannes Brahms Morgengesang Flute mm BREATHING PHRASING AND DYNAMIC APPLICATIONS In the wind band the roer alignment and length o breaths are vital concets. In comlex literature members o dierent sections breathe at dierent times oten unmarked by the comoser. In other instances breaths may occur simultaneously throughout the entire ensemble. Because o the roound eect that roer breathing has on 19 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) :1. 1

29 tone intonation dynamics and articulations the constant reinorcement o this concet is aramount. The technical simlicity o the Vierzehn Deutsche Volkslieder allows young musicians to ocus more ully on aroriate breathing. Breath marks are notated in each instrumental art and are laced based on the irst verse o each olk song. As is common in choir breaths tyically occur wherever commas or eriods occur in the text. In addition to working on breath alignment the Vierzehn Deutsche Volkslieder is useul or working on the length o breaths. sing the recommendations ound in Chaters IV-XVII the instructor can discuss the dierence between breaths lasting an entire count and those that last less than a count. For the remainder o the document breaths that occur on the u-beat will be reerred to as u-breaths while those that occur on the beat will be called down-breaths 0. In the wind band setting this concet can be introduced and reinorced by irst using a single voice art in unison and then exanding to two or more arts simultaneously. Dynamics can be similarly addressed in the large ensemble setting. The original manuscrit o the Vierzehn 0 Takayoshi Suzuki Interview by Author Las Vegas NV

30 Deutsche Volkslieder includes seciic inormation regarding dynamics and hrasing. In act Brahms's notation is so exlicit that nearly every measure o the work has a dynamic marking in the comoser's hand (see ig. ). As with sight-reading and breathing these transcritions make the concet o dynamics and hrasing more accessible in the wind band setting. Figure. Comoser s original dynamic markings Source: Johannes Brahms. Sankt Rahael Manuscrit mm Johannes Brahms Vierzehn Deutsche Volkslieder Manuscrit Library o Congress Washington D.C. 1 18

31 CHAPTER FIVE VON EDLER ART The irst work in the Vierzehn Deutsche Volkslieder Von edler Art (O Noble Kind) is in the key o F-major / time. This iece contains several instances o rhythmic variation between arts which hels to build rhythmic indeendence throughout the ensemble. Mastery o this concet can be aided by irst sight-reading each art in unison and then exerimenting with juxtaosing dierent arts. Part indeendence in Von edler Art is made more achievable by the work's overall rhythmic and melodic simlicity. Note durations are limited to hal-notes quarter-notes and eighth-notes with the only sixteenthnotes occurring in the inal two measures (see ig. 7). Pitches are diatonic in the key o F-major excet in the sorano voice m. 15; alto voice mm. ; and tenor voice m. 5. Owing to the indeendence o its arts Von edler Art contains several instances o misaligned breaths. In addition to breaths that occur on the beat during rests in mm. -8 u-breaths occur in the sorano voice in m. 9; in the alto tenor and bass voices in mm. 9 and 1; and in 19

32 Figure 7. Simle rhythms to aid student reading Source: Johannes Brahms. Von edler Art mm the tenor and bass voices in m. 15. Conductors should be aware o the u-breaths in the ensemble and choose an aroriate temo or this concet. Measure 10 beat our contains an aligned down breath or the ensemble that serves as a oint o realignment during sight-reading. Like the other works in the Vierzehn Deutsche Volkslieder Von edler Art contains a variety o dynamic markings in the comoser s hand. In m. 5 the sorano alto and tenor voices contain a three count crescendo and decrescendo while mm. -9 contain a single crescendo or the entire ensemble. Ater the breath in m. 10 the dynamic Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:5. 0

33 returns to iano. A gradual crescendo in mm recedes the climax in mm. 1 esressivo. The arrangement o Von edler Art contains three reetitions o the olk song. Measures 1 18 are scored or brass choir mm. 19 or woodwind choir and mm. 7 5 or tutti ensemble. In the irst resentation o the melody the sorano voice is scored or irst trumet irst horn and irst trombone; the alto voice or the second trumet and second trombone; the tenor voice or the second horn and euhonium; and the bass voice or the third trombone tuba and string bass. The inclusion o timani (mm ) rovides inality to the hrase ending in m. 18. The woodwind choir eatured in mm. 19 consists o lutes irst oboe and irst clarinet on the sorano art; second oboe second clarinet and alto saxohones on the alto art; bassoon third clarinet and tenor saxohone on the tenor art; and bass clarinet and baritone saxohone on the bass art. In addition the triangle is scored in mm Measures 7 5 are orchestrated or the entire band using the revious woodwind and brass choirs with the ollowing excetions: second oboe second clarinet and third clarinet contain the sorano art. First trumet and 1

34 euhonium contain the alto art. Alto saxohones irst horn and irst trombone contain the tenor art. The susended cymbal enters during the inal climax in mm The ollowing changes have been made to Brahms s setting o Von edler Art: Rehearsal marks have been added at each verse to acilitate classroom rehearsal and discussion (mm. 19 7). The ritard in m. 17 has been removed acilitating the transition between the irst and second verse. In mm. 7 a ermata and a temo have been added. First lute is written 8va rom mm. 7 5 and the inal decrescendo in mm. 5-5 has been removed roviding timbral and dynamic contrast. Finally a ermata has been added to the last note in m. 5.

35 CHAPTER SIX MIT LST THÄT ICH ASTEITEN Marked Allegro non troo Mit Lust thät ich ausreiten (With Pleasure I Rode Out ) is in the key o G-minor and in / time. As in Von edler Art arts are diatonic and alternate reely between homohonic and olyhonic textures. The use o a minor key signature aids in the discussion o the leading tone and the various orms o the minor scale. These ideas which are oten only discussed in music theory and rivate instrumental study can be directly illustrated in the large ensemble using this work. The leading tone F# irst aears in the bass voice m. 5. The descending orm o the melodic minor scale aears in the bass voice m. and the ascending orm o the melodic minor scale is written in the alto voice m. 7 (see ig 8). With the excetion o the irst measure that contains a dotted-eighth sixteenth-note rhythm the work is comrised o quarter-notes and eighth-notes. Measures and contain syncoation on counts three and our and mm contain ties across the bar-line in the tenor and Beaumont Glass Brahms' Comlete Song Texts (Mt. Morris New York: Leyerle Publications 1999) 88.

36 Figure 8. se o the descending melodic minor scale (bass m. ) and the ascending melodic minor scale (alto m. 7) Source: Adated rom Johannes Brahms Mit Lust thät ich ausreiten mm bass voices. These scenarios which are oten diicult when sight-reading can be addressed in the large ensemble setting using this work. In Mit Lust thät ich ausreiten most o the breaths in the ensemble occur during rests. These take lace in mm. and 10. The bass voice contains indeendent breaths in two locations. The irst occurrence is a down-breath on count our in m. 5 and the second is an u-breath ater count one in m. 10. Mit Lust thät ich ausreiten is also valuable or working on sudden dynamic changes. These alternations Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:7.

37 Figure 9. Sudden dynamic changes Source: Adated rom Johannes Brahms Mit Lust thät ich ausreiten mm between orte and iano occur in mm. 8 and 9 and are accomanied by other more gradual crescendi and decrescendi throughout (see ig. 9). The arrangement o Mit Lust thät ich ausreiten contains three reetitions o the olk song. The irst verse is scored or small woodwind ensemble the second or small brass ensemble and the last or tutti woodwinds and brass. In the irst verse mm. 1 1 the sorano voice is scored in the oboes; the alto voice in irst clarinet the tenor voice in second clarinet and the bass voice in bassoon. Measures 5 contain brie solos in irst oboe and irst clarinet and the triangle enters in mm. and 8. 5 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:7. 5

38 In the second verse mm. 1 the sorano voice is scored in irst trumet the alto voice in second trumet the tenor voice in irst horn and the bass voice in euhonium. Measures contain solos in the irst and second trumet. The timani art is orchestrated in mm and - and the triangle is incororated in mm The inal verse mm. 5- is scored or tutti ensemble and contains a our-measure woodwind interrution in mm The sorano voice is written or lutes oboes irst clarinet tenor saxohone irst trumet second trombone and euhonium (mm. 5-1). The alto voice is written or second clarinet irst alto saxohone second trumet and euhonium (mm. ). Bassoon third clarinet second alto saxohone and horns contain the tenor art and the bass voice is scored in bass clarinet baritone saxohone third trombone tuba and string bass. Timani and triangle are both incororated in the inal verse mm. 5-8 and -. The ollowing changes have been made to Brahms s setting o Mit Lust thät ich ausreiten: Rehearsal marks have been added at each verse to acilitate classroom rehearsal and discussion (mm. 1 5). A ritard and ermata have been added in mm. - resectively.

39 CHAPTER SEVEN BEI NÄCHLICHER WEIL Bei nächlicher Weil (During the Night ) is in the key o Ab-major /8 time. The transcrition o this work is useul or racticing sight-reading in comound meter. Though the work is in a time signature less utilized by young musicians Brahms uses only ive dierent rhythms. These rhythms are comrised o dotted-quarter-notes eighth-notes and sixteenth-notes and can be reviewed individually with the ensemble beore sight-reading (see ig. 10). Figure 10. Rhythms ound in Bei nächlicher Weil. Not only does the homohonic texture o this work make sight-reading rhythm more accessible but it also rovides a clear illustration o breath alignment or the large ensemble. The breaths in Bei nächlicher Weil occur Beaumont Glass Brahms' Comlete Song Texts (Mt. Morris New York: Leyerle Publications 1999) 50. 7

40 simultaneously throughout the ensemble on count two (mm. 8 1 and 1). Bei nächlicher Weil is also valuable or develoing dynamic control at sot levels and or introducing the concet o imlied dynamics. The iece begins iano but contains no other rinted dynamic. There are however crescendi and decrescendi throughout. sing this inormation student musicians can develo hrasing in the context o the given sot dynamic. The concet o imlied dynamics or hrasing without written crescendi and decrescendi can be easily alied to mm Since Brahms indicates no change in dynamics during these measures the conductor can exeriment with dierent hrasing. In the second and third hrases mm. 9-1 and 1-1 dynamic changes are clearly marked. The arrangement o Bei nächlicher Weil contains three reetitions o the original olk song. The irst verse is scored or small alternating woodwind ensembles and triangle. The orchestration o the second verse emloys the same technique using brass and timani. The inal resentation o the melody is scored in the saxohones with brass and triangle accomanying. Measures 1-8 are orchestrated to eature the clarinet choir. The sorano voice is scored in irst clarinet; the 8

41 alto voice in second clarinet; the tenor voice in third clarinet; and the bass voice in bass clarinet. The orchestration in mm. 9-1 consists o lutes double reeds and triangle. The sorano voice is scored in irst lute; the alto voice in second lute the tenor voice in irst oboe and the bass voice in second oboe and bassoon. The clarinet choir lutes and double reeds are combined in mm. 1-1 and mm consists o the orchestration used in mm Measures 19- are orchestrated or low brass. The irst tenor voice is scored in euhonium; the second tenor voice in irst trombone; the baritone voice in second trombone; and the bass voice in tuba. It is imortant to note that the irst tenor art is the same as the sorano art but written one octave lower. Similarly the second tenor art mirrors the alto art down one octave. Measures -0 consists o high brass and timani. The sorano and alto voices are written in irst and second trumets. The irst and second tenor voices are scored or irst and second horns and the bass voice is scored in third trombone and euhonium. These grous merge in mm. 1- beore returning to the low brass choir in mm. 5-. The inal verse is orchestrated in the saxohone choir. Parts are assigned as exected and are augmented by 9

42 the inclusion o brass triangle and timani in mm First and second horn third trombone and euhonium enter in m. 5 and are joined in mm. 9-5 by the tuba and string bass. The work ends with saxohone choir in mm The ollowing changes have been made to Brahms s setting o Bei nächlicher Weil: Rehearsal marks have been added at each section to acilitate classroom rehearsal and discussion (mm. 19 7). Additionally the irst and second endings have been removed. Music rom the second ending is used only in mm. 5-5 to end the work. 0

43 CHAPTER EIGHT VOM HEILIGEN MÄRTYRER EMMERANO BISCHOFFEN Z REGENSPRG Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg (From the holy martyrs Emmerano Bischoen to Regensurg) exhibits a higher level o rhythmic sohistication than most o the other works in the Vierzehn Deutsche Volkslieder. The iece alternates between / and / and does not maintain a consistent quarter-note ulse. Instead the hal-note in / equals the dotted-hal-note in / (see ig. 11). When conducted in / Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg is esecially valuable or addressing simle versus comound subdivision. Figure 11. Changing subdivision Souce: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg mm Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:10. 1

44 In addition to its comlex rhythmic structure Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg exhibits increased harmonic sohistication. Written using the G Dorian mode the work oens with a erect 5 th over a G in the bass. Both hal-cadences in mm. and 5 omit the leading tone in the V chord contributing to the modal sound o the iece (see ig. 1). For the / section Brahms shits the tonality to the subdominant C-minor. These harmonic choices lead to an increased demand on the erormer to sight-read accidentals and tune in remote keys. Figure 1. V chords with omitted leading tone (mm. and 5) Souce: Adated rom Johannes Brahms Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg mm Because o the rhythmic sohistication o the work breath lacement in Vom heiligen Märtyrer Emmerano 8 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:10.

45 Bischoen zu Regensurg is more comlex. During the / sections breaths occur on the beat and last one count (mm. and 1). However during the / sections the breaths shit to count ive. Because o the raid temo o these sections these instances should be treated as u-breaths. This begins with the anacrusis to m. and recurs in mm. 7 1 and 18. The dynamic o Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg is orte throughout. When reading conductors may exeriment with their own dynamics and hrasing. The arrangement o Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg contains our reetitions o the verse. The irst two verses are divided into two halves. The irst hal is orchestrated with woodwinds on the sorano art and brass accomanying beneath. The second hal o each verse is orchestrated with the sorano art in the brass and the accomaniment in the woodwinds. The third verse contains unique timbral combinations between the brass and woodwinds while the ourth is scored or tutti ensemble. Each verse eatures timani and triangle throughout. In mm. 1-5 the sorano voice is orchestrated in the clarinets. First trumet (alto) second trumet (tenor)

46 and horns (bass) accomany beneath. The sorano voice in mm. -11 is scored in irst trumet and euhonium. First lute and irst oboe (alto) second lute and second oboe (tenor) and bassoon (bass) rovide the accomaniment. The sorano voice is orchestrated or lutes in mm. 1-1 above irst horn (alto) second horn (tenor) and euhonium (bass). The second verse concludes in mm. 17- with the horns (sorano) irst clarinet (alto) second clarinet (tenor) and bass clarinet (bass). Measures - are orchestrated with the horns and alto saxohones on the sorano art. The accomaniment is comrised o trumets and irst clarinet (alto) bassoon and irst trombone (tenor) and baritone saxohone and tuba (bass). The sorano voice is written or lutes in mm. 8-. The inal verse mm. - is scored or tutti ensemble with woodwinds (excluding bass clarinet and baritone saxohone) on the sorano art above the trumets (alto) horns (tenor) and other voices (bass). The ollowing changes have been made to Brahms s setting o Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg: Rehearsal marks have been added at each section to acilitate classroom rehearsal and discussion (mm. 1

47 ). A ritard has been added in m. to urther distinguish the inal verse. 5

48 CHAPTER NINE TÄBLEIN WEISS Täublein Weiss (White Doves) is in the key o Bbmajor / time with imitative counteroint used throughout. The irst our measures contain staggered entrances in a quasi-canon (see ig. 1). The rhythm is rudimentary throughout the work limited rimarily to halnotes and quarter-notes. Eighth-notes are used briely in mm and and the dotted-eighth sixteenth-note rhythm is used in m. 1. Tonally Täublein weiss remains irmly in Bb major and avoids all use o accidentals. Figure 1. Imitative counteroint Source: Adated rom Johannes Brahms Täublein Weiss mm Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:1.

49 As in Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg Täublein weiss contains meter changes. Both changes mm. - and mm. -8 alternate between / and /. However as oosed to Vom heiligen Märtyrer Emmerano Bischoen zu Regensurg the quarter-note temo remains constant throughout. Because the underlying ulse ersists sight-reading Täublein weiss is accessible to a develoing ensemble roviding an excellent resource or reading simle meter changes. Though the rhythms used in Täublein weiss remain basic the indeendence o each art increases the sightreading diiculty o the iece. Brahms s use o imitative counteroint aects breath lacement in much the same way. Though breaths usually occur at rests and last one count they oten ail to align between voices. This rovides an additional challenge or students and the oortunity to work on indeendent breath lacement in the large ensemble setting. In addition to naturally occurring breaths (those taking lace at rests) breath marks have been added to the alto voice in mm. 5 and ater beat three and in m. 1 and 7 on beat two. Though Täublein weiss contains only the written dynamic iano there are crescendi and decrescendi in nearly every measure. Oten these dynamic changes last 7

50 only two or three beats while at other times they are more gradual taking lace across multile measures. As with the reviously discussed asects o Täublein weiss dynamics occur autonomously in each art and rovide an excellent resource or building indeendence in the ensemble (see ig. 1). Figure 1. Dynamic indeendence Source: Adated rom Johannes Brahms Täublein Weiss mm The arrangement o Täublein Weiss contains two reetitions o the verse. Both verses are scored using staggered entrances throughout the wind band. The irst statement o the olk song begins by layering woodwinds ollowed by brass. The second verse reverses this rocess beginning with brass ollowed by woodwinds. 0 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:1. 8

51 Entrances in the irst verse Täublein Weiss are as ollows: bass clarinet (bass) begins in m. 1 and is ollowed by bassoon (tenor) in m. irst clarinet (alto) in m. and irst lute (sorano) in m. (see ig. 15). In m. tenor saxohone (tenor) enters ollowed by second lute and oboes (sorano) in m. 8. Measure 9 contains the inal woodwind entrance in second clarinet and alto saxohones (alto). The irst brass entrance occurs in m. 1 in horns (alto) ollowed by irst and second trombones and euhonium (tenor) in m. 1. The inal brass entrance occurs in m. 15 with third trombone tuba and string bass joining the bass art. Figure 15. Staggered woodwind entrances Source: Adated rom Johannes Brahms Täublein Weiss mm Arranged by R. L. Biles. The arrangement o the second verse ollows a similar rocess. Euhonium (bass) enters in m. 5 irst horn (tenor) in m. second trumet (alto) in m. 7 and irst trumet (sorano) in m. 8. In m. 0 second horn (tenor) 9

52 enters ollowed by clarinets and irst trombone (sorano) in m.. In m. alto saxohones enter (alto) ollowed by susended cymbal in m. 5 and low reeds and low brass (bass) in m.. The inal entrance occurs in the lutes m. 7 (sorano). Timani enter in mm. -9 and also in mm. 7-8 to conclude the work. The ollowing changes have been made to Brahms s setting o Täublein Weiss: A rehearsal mark has been added to acilitate classroom rehearsal and discussion (mm. 5). A caesura has been added in m. or ease o reading and the inal note o the iece has been changed rom a halnote to a dotted-hal-note to accommodate the anacrusis. 0

53 CHAPTER TEN ACH LIEBER HERRE JES CHRIST Ach lieber Herre Jesu Christ (Oh Dear Jesus Christ) is in D major / time. Though the rhythm is comrised entirely o hal-notes the iece is useul or racticing sight-reading in the key o D-major a key used less requently in wind band literature. The simlicity o the technique allows the members o the ensemble to ocus more ully on the key signature tone quality intonation and melodic balance when sight-reading. While the sight-reading imlications o Ach lieber Herre Jesu Christ are somewhat limited it roves tremendously valuable to introduce the concets o the ubreath and o ensemble hrasing. Each breath in Ach lieber Herre Jesu Christ occurs on the u-beat ollowing count three (see ig. 1). The regularity o these breaths mm. and 8 ermits the ensemble to ocus on the details o roer breathing. Chiely among these are the lacement and shae o the release the seed and volume o the inhalation and the quality and alignment o the ollowing attack. Regarding hrasing Brahms uses tutti crescendi and decrescendi throughout Ach lieber Herre Jesu Christ. 1

54 Figure 1. -breaths between beats three and our Source: Adated rom Johannes Brahms Ach lieber Herre Jesu Christ mm As in other olk song settings the length o these shaes varies by hrase. Crescendi and decrescendi lasting two measures are contained in mm. 1- and 5- while the remainder o the work incororates dynamic changes lasting our counts or less. Though Brahms uses only the dynamics and the intensity o each dynamic change is unseciied 1 Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:1.

55 and remains at the discretion o the conductor. This allows or the rehearsal o both subtle and grandiose gestures. The arrangement o Ach lieber Herre Jesu Christ contains three reetitions o the verse. The irst verse is scored or tutti brass the second or tutti woodwinds and the third or tutti ensemble. Measures 1-1 are orchestrated or the entire brass section. The sorano voice is written or trumets with the alto voice scored or horns the tenor voice scored or irst and second trombones and euhonium and the bass voice scored or third trombone tuba and string bass. The second verse mm. 1- is scored with the sorano voice in the lutes oboes and irst alto saxohone. The alto voice is scored or clarinets and second alto saxohone. The tenor voice is written in the bassoon and tenor saxohone and the bass voice is notated or bass clarinet and baritone saxohone. The inal verse mm. 5-7 combines the instrumentation used in the irst and second verses without alteration. The ollowing changes have been made to Brahms s setting o Ach lieber Herre Jesu Christ: Rehearsal marks have been added at each verse to acilitate classroom rehearsal and discussion (mm. 1 5). The time signature has been changed rom / to / making it congruent with

56 Brahms s use o our hal-notes er measure (see ig. 17). The ritards in mm. 11 and have been removed thus making the ritard in m. 5 sound more conclusive. Figure 17. Original time signature Source: Johannes Brahms. Ach lieber Herre Jesu Christ mm. 1. Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:1.

57 CHAPTER ELEVEN SANKT RAPHAEL The seventh song in the Vierzehn Deutsche Volkslieder Sankt Rahael (Saint Rahael) rovides a curricular resource or sight-reading in / at the novice level and or teaching the dotted-quarter eighth-note rhythm. The iece in G-minor contains only hal-notes dottedquarter-notes quarter-notes and eighth-notes. The texture is homohonic throughout with only a ew instances o rhythmic indeendence in the bass voice (mm. 8 and 10). The dotted-quarter eighth-note rhythm is rominent throughout and is oten echoed among dierent voices (mm and 1). Because Sankt Rahael contains no written rests erormers must breathe only at indicated hrase endings. These moments based on the text and harmonic structure occur in mm and 1. While all o the breaths in Sankt Rahael occur ater the beat mm. and 10 are signiicant or their breath lacement and seed. These breaths take lace ater count three and last or only one eighth-note (see ig. 18). Because o the time signature / the use o a slight rubato by the conductor will hel acilitate these breaths. 5

58 Figure 18. Eighth-note u-breaths Source: Adated rom Johannes Brahms Sankt Rahael mm. 1. In addition to the use o tutti crescendi and decrescendi Brahms uses several dynamic markings in Sankt Rahael. The irst hrase mm. 1- is marked iano while the second hrase mm. 7-1 is a literal echo o the irst and is marked molto iano. The subito m in m. 1 begins the third hrase. And the inal hrase contains a crescendo to orte in mm. 1-1 beore ending on iano in the inal bar. The arrangement o Sankt Rahael contains three reetitions o the verse. The irst verse is scored or tutti brass the second or tutti woodwinds and the third or tutti ensemble and timani. Johannes Brahms Vierzehn Deutsche Volkslieder (Leizig: J. Rieter-Biedermann [18?]) 1:18.

59 The irst verse mm.1-0 is orchestrated with the sorano voice in trumets and irst trombone; the alto voice in second trombone and euhonium; the tenor voice in the horns; and the bass voice in third trombone tuba and string bass. In the second verse mm.1-0 the sorano voice is scored in lutes and oboes; the alto voice in bassoon irst clarinet and alto saxohones; the tenor voice in second clarinet and tenor saxohone; and the bass voice in the bass clarinet baritone saxohone and string bass. The inal verse mm. 1-0 merges the revious woodwind and brass choirs verbatim and includes timani throughout. The ollowing changes have been made to Brahms s setting o Sankt Rahael: Rehearsal marks have been added at each verse to acilitate classroom rehearsal and discussion (mm. 1 1). Also the inal crescendo and iano in mm have been removed to rovide a more decisive ending to the work. 7