CMP Teaching Plan for First Suite for Military Band by Gustav Holst As part of a well-rounded musical experience, students must be exposed to challenging pieces of music that make use of accessible skills while imparting knew knowledge through the rehearsal and performance processes. One such piece is Gustav Holst s First Suite for Military Band in Eb Major. This canonic work, written in 1909, with no record of performance until 1920, has become a standard piece of band music that is a must have/play for maturing and professional musicians alike. Much like the Second Suite for Military Band in F Major, this work provides students with exposure to an array of musical concepts, including articulation, melody/accompaniment function, soloing, chamber playing, and phrasing. Assessment Assessment will occur in three stages throughout the rehearsal and performance of this piece. Before Preliminary preparation for this piece will begin with the students listening to a recording of the piece twice without music. The first time they will be asked to respond to the piece on a musical and emotional level in their journals and in class. These responses may include how the whole piece or a section of it made one feel, or on musical elements of the piece; for example, the different styles Holst designates for each movement. The second time they will be asked to focus on their particular instrument and comment (in journals and class) on the roles their instrument plays within the piece. These comments will include, but are not limited to, melody/accompaniment roles, soloing, chamber playing, rhythmic responsibilities, role of the percussion, etc. During During the rehearsal of the piece, the main focus of assessment will shift towards musical concepts and issues such as intonation, blend, balance, articulation, harmonic/melodic function, style, and history of the piece, among others. During
rehearsal, students will be asked to keep a practice journal relative to this piece, and also to discuss how Holst employs different types of articulation and phrasing to communicate his musical ideas within the movements. Students might possibly be asked to compare the original manuscript scoring with the edited 1948 scoring (this information is given in the program notes of the score.) Finally, students will, of course, be assessed on their progress in performing the piece. After Following the performance of the piece (which will be recorded), students will listen to their performance and be asked to comment on both the sound of the ensemble and the sound of their particular section. Students will also be required to reflect on the concepts and knowledge they have gained through performance of this piece and the challenges this particular piece presented. Music Selection Through the study of this piece, students can gain insight into how composers use: (1) Articulation to distinguish musical lines/phrases; (2) Solo and chamber playing; (3) Musical themes to create unity within a movement or piece. These types of concepts can also be applied to other pieces of music that will be either listened to or performed. First Suite for Band in Eb Major is a wonderful piece for students to play because it presents the musicians with many unique musical settings within the piece. Every movement provides for solo, soli, and ensemble passages that challenge and motivate the student. This piece also allows for detailed instruction and practice on many important musical concepts such as articulation, phrasing, and solo playing, amongst many others. This work is a challenging piece is fairly challenging (Grade 4), although not as challenging as its counterpart (Second Suite for Military Band in F Major). It would most likely be placed on a program with one other piece of the same difficulty level and possibly an easier piece. Therefore, this work would be a main focus during preparation for the concert. The cost of this piece is approximately $100, although many band departments already own this selection if they have a decent collection.
Analysis First Suite for Military Band in Eb Major is composed of 3 movements based on thematic material as well as contrasting tempos and moods. The idea of contrasting mood can be explored not only in this piece, but in the everyday musical experiences of the students. The movements of this piece (I. Chaconne, II. Intermezzo, III. March) offer a mood swing of sorts, from the patient, dancing, and joyous feeling of the opening movement, to the fast paced canon of the second movement, and finally closing with the aggressive yet lyric march of the third movement. Holst s timeless melodies seamlessly transport the music through contrasting section while maintaining a sense of uniformity. Holst challenges the musicians in specific areas such as articulation and phrasing, as well as the presenting shifting combinations of instruments that may prove difficult to negotiate with respect to balance, blend, and timbre. An example of this is present in the opening gesture of the piece where clarinets and brass weave a melodic line that is passed to a woodwind ensemble accompanied by the low brass, climaxing in a brief, yet satisfying ¾ waltz feel (tutti). Holst continues to use these concepts of textural crescendo and varied smaller ensembles vs. tutti sections throughout the piece to create contrast within the movements. First Suite for Military Band in Eb Major also seems to specifically target the concepts of articulation and phrasing, both within the ensemble and in solo sections. Each movement of the piece offers fairly safe (note-wise) solo and ensemble sections that challenge the musician to apply the proper articulation, dynamics, and phrasing to the line. Movement I employs the use of stringent staccato in the woodwinds during the opening minute of the piece as well as legato sixteenth note lines in long phrases. The brass are required to create movement with their simple, yet stylistically challenging bass lines in all three movements. Movement II presents some unique phrasing and articulation situations, particularly in the opening woodwind lines that combine slurred and staccato notes. The brass, who carry the melody less frequently than the woodwinds, are employed to move the piece forward with their lines, providing a cushion upon which the woodwinds lay the melodic framework of the movement. Finally, this movement presents the interesting concept of imitation, because the melodic theme is passed
throughout the ensemble. This concept challenges the students to weave a seamless web of the melody while passing it from section to section a task easier said than done. Finally, the third movement employs many of the concepts above in its construction, but it is notable for its contrasting sections. Specifically, it challenges the ensemble to switch musical styles throughout the piece. For example, the movement opens with a stringent march which requires particular rhythmic accuracy, but at rehearsal A the ensemble is required to create long phrases above the pizzicato bass line. Holst then gradually transitions back to the rhythmically precise march, closing the piece with a soaring trombone section and woodwind run. Outcomes & Strategies Outcome: The students will recognize and be able to interpret and play the many types of articulations and phrasings incorporated in First Suite for Military Band in Eb Major. Strategy: Students will: Mark their music, indicating shifts in articulation styles so that rehearsals and performances will be accurate. Discuss the many types of articulation used in this piece in their journals, specifically detailing any particular challenging spots. Practice articulation techniques and record these in their practice journals. Discuss how the composer uses articulation and phrasing to distinguish between the styles and moods of the sections of each movement and of the larger movements. Ensemble timing and rhythmic accuracy will be rehearsed here. Learn proper techniques on instruments to inform stylistic accuracy. Ex. Correct articulation for a march (mvmt. 3) or proper phrasing/dynamics for lyrical passages (mvmts. I & III). Outcome: Students will be able to recognize the various smaller ensembles (soli, solo) Holst composes for and how these chamber groups relate to the overall scheme of the work and to the ensemble.
Strategy: Students will: Create a master list in their journals and in class of all the types of smaller ensembles within the band that Holst uses. (i.e. clarinet choir (opening of mvmt. II), brass choir (opening of mvmt. III), etc.). Write performance directions in their parts when they are playing with a smaller ensemble. For example, a trumpet player would write in his/her part brass only for the beginning of mvmt. III. Write and discuss how Holst transitions between sections of soli and ensemble playing. Students will be asked to comment on what challenges these transitions present and how musical dynamics play a role in shaping these sections. Recognize when they have a solo and practice these passages with this understanding. Concepts highlighted will include: expression, dynamics, vibrato, etc. Understand their function at all times during the piece and play with correct dynamics, phrasing, articulation, etc. Write in their parts and discuss techniques for creating the correct balance, blend, and sound associated with the qualities of each function (melody, accompaniment, etc.) in this piece. Outcome: Students will understand the concept of imitation and demonstrate this by correctly playing the second movement with respect to their individual function throughout the movement. Strategy: Students will: Write in their journals after studying other musical examples in which imitation exists, such as a Bach fugue or invention. Students will be asked to identify melody versus accompaniment in this piece as well as the examples played during class. Recognize when they have the melody or accompaniment and mark their parts accordingly.
Be asked to state their roll (melody, accompaniment, countermelody, etc) at various parts of the movement. A good example of this challenge occurs at rehearsal D of mvmt. II, where the melody occurs in 1 st Bb cornet and the euphonium while a counter-melody occurs in the woodwinds, during which time the rest of the instruments play a harmonic accompaniment. Specific care and rehearsal time will be donated to sections such as these. Outcome: Students will perform First Suite for Military Band in Eb Major at a high musical level. Strategy: Students will assist the director in rehearsal by providing feedback for the ensemble, sections, and soloists in the band and will be asked to assess what progress the group is making and what work needs to be done to bring the piece up to the standard set by both the students and the director. Students will continue to participate in these peer evaluations and progress discussions in their practice logs and journals, and through classroom participation.