William Schuman:
George
Washington
BridgefrnImpression
fn, Band
FrederickFennell
illiam Sci'ruman'swarm and highiy-evc'rcative
preamble statesin words what his rnusic then
In its scoring at the beginning
so vividiv expresses.
for massedbrassand percussion,the music presents
a formidable aural statement,one so riveting, so
descriptiveof somethingtoweringly powerful that
its sonic nessage more than fulfills the words that
precedeit. Eveiything about ihe piece, like the magnificent structure it portrays, is "mathernatically"
engineeredand proportionatelydistributed for the
balancedachievementof its purpose.
Schuman'splan (1) is the essentialarch: A B C B1 A.1
Coda; and there is no rnore graphic reminder to concluctor and players of base ancl contour in this fonn
than the accompanyingphoto of the briclge itself.
Three basicthenresserve the fornral pattern:
E x, l a - ThenreI l 1-41
Ex, 1b - Therne lI142-431
Ex. 1r:- Theme III [96-128]
The i.mpressivebi-chordal aural statementbeginning
in bar 1 with the C nrajor triad in sopranobrass&
horns over the one in Bhof all low brass establishesa
bitonal harmonic pattern that is Schurnan'sresource
throirLghouttire score.Thesestacked triad sonorities
are rrrixed freely, major over major, rninor over major
- a whole catalog of them as he piles on the interr.'als.
With thesevery basic statementson form artd content,
I leav'etheir infinite discussiot'rand cataloging to the
referenceslisted in the notes.(l-2)
Bridge
Wnshington
George
A N I I v I P R E S S I O NF O R B A N D - 1 9 5 0
Therenrefel.udaysirt tIrcyear
I do not seeGeorgeWashitlgtotl
uLlhen
to uork nsI
Bridge.I pnssit on ffiy zL)ny
driue Ltllt'tgtheHennl HudsonPnrkzuay
ofl the NezuYorkshore,Euersincemt1
I utstchedtlte
studentdatlsrLthetl
this bridge
prlgressof its constructior't,
hashadfor menn nlmosthumetr
personality,and this personnlityis
astonishin
gly aaried,assumingdifferent
the timeof day or
011
deTtending
moods
nighf, theweatlrer,the trafficnnd of
n1y07unm)od asI passhy.
coLtrse,
acrossit lateat nigltt zuhen
I hauezttalkecl
in fog,nnclduring the
it wnsshrouded
httttt's
of midday.I
brillittntsttnshine
timescnd
it cttuntlcss
haaedriuenaL)er
underit ortboats.Comingfo lfcrt,
passed
I hnztelteert
YorkCittl by air, sometin'tes
lucktlenoughto fly right ctrterit.
It is difficultto imaginea maregrncious
or dratnaticettrtl to
lL)elcome
thegreatrnetropolis.
VV.S.
:r,r" *18* T"ngr:teI il -4]
fftsast.ogo rrnodervafro
Ex. 1b - Theme II [42-43]
E x , 1c- T h e meIII [9 6 -1 2 3 ]
,T--T-
It is my plan for tire rest of this study/performance
essayto proceed page-by-page,responding in that
sequenceto Schuman'smrrsicand to my notesjotted
in tire marginsof the scoreas a result of thought,
str-rdyand perforrlance over the last 40 years.
THE OVERVIEW
tnnsic'stopography- emptv spaces,packed pages,
verticalpylons of sound, horizonfal planesthatr-rrrcluiate
and lead the eye, shadingsof black on white
sometimesopaque,frequently transparent- ail of it
informationthat in the hours aheadwill come into
sharp focusand becomethe music at hand.
.{sslrmingthat the reader}'rasnumbered every
rneasurefor imrnediatereference,bars I Er.2contain
ihe essentialmaterial (seeEx. 1); and all are cautioned
Jhroughoutboth the statementand its recapitulation
[?3OplusJnot to falselyaccentthe dotte'dquarter or
r.luarternote - tliat olcl habii from pre-contemporary
47
music must not apply here;Mr. Schurnanhas plentv
of his own varied forms of accentuationup ahead.
Bar 3 presentsanother marginal observationfor the
conductor and cymbals player, where the compose'r
in searchof great sounds for a great structure,has
with his dynamic (forteto the third power) invited a
sound from an insensitive player that SHATTERS tire
musical atmosphere.All striving for thoseeuphonious sounds of the first two bars can be dispelled in
one big thoughtlesscrash!(3) Both player and cotrductor are urged to work this measure apart from
rehearsal.If a good pair of 22" plates is available,the
dynamic rnay be reduced for appropriatesound.
Forcing smaller plates to the greater level is a sure
invitation to distortion.
Page one contains four of the six dynamic levels in
the piece;as with any rnusic their strict observanceis
everybody's responsibility. GeorgeWashingtonBridgL
is high intensity music; dynamic gradation is not
cosmetic.Counting its patternt (t'ff= 35 times,t't'= 15,
f = 35,mf = 43,mp 76,p = 74,pp = 0) tells us both
what we must observeand avoid: principally
tonal distortion.
+.cor.'DUCTOR'S
TNTERpRETTvE
ANALysrsoF MASTERwoRKS
FoRBAND
E x ,2 [ 1 5 - 1 9 ]
As page one is iurned, the con-ringnrassivesounds
17)arebetter framed if the brassand clarinetsdo not
co n nec t[ 6- 7]but allo w th e to ta l i n rp a c ta t b a r 7 to
so u n d f r ee.I f t he c o rrd u c to r/te a c h ehra s n o t y e t ta ken
the plaversinto the irannonic knowledge of the tw,o
merjortriads at the 5th, now is that time, for the whole
banclis in on it and it,iii be proclucingarrd hearing
version of a bitorral sourrc'lfor a long time tcr
sor11e
conle.For all reeds,this is the iirst of thoi. 35
forfissitnotirnesand it is, as well, a great opportunity
to stu dv t he c hallen g eto i n to n a ti o na rrdto n a l q u a li ty
wrthirr tire tin,otriads stretchedover 5 arrd 6/goctaves
- B1io G6.
Music as powerful as is this works's beginning now is
joined with this compellir-rg
cornbinationof energies:
E x. 2 U 5-191
Th e c ondnc t or ' spart i ri e s ta b l i s h i n gp a c ea n d
characterfor this majesticmusic should begin with
gestnresand a physicalposturebefitting its lofty
plrrpose;Schumanmight haver;ldcled
sostenufo
rnttlto
to his initiai tlirectives,for this is exactlywirat tl-re
co n duc t or ' s" ar t ic ul a ti o n "m u s t c o n v e y to p l a y e rs
arrrllisteners.Articr-ilationthat is prrnchv- rnarcato
rvith gesturesto fit - sec'msinappropriate.
With so much aggressiveaction all around it,
Schuman'smelodic line in soprarlobrassmight be
rnark.edsosfettufo
tnoltttuntil the cade.nce[19] rvhen all
join. In this bar, tlre conductor must achieveexact
rrotevalues,emphases,and articulations;and to keep
dynamics in corrtrol,low reeds,horns, and low brass
rnight modify their sound through the natural diminuendo provided by the three quarter notes [14] that
The energeticand contrastingtextural rhythmic figure
that beginsin bar 11 and moves the music to sectionAl
of the form, will be the companionidea to Schuman's
archingmelody for the next 18 measures.Placementof
the accenton the i6th note,separatedand/or tied, is an
ensembiematterwhich the conductormust achieve.
Lengthfor the 15 separateddotted 8th notesdecidedin
favor of full value is bestachievedby adding a line
aboveor below every one of them.
Whateverthe conductor'sstancemay be from bar txre,
Mr. Scliunraniurritessornethingspecialfor the grand
ttrtfi, as the first pageis turned beforebar 7. The observarrtarrdwise cdnciuctorthiuks about bar 7 before
begirirringbar 1. It rnight evenberverrveffeciiveto let
the percr-issiorr
give the special"gesture"for the third
pulsein bars8-9so the corrductorcatrconcentrate
on
p ro vidingpuis es2 & 4 i n [1 1 ]a n d 3 i rr [1 2 -1 3 1e,s ta blishingfrorn the podiunr atpresencef<lrtlie matly simrlar patternsof accentuatiorr
irr fhe measllrcsahead.
Eve r sinc eV inc er r Pe
t rs i c h e i tiM
, o rto n C o u l d a n d
William Schurnarrirelpeclbring therband's percussion
out of the closet,it has been a challengejust where to
'fhis
priacethe instnrrnentsin the set.
was particularly
clifflcultin thoseband rooms of serni-circnlarrisers
set irr concrete.Over the Vearsthe flat-floor room has
ernergecland the percussionse'ctionhas grouped
itself pretty rntrchset riglit/corrcluctorleft, the stereop-rhorric
phasehaving been passed.(4) Manv colnposershave.becomespecificabout it with graphics,
not only vital to instrurnentplacemeut,but carefully
plarrneclas thc score\A/ascotlceivedarrd scored,a
corrrposi
ticrnalconsicle.ration.Grol'gc Wnsltirt ufort Br i dga
conlesoff be'stwhen the bassdrum and kettledrurl
p l a ve r sar r -adjac ent,o rr th e s a mew a v e -l e n g thfo r
pulse,have great help frorrrthe po<liurn,have hard
mallets,let thc headsrine free,arrd enjov tl-re
co mpallyof s v m pat h e ti c(o r a t l e a s tu n d e rs ta n d i n g)
(5) Schtrnlan'scresct.ndoirr the snare
cclliearques.
clrtrrttIi0] needsa temrinaI fttrlt.
All mtrsic €xatriprls5f,i'ereprepared br'
it,ttio.
Frederick Fenneli. irr his c'r'"''i..
FORBAND 43
A CONDUCTOR'S
A|!AL'/SIS
OF N4ASTERV/ORKS
lI']TERPRETI\/E
sincebar one!
Amidst this ever-gatheringmusical enravishment, the
conductor had better be a pretty cool keeper of the
faith, and cannot be overwhelmed by it - not yet'
Windmill-like is hardly the style to choose,nor is that
laid-backmicro-m6tierof much help. Searchwithin
the sounds,the contoursof the score,for your way to
you can then let it out.
of structtrralA.
Turning to page B, the dynarnic level [39] for the sece for the acceieratiou
ond time is reduced lo ntczzo-t'orf
of basichartnonicmaterial into Allegretto j (, = circa
120)artd the beginning of B in tlie formal strttcture'
On ihe rvay here,tire composercreatesin thosethree
bar sof ac c e l e ra ti on ,h a i a i s oh a s a p i l y b een
describedas a "tension crescendo'"(8) The ner'r'
materialthen exposedcontaiustr'r'oprincipal ideas
(9 ) (Se eE x . 1 8 .)T he mezzo
r ipe f or c l e v e l o p i n e n t.
fortt
holc-lingfor the next 19 measltresstill retaius
ciVrrarnic
someof the tensecharacterof the mttsic that leci
to it, Schuman'sleggeronotwithstancling'
Oncethe rnusic has evolved from suroothto brittle,
the lesswe help anybody. This is auotherof those
preciottstimes wherr if we rememberour needswhen
iocplayed,they rnight come flowing from us for the
needsof others.
as intentionalagitated attention-gettersmfY benefit
from the plan oI always playing the dotted Bth note
iong, with the tenuto line added for consistenc-y'..
WhZn the sectionsexchangethe figures [11-12]all
must carefully be in place- instrumentsto
embouchure,fingers in position. If solo playersare
used [42-61],all ilrembeis should join when reeds
and brassare mixed for variety in color and texture
ensembleis always tricky when players
162-65);
rush into this portion
of [63] and subsequentofferingswhich continue as
the page is turned to i5 and the music [97] becornes
parf two of structural B'
The particular contribution of this portion of the
compositionplan is contrast,what is offered is brief,
simple and effective,syncopatedly.intriguing,
harmonically rich - its own kind of contrastto the
blockbusterbeginning.
Severalpercttssionpoints: Unlessthe wood block
is suspendedin a thoroughly elastichoider (not
clamped to any object),its true sonority.will be
reduied. No matter how fixed, it should be played
at its most resonantspot and struck with a hard xylophone stick (not a drum stick).A good block.thus
itruck, held in the hand and elevatedabove the mustc
stand,delivers the true sound, (10)The plate for suspended cymbal 18l-961shouldbe thin and.responsive
il-li-hut),irrd also struck with a hard xylophorrestick
played on top ancl tastefullychoked with a sounclthat
inaichesthe iesonantstaccaiocoming frorn the rest oi
the band. If the bassdrurn beateris hard, darnping
it is
will be as unllecessaryfor that player 186-961as
impossible for the keftledrurltner who now (with
thosehard sticks)brings the music oi structural B to
its excitins close.
the tnaxinlltm dynamic.
THE THIRD THEME
Schurnanbeginshis third main theme and third (C)
principal str[cture [96] with an effectiveelision,the
ior,tt"iting G for brornbonesand euphonium Pitr
mosso(J: ci rca132),Fl ow i ng (cantabi l e) '
Contrastin structural B to C is total and of all the
directionswe have, the vital word is "flowing'" This
is exactly the kind of rnaterialhe assignsto trotnbotres
and euphoniums for the next 30 measuresduring
which fhe music roams,seeminglyat wiil, over an
octaveaud augmented5th,
extraneottsmotion.
Schuman'sconstantuse of theserhythrns:
l.-l I
44
t-] r
vJ d .
touching baseat randorn with the 12 tonesof the
(SeeEx' 1C)
chromaticscale[96-1251.
Above this melodic base-line,reedsand sopranobrass
FORBAND
OFMASTERV/ORKS
ANALYSIS
INTERPRETIVE
A CONDUCTOR.S
ffi
spin out their commentsin always-rising pyramidal
clusters;but during this 28-measureexposureof
structural/thematic C, there is not a single crescendo
from mezzofarte - the sounds must seem to float in
and to have no out. Legato and dolce added to
flowing and cantabile are conditions baked into
the music lines there on the page.
A total harmonic analysis of ieorge WashingtonBridge
is essentialknowledge, thematic C having special
tonai rewards,
All of this is a joy to conduct - just to be there musically, to be there as part of the music making, and still
be out of the way after the playershave been rehearsed
to do the leading. The manner of gesturehere, like it
usually does,comesfrom the shapeof what is on the
page;with the listening apparatus fully-tuned, the
conductor knows that responsibility lies in communicating a common pulse to all players, This established, we might remember that elevatedview at the
early ieafing-through,which reveaiedpagesfuil of
rising horizontal action,This is a made place to practice and achieveeffective,meaningful independent
action between the stick and the other hand. Trv
something as sirnple as this:
E x . 3[ 1 0 9 - 1 1 1 ]
Wind
Fennellat thetimeof thelandntarkEastman
Frederick
recordings
beginningMay 14, l953,
Ensernble
it is worth a try, When players feel the critical pulse
denominator, and know they are a part of it, the
music has a chanceto come alive ... and so does
everybody when the trornbonesand euphoniums
rend the air with theirforfissimoarching major 6th
[118],signalling the coming conclusion of this third
sectionof structural C intriguingly, excitingly
achievedby another Schuman "tension crescendo."
(12)This one is fashionedfrom the F minor scale,
proceedingin crescendofrom its consonantpianoF
in a gathering pyramidal cluster to this dissonant
forte galaxy of all notes in the F minor scale:
Ex.4 [125-1281
The conductor must assurethat the top line of the
scaiein Cornet I is never covered,especiallythe last
four notes,when Cornet II tends to hide it,
silenceof just an Bth rest here has never
The <Jramatic
beenenoughfor me; I have to catchmy musicalbreath
beforeI can proceedto welcomethat incredibiv puresounding G major triad, the first singletriad iri tire
piece.This is a very specialmoment in mttsic,a srvitch
from all that has gone before,and I hope that its beauil
wiil not be lost in any hasty tnove ahead.The overall
nrcuono'rlss{}
paceof the scoretells me that pochissirntt
suits this variant of that extendedmelodic idea th'e
trombonesand euphoniumsgave us at ihe au{seioi
structuralC. The materialhas a *'andering"searching.
laid-backway about it, rare in this score.u.hich
aboundsin ihe great driving spirit cf the Srufge.ivhere
the fascinatingprocessof compositicnin the
conternporarymanner is er.'eqn+hereto be fouild.
Turrring the page to 30 and the "tension crescendo"the tempo is in rnodification
this l;imeto fortississinro,
down from 132to 120.Again, the cltnbai noie rnust
not obliteratethe concludingscunci{1631but join iU
the scorenever indicatesdouble cymbals,although
I prefer them at the beginning [2] an<tafter that all is
play,edsuspended,The sound the cymbal makesat
should match the decav from the other instru1164)r
FoRBAND45
or iunstERwoRKS
ANALySti
A CoNDUCToR'S
TNTERpRETIvE
.Tlmi'crl*'3,t&r1i.:r,&r's
cCIntrolof ihe ritard [163] and the
', *srrma;riian
llf ail thaf sound clemands real presence
,mr'*the s,foii$iulpositioning oi stick ancl hand at the
.r-Ce*,se{t is not desirable to have both too high or too
lsi''**lplan for the midcile. The coming mezzo-piano
etttrac,lce
of the brass needs clear and appropriate
,rinu.a{contact. I also believe that I must not stop any
m+tisn in ftrreforfissimorelease,that stop being an
atrm*sic'ertaininvitation to a disastrousaitack in the
L'r'ass.
Keeping the flow and positioning a clear nptr.,'ousualiv bridges this trulv tricky transition.(13)
As this augmentedre-useof theme/structura][i in
ro.'hite
notaiion proceedsto unwind yet furtirer what
begarrat [729),Schuman'suse of silenceand his skill
in the brassscoring (14) are a l-rauntingreflection - for
tire moment, uniil he unleashesall that brass power
tenninated by the explosion in the percussionto
return the action to thematic,/structural ilA,
Allegretto(J = circa 120),
I just cartnotkill the bassdrunr here.Solo players
,,r'ork11871,
all joining at 17991,where as before and
contirruingto the end, all thoseperformancepractices
.lpply. For ihe beginning of nnlto ritard 12261itis well
to colrsiderthat the previotrs dvnarnic is forflssitrttfior
all [219];r-rnlesstherb is reductirin ta forti at [226],
tlrereis no place to go for tire iorfissinto
at the absolute
recapitulationof this music.
Aird when it's all over, condtrctorand playersmust
knon'that they'r'ereally crosserlover the bridge into
the excitingworld of conternporarymusic for tire
r v ind ban d .
C O N C L U S I O NA N D C O M M E N T
lVilliam Schumanpresentedthe wind band profession r,vitha formidable music expressionto open tlie
secondhaif of the 20th century.lt is a music of our
titrre - a wind band rnusic for our time; from its first
sourrdsall must know thesetmths, The leadershipof
our profession- of whatever age - nrust ernbracethe
,u.r.i. as repertory, make it a piit of this life, stucly it,
plav it, re-plav it. It is a clarion call fclr opet"lears,
ol-renminds, and rt'arm hearts.
It is a r-nusicwliich so n1ar1yconcluctors,sonteno longer
active,i,r'orkedceaselessly
in their tirne to have created
for tlreir groups.Music like Geor.qc
Wasltington
Bridge,
tlre PersiclrettiSi.rfhSrpnphonrl,
Schuller's Metlitatiort,
IJusatrrrlirrrited,
Gould's Bnllnd,Dahl's Sittfoniettn,
the
ColgrassanclMaslankaand Hansorrpieces,and a host
crfolher inrportantrvorks by the band's composers
itti.itt'rt't'nltt,ttvs
beenlrcre.Tlvsone is lessthan 50 years
ok-l.Evidenceis thin that the professiontruly honors
the ereatachierrementwhich lts earliestconductors
toiled r.r'ithlove io awaken amoltg the composersof
iheir time.We nrustjoin and play - or the greatthrust
nt avLr et ost
g j ,1 l
46
NOTES
(1) For the most comprehettsive,fuliy detailed,grapl'rically illustrated and imaginative stuclyof all aspectsof
form and harmonic materialsin this music, the reader is
referred to: "GeorgeWashington Bridge;A New Plan
for ConcertBand," copyright RobertJ. Garofalo;Music
EducntorsJounul, April 7987, pp . 32-39.
(2) For a completelisting of all harmonic devices
Robert
in tlris rnusic, seeGuidesto BnndMasterutorks,
A. Garofalo, two volumes, copyright 1992,Meredith
NE 33rd St.,Ft. Lauderdale
Music Pr-rblications,170
FL 33334.
(3) Consultthis publicationfrom Alfred (1992):Ctpnbnls
- A CrnshCourseby Mitcheil Peters& Dave Black.
(4) I now move the three "solo" percussioniststo the
very center of the group for performance of Vincent
Persiclrettr's
by the other
SixtltSymphony,'surrounded
players, the music of the percussionistsis nol out
on the fringe, can be heard and felt by ali - and at
tastefullyreducedupper dynamic levels,
(5) Transparent vertical baifles that stand frorn the
floor and divert high level dynamic signalsfrom arry
instrumentsthat cl'rallengeone's hearinghave become
a physical necessityfor the performanceof mlich
music, not just the couternporaryscores.
(6) Forfissintof or corne'tsat [22] is their first; avoid
distortion.
(7) A most resonantrirn-shotis produced when (in
any grip) one stick is forced into the head off of the
rint, and the other stick is driven orrtclthat stick arrrl
heldtltere;tliefirst stick should reach to the cenierof
the head,
(8) Garofalo,MEJ, p. 34.
(9) S omeanal ysespresent/ori ri deas;i f you agr ee,
choosewhat fits.
(i 0) B rusheson the drum 142-471rarelproject
and
,
y
if the player is facile,both brushesin one'hancicarr
make the sound, but contemporaryplasticbrushes
rvith bead tips rvill cut throtrgh.
(11)Garofal o
(12)Garofal o
(13)Readersmay knorv that Gr:rrrge
Bridgc
Washittgtort
was among the kirrg-pin piecesinclude.dorr the first
Universityof Rochester/Eastman
Schoolof Music/
Mercury RecordsLongplay recordingmade by Ther
EastmanWind Ensembleon 14 May 1953in the
EastrnanTheatre.What is not generallyknown is its
achievementirr a single two-hour recordingsession;
that was the tirne r,vhichDr, Howard Hanson'sbuciget
was done under the
allo,.ved.
Recordingat Rocheste'r
symphonic rate of the American Federationof
Musicians;all of us were members of Local 6(r,AFM,
The RochesterMtrsiciansAssociation,and every
memberof our grolrp was a full-tirnestude'nt.Under
the symphonic rate, 40 miirutes of eachhour rvcre for
recordirrg;the other 20 minutes hacl to be rest - a vcrv
good iclei, Thls gave us 80 rninntc'sto record;or.rr
repe.rtorytimed at 43:00.Obviously,therc.wor-rlc-l
be'nir
chanceto plav anything twice, and everybody krlert
that,The six so-difficultscoresI had chosenwerc
{'rDi'il},JcrcR'sTNTERpRETTvE
FoRBAND
ANALysrs
oF MASTERwoRKS
C O R R . E C T I O N S A N D C [ , A R I F I : C . A T g. 1I r I S
Bar,
9 '
14
2fi
3B
ScordFnrf
Iits,tftunent
,, ',,,P'art
b,as+clarinet
,palt
b4ssoonl
.Par't l
scorelpart,
,
.$9.' seore/pari
'6V ,,
,sclPrelPart
;l
,,.,7r2;i.t'
,Par't:
,ctarinetrim.,
'
, ',,A!tO
saxes
, ' 8 , ,,:P.art,'
,
j
: l
".l:
'
t 9 7 ' l,, ,pftit
, bessppnsr il,.
,'{$t, ' ,::$egqey',Bart,
' score/part
",4.,14,',
: . : . ' - : ' , 1 . : :,i 'r ' .
1,t7',
'1, j p a r t
loaded with a nightmare of potential
traps, but we were ready to record
and there was no time to think or
worry about such things. For me,
once we had negotiated measures
1,64-786
in the brass,I knew we had
the Bridgemade. Among the challenges:those three big silencesand
the 12 attacks;and among those
making it happen the first time was
Donald Hunsberger,today's great
Conductor of The EastmanWind
Ensemble,playing euphonium.
When I listen to that recording
today, I still have my same feelings
during the three silences.(A new
recording of GeorgeWashittgton
Bridgeis included in SymphonicSongs
t'orBand,by the Tokyo Kosei Wind
Orchestra, KOCD 3562.)
(14)One of the balanceproblems in
playing Schuman's scoring of bitonal sonoritiesoccursin [16a] where
the bright B natural concert of the
upper G major cornet/trumpet triad
easilv blanks Trombone II's darker
Bbthit makes the trombone's music
a minor triad, The many places
throughout this score that demand
critical player listening will be aided
when the players really know what
a bitonal sonority is - and it is not
iust a clash between B flat and B
nafurai, but a total sum of its parts.
Pr;:ob{em ,,'
C not printed clearly
add hto first E
add flto second8th
add,l
add,cresc.
.':
Ia$t:8.th$irr.emove
!
add hto first,note
,;,
, add,[.to;fir$t]:,no[e,
,addI to,B
add mezza-t'arfg
baritonesax
flute'lI
r20'
124,:
r33,
1 6 6, , t
187'
2,1'3 paft
2X8 part
?J.2' part
euphonium
cornetIII
bassclarinet
3rd pulse+ dd,mezza-pinno
put noteson 2&4(not 1&3)
Bth flagrnotcleaf
q
r!
^
a
n
i
Donald Hunsbergerand Frederick Fennell following an EastmanWind Ensemble
rehearsalin I9BB.
A CONDUCTOR'S
ANALYSIS
FORBAND 47
INTERPRETIVE
bT IVNSTER\vORKS