00006788 us $7.50 pele FULL SCORE ALFRED REED FIRST SUITE ior BAND |, MARCH Il, MELODY INSTRUMENTATION IL RAG Complete Band IV, GALLOP 1 Full Seore 1 Piccolo (3rd Flute) 3 ist Flute 82nd Flute 1 Ist Oboe 12nd Oboe 1 English Horn 1 Eb Clarinet 4 Ist Bp Clarinet 42nd Bp Clarinet 43rd Bp Clarinet 2p Alto Clarinet 2 Bp Bass Clarinet 1 Bb Contrabass Clarinet 1 Ep Contrabass Clarinet 11st Bassoon 12nd Bassoon 2 Ist Ep Alto Saxophone 22nd Ep Alto Saxophone 2 Bp Tenor Saxophone 1 E5 Baritone Saxophone 21st and 2nd Horns in F 28rd and ath Horns in F 8 Ist By Trumpet 32nd Bh Trumpet 33rd Bp Trumpet, 2 Ist and 2nd By Cornets 2 1st Trombone znd Trombone 28rd Trombone 1 Baritone Treble Clet 2 Baritone Bass Clef 6 Basses (Tubas) 1 String Bass 1 Timpani 2 Percussion Snare Drum, Base Deum, Wood Block a Pereusston Cymbal, Suspended Cymbal, Triangle . 2¥oretssion il ona 8. Pees Bels, Xylophone, EN munc HAL*LEONARD’ Vibraphone \comPAny Mm CORPORATION 1 HarpProgram Note FIRST SUITE FOR BAND was commissioned in the Summer of 1974 by R. Lee Holmes. director of the Edmonton Public School Symphonic Band in Edmonton, Alberta, for performance at the Canadian Music Educators Association convention in that city the following Spring. The Suite consists of four independent, contrasting movements, each prefaced by a one-word title giving a clue to the character of its music. The first movement, March, isa tense, dissonant-tinged, hard-driving treatment of highly dramatic marching theme that never relaxes, and keeps its momentum to the very end. The second, Melody, unfolds @ long, lyrical line that subsequently develops to a broad climax and then diminishes to a quiet coda. The third movement, Kag,.is a light scherzo, set in ragtime rhythms and motifs, while the fourth, Gallop, is an authentically styled American circus gallop, whose tempo marking: As fast as possible (but no faster!) tells the whole story, and whose music brings the whole work to its conclusion. Completed in January, 1975, the FIRST SUITE FOR BAND had its first performance in Edmonton, Alberta, on April 3rd of that year, with the Edmonton Public School Symphonic Band under the direction of the composer, during the Alberta Night festival concert at the C.M.E.A. convention,Note To Conductor Each movement of this Suite is a contrast to the other yet may be played separately. Great care should be taken to establish and maintain the special character of each movement throughout. The MARCH should be performed with a crisp, driving rhythm at all times, not too fast, to permit clean execution of the various sixteenth-note figures making up its themes, counter-themes, and rhythms, Notes with dots over them must be specially watched so that, while played properly short, they will still retain sufficient tone to register and not to appear as just dull, purely rhythmic sounds. Hard mallets or hammers... of glass, brass, or ‘metal... should be used throughout by the mallet percussion in this movement, 50 as to obtain the greatest possible brilliance and maximum sonority. MELODY must be played with a continuously warm, lyrical phrasing, very sustained with no dropping-off of sound anywhere, anda fully relaxed mood maintained throughout. Indeed, the first half of the music, up to bar [33] may be thought of in terms of woodwind chamber music, with which the Harp and Vibraphone colors are to be subtly blended. This last is especially important in the passage beginning at bar [18], where these two instruments double the Ist and 2nd Bb Clarinets as an accompaniment to the main melodic line, which at this point is in the Alto Clarinet, Bassoons, Tenor Saxophone and Baritones. Especially at this point in the music, the tempo must not in any way give the feeling of being rushed, so that the melodic line just referred to may sound clear and unhurried despite its sixteenth-note passages. Lastly, any urge to increase the speed in the building up to the climax, from bar [33] to [39], must be resisted, and the same tempo maintained to the very end The RAG presents problems of correct articulation and the conductor must decide for himself just how the characteristic sixteenth note figures shall be played: as is, slightly “bent,” or almost jazz-like HERE GA With the resurgence of ragtime in recent years, the question of correct style in the performance of this music from the turn of the century becomes paramount. Scott Joplin said it is never right to play ragtime fast. However, as years sped by, the tempo and stylized dances quickened. Our recent ragtime explosion has quite correctly focused on the classic rag and its flexibility The director, favoring his own taste and judgment, must make certain that the players in his performing group feel and phrase together with an overall lightness, crispness and “bounce.” A special optional ending has been written for the Rag when it is performed as a separate piece. The concluding GALLOP must, of course, be big, brilliant and exciting from start to finish. Despite the tempo indication as fast as possible (but no faster!), itshould be played only as fast as it can be played clearly and cleanly by every instrument, or else it will lack any brilliance at all and indeed present a generally sluggish feeling no matter how fast the tempo. Precision of attack and release are overwhelmingly important in achieving the clarity the music demands for its intended effect . . . especially in the miniature steam calliope passage, from bar [92] to the D.S. al Coda. And, as always in music of this nature, the proper approach to percussion playing here is critical: no marcer how loud or exciting the music becomes, the percussion must not be permitted to become mere noise makers. On the contrary, clarity and good sound, carefully controlled, become prime factors in helping the music become more exciting as the final climax is reached. As in other scores by this composer, the Trumpets rather than the Cornets are to be regarded as the main upper voices of the Brass choir, and the proportion should be two players on each of the three Trumpet parts to one player on each of the two Cornet parts. In the wind ensemble, of course, there will be just one player on each part; larger groups, however, will balance in the above proportion. Depending on the overall size of the performing group, its individual sections, and the acoustical conditions under which the performance takes place, it may become necessary for the director to increase or decrease the number of instruments playing on any one part in order to achieve proper balance in and between sections, and he should not hesitate to do so. Further, the director should make use of the indicated cross-cues to strengthen or replace weak or missing instrumentspwhere called for. iCommisianed by and dedicated tothe Edmonton Plc Schick Smpbnic Band R. Lee Hoimes, Directo. ee FIRST SUITE for BAND ste. w2e L MARCH ALFRED REED Allegro deciso (d= 105 Be Peeolp ot ted He Fue ones English Horn : Basoors eB eb Eb Ato Bb Base Bb Contrsbas| to } Bato Bb Tenor Saxophones 7 EF Baritone Allegro decsoid-st-18 Horn nF ae a Bb Trampets r Bh Commete (Tues) Timpans Spare Drum Base Dro Wood Bock ima pended Cymbal Xvlophone Vibrephone Pereenon Copyright © 1975 by Piedmont Music Company International Copyright Secured — Made in U.S.A. All Rights Reserved ‘Used by Permissionhaiats Saxophones > Ano ae Bo, Ako} Be Ten Bb ae Bases fi) tr. assPie ote Ps EF Ano Bb Base Bho. ato} 8 Ten, Saxophooes 5 Bar Bs Te. phos Tits aes crabs Sir Bass or a i ed Spey a ee + r aig stPes = Fa om B canes osrines Bb ase Bbc Bh Ato} Bb Ten ‘Saxophones Eb Bar Bb Tp Bb cm Tees Bases roe) Se Bas Tone sp 8 we ts. so. Crm. Pereuton ets Se vite oarPee Fis Be 2 uarnte Bb Ato Bb ase 1 Eb Ato} Bb Ten, ‘Saxophones Bb Bar, Bb Tp ph cts } Tres 2 ele vibesat Sore 9 Pec. Fe} Bone e Be hariets E> Ato Bb ass Bron, ao} EF ato} Bh Ten Saxophones Bo Bar Bb Ts, abe Bes Bases Ris pe Ser Bass es a eo ee ‘Ti abe P peo BPG BE BI BBB ED PPT D EPUB poo aig pee ' = we Tee. Ce sem Belle Vibes Perevson0 Bas, B Bo > Ate Bb ase Beck Satophones Eb Bae, Bb Tote Bb Ces Tee 2 Basses ae Se Bass i i cts 2 Cyn ele “ VibeBane & Bo EF Aito Bh Baas Bo. Bato! Bb Ten : 4 Eb Bae Bh Tp. whos } Tree 2 Bar Basses (Ta) ‘tr. BaseSaxophones Fr. 8» eb Ato 2b Has Be cn, Bato f By Ten Bar, Bases (Tbe Ser Bas a ee eete 8 Bh 2. Clarinets Bb Alte Bb Bass Bo co Bb Ten Saxophones Eb Bar. Be Tas, phew } Percussion Z Eh Aw f at Sore 13Fi, Ot. ene & Bb Toss Brew } Tih Bases Tes Ser Basetains Saxophones Person mm} Bare e 2 Eb Ate Bb Bas Bbc» > Ato} Bb Ten E> bar Bb Tot. prow} Tie Bar Basses (Taba Sie Base Tae. ab. Tee seem. Bets cu vie a ag 7 15 iE oH aa _orms.cbake e elClarinets Ssxophones 6 Pace. Fre Obs e eh Bb Ata Bb Base | sc» By Ato } Bb Ten. BF Bar Bb Tot. Bec THe, Bar Bases (es Ste Bass Timp sp we rms, si Chm. Bete st Vibes.arity Saxophones Percusion Pee. Fs be es, & Bb Eb Ako Bb Bass hc BF ako} Bb Ten BP Ber Bb Tes pros} Bar To Str Base a 13. Lt me TeyI, MELODY Slowly and sustained (= # (ase to Fie) Is Pcole costed Be) English Hoen Bascoone & o Eb Ako ase Leb conratas Baw f Bb Tenor Senophones Eb Baritone Slowly and sustained (4-40) Home in F Bb Trumpets Bb Comets Trombones 2 (Tubes) Sting Bass ‘Timpani Combate ‘Trane ‘ele PercussionPereton Fe, eb Bb BF Ako 2 Bass Bbc Eb Ato! 2b Ten Bb Bar Be Tos cts} Bros. | The 2 Bewes as ‘tr Base n ites tie Hp 1920 FA Obs Be e ©) Ake Bh Gass Bh Co, Fh Ato 2 Bb Ten Saxophones Eb Bar Be Tet Bh cm St Base Tie Come at Vitex | sets Mp Psa walle noir on Eida Sore A A Fa » B Ako Bh ase Bc Eh ako} Bb Ten Saxophones Eb har Hos Tas, Br THs. wow} te a Sir Base Timp Tel Percwsion Betis2 Fe Bate BO Bae Ee ano! bb Ten Sexophons Be Bae, By Tt prem} Tie 2 as ir Base ms. S| Set y | Be HeFall Score a Bane 2 BP Ato 2B Base Bbc E Aa} 2 Bb Ten Saxophones Bb Bee B» Tots boc Troe 2 bea Tine ym “Ta PerevsionPy Pa Score Fs te. En - BP Ako Bb Base Bh ce Eh Ato} Bb Ten, i 4 j Bear Be Tot Bees? Tre, Ste ase —r— Gyms. crm — ‘Tea 7 tat ing Vibes. | Sete 7 Hpis ait 1 ace Bree, ato} Bb Ten Saxophones Bb ber His, ae Ty me Bb ct Bases ARS, Se Base om ae Vibes ‘el HpBb BF Ato 1 ase Bb co BF Alto Bb Ten Bb bar Hea, Be To hos. Tite Bar kes) Ser Bass Tim, gyms “Tat Vibes ‘ele Fiaasd siteFat Sere an IIL RAG Moderate Ragtime (two-beat, not fast) js= 2-80) e out iegte Trane i Pv gas nse? nahish Hors dear see Eereeee Basoont , ee & m2 ee BF Ako ie gis Tne) Bb Bae Bb Contabass Bako} Bb Tenor Saxophones Eb Raione Moderate Ragtime (two-beat, not Horn in F Bb Transers Bb Conmets ‘Trombones 2. Baritone Bases tab Seeing Bass Tigo Snare Drum is Oram Wooe Bios spend Cymbal ++ Bel Harp [oc ear cay‘ Percussion ane. B Eb Ato Bo as Bron, eh Ano} Bh Ten Eb Bar Bote Bees 2 Tite 2 ar Bees SS St. Bass Whe Ses. Com, Ho, Teste rb]B we 2 Bh Base Bro, Atal Bh Ten Bb Bae Brow } Tim 2 ‘us Cym weit ca = conte = et0 all Sere Bh Ato Bee BF Aol Bb Ten > Bar,Bh tarts Bo Ato Bb Base Boon. to} Bh Ten Eb Bae, Bb Tre Bros} Thos, 2 Bases (Tee) se Base Tin. sp gf We. Bsus com, Vibes wel Hp v at nag, ge allel, 90 motriend tne) aa2 Saxophones Percoion Fis Bo Eb Ato Bh Bass Boe B ato} 2 2b Ten Bo Bar Bb Toe Bros Tres 2 Str. Base Tine, Hp rlSaxophones Fait Score 3 4 Bbc. B ano! 2 Bb Ten Eb bse Hoe 8h Ty Br. St Base Hp Ese Eb Ano Bb Base Boe Ato} 2 Ten Saxophones Bb ae, Hea Bo Tres 2 Bh cts Tee Bases ibs St. Base Tin. 5B WB Susy Pereation Vibes ‘ste HpSaroohones Pe. g & B Bb Ato Bb Bae Br Ce B Ao} Bb Ten Eb Bsr Bb Tos, Bes The (bs Se Bass ‘sePe Fe om 2 Bo ne Bb Base [Br oo BS Ako} Bb Ten # 3 Eo Bar Bb Thee Be dso HB ftso, epg gt Vie é P aiwaye tot malite and moter) BePre S Ba Bh Ako BP Base Saxophones 3 is Be Tot. Bb Tite 2 + ——Clarinets Saxophones Per Pre Coes Bb Ako 1 Bass Bo B Avo} Ten. 8 Ber Basses (a) Sir Base zee aos 3 Sus Cym, Vibes Wet Ho Ds. Sal Code? 2 e Be Bi Ato BP Bas BF ce ih ano} Bs Ten. Bo ae. Hs. BP Tot. Bree os Str Base Te 3p {ue Isom tae a Hp, F f0 Charity Saphonss ome Bare B Bh 2 3 EF Ato BF Bass Bho, Fis ako} Bb Ten Eb Bar. Bo Tons ab ci Tree 2 Hp ' Note to Conductor sane : ‘When ay RAC oe of the movements of the fl Sate, the “Feng shoal ether lye separate, Noneer, then the “Pe” ening sade = enn te “Optional End” taken eaFall Scone a Iv. GALLOP ‘As fast as possible (but no faster!) cy tees Brash Horm eB m2 Bb Ako Bb aes Bh Contrabess Bhan} = Bh Tenor Saxophones Bb Baritone = Hos in F Bb Trumpets 2 5 1h comets 3 t ‘Trombones 2 Bertone Bases iy String Bass Timpani Spare Drum as Oru Wood ioc Cymbals Xylophone Bells2 eu Pee Fis e Hie Bo Tat. cw Tee, Bar Basses rs Ser BasBans e Bb Clarinets Bs Bass Bic Ato} Bb Ten Saxophones Bb Bar a LL a Perevetion eloga . q i # i aS, sp # Xv asB hariets > Ako Bb Bass Bice Bb Ten, Saxophones Bb ae. : b> To Brew Tits 2 Bar bes Se Bass i Xe Bal aay6 Pall Sere Om a Bh Ako Bb Base Bh To. Boe Tie 2att Sere a Pee e 2 lariat Eb Ato Bb fase Bb ce Eb Alto} Bb Ten, ‘Saxophones Eb ba, TrePee fa set | cae re} Eb Ato Bb Base Bb Co Bano! Bs Ten. Sexopones Eb Bar Hrs, ate Bow} Tits 2 Takes) iFal Sere 0 Pee Bo i BP Ako Bb Base Bro EF Ako} 2 Sexophones z Ey Bar ies Se Base coms, Percussion BalFi Bere cy Bb Ako Bb Bass Bh oe Bo ato} Saxophones ? Bb Bar eee au marta ein >» Woo! Bock or Tempe Block igh‘larity Serophones Pic Fe be e Bb Bh Ate Bh ce BP ato! ee Bees as sir Bass 51 DS Mal Code52 Percussion Fi om Bars a Broo i Ato Bb mar Bb Ti BCs Tite ae Bees SS Str Bassull Sere 3 Bb Clarinets BF Ae Bb baee Bho Bs Ato Sanopbonen Bb Bae dass Time. sp e coms. PereeionPee. Fis e e Ps EF Ato 1 Base Bb Co, Bs Ato! Bb Ten Saxophones Bb Bar, bo Toe Brew} Bowes (bs Base Tip. $B coms Xi Bale