Play (Warm-ups)

Door Hans Offerdal type 18 en thema

I composed this collection of short pieces at slightly different levels to use as warm-ups for concert bands I am conducting. Each movement presents unique aspects to focus on during rehearsals, thus providing a good warm-up for your wind band, as well as hopefully presenting some interesting challenges. I Melody (1:45) This movement presents legato lines in unisons and octaves throughout the whole band. The melody is written with alterations so that all twelve tones are played in all parts. Focus during rehearsal should be on legato playing, intonation and dynamics, as well as keeping a steady time. Regarding the structure of the piece, it has three sections: The first section is from bar 1 to bar 12. Then the melody in section one is turned upside down from bar 13 to bar 24, making another section. The coda from bar 25 introduces a harmonic interval for the first time in this movement. Listen how rich the perfect fifth sounds in a context of only unisons and octaves, the only intervals heard so far. II Another Melody (0:45) This short melody written in unisons and octaves throughout the whole band, presents challenges regarding clear articulation – staccato, rhythmic accuracy, and dynamics both in the winds and in relation to the percussion. III Harmony (1:15) This movement presents the opportunity to rehearse intonation, playing harmony at a slow steady pace, strictly homophonic. In addition to intonation, phrasing needs to be stressed. Depending on the level of the players (that is, how many notes they can play in one single breath), the conductor should work on getting the players to play well-phrased lines. The melodic aspect of each part is important to emphasize during rehearsal, as well as playing the full duration of every note. IV Another Kind of Harmony (1:55) This movement presents a different kind of harmony, chords consisting of fourths and fifths, thus exposing the players to harmony different from chords by thirds, and providing greater challenges regarding intonation. The texture is different from the previous movements, challenging you to focus on dynamics and balance. And there are also challenges regarding tempi, with the use of accelerando and ritardando. The structure is ternary, with a middle section first featuring the woodwinds, then the brass. V Almost Like a Canon (0:45) This is a fugato written in triple meter where the voices imitate each other almost like a canon. It exposes the players to polyphonic music, and presents several challenges regarding the playing of contrapuntal texture. Focus during rehearsal needs of course to be on the melodic aspect of each part. But not only should the players learn to play their own part with perfect intonation, perfect articulation, and rhythmic correctness, in perfect balance with the other instruments playing that same line; they should also be encouraged to get an understanding and awareness of the musical texture of voices imitating each other, thus developing the ability to listen to each other during playing. The bassoon solo at the very end is cued in all the parts, so you can have a new soloist each time. VI More like a Canon (0:45) Here as well the voices imitate each other, but the texture is mostly homophonic. It is a two-part canon, where the woodwinds answer at a different interval the first time (bar 4), and the brass at the same interval the second time (bar 8) thus resulting in parallel thirds. The low statement in tuba in bar 9 almost sounds like a third entrance because of the orchestration, even though it is only enforcing the other brass. The pedal in trumpets and horn, later continuing in woodwinds, glues everything together, as well as providing some tension and repose. It also provides another way of practicing intonation, both for the players sustaining that pitch and for the rest of the band relating to it. VII Choral in F-major (1:45) This chorale should be rehearsed with focus on the melodic aspects of each voice, and how they relate to each other. Every voice should be regarded as a melody, and playing several together at the same time makes harmony. Of course, everything covered in the previous movements should be worked on during the rehearsal of this piece as well. This choral is also included as an example of two different arrangements of the very same melody; the first time through is mostly homophonic, the second time with a more contrapuntal texture and a bit more complex harmony, because of the melodic voices. Regarding the percussion in general: In addition to glockenspiel, three players can be kept busy, although the music can be performed with fewer players, especially with the use of a foot pedal for bass drum. Keeping the dynamics and character of the music should be stressed, as well as good performance of tempo. Movement III and VII use glockenspiel only, no non-pitched percussion. Total playing time: appx. 8 minutes and 30 seconds Hans Offerdal (1971) Hans holds a Cand. Philol. in Musicology from the University of Oslo, with emphasis on music theory, analysis and compositional techniques. His final thesis was an extended study of the American composer Jerry Goldsmith's compositional craft. Hans also holds a Master Of Arts from Kingston University in London, in Composing for Film and Television, and a Certificate in Film Scoring from University of California, Los Angeles. While living in Los Angeles Hans also attended several seminars on composition and orchestration arranged by The Film Music Network, and American Society of Music Arrangers and Composers, and studied theory and composition privately with composer Bruce Reich, former chair of composition at University of Utah. In addition, Hans also assisted film composer Charles Bernstein during his teaching at UCLA. Hans has been teaching at the University of Oslo, the Barrat Due Music Institute in Oslo, and music high schools and colleges in Oslo. Hans is a member of Society of Composers and Lyricists in Los Angeles, and has been mentored by famous Hollywood composers like Jerry Goldsmith, Alf Clausen, Charles Fox, and composer and orchestrator Conrad Pope. Hans is currently based in Oslo, working as a composer, arranger and conductor of concert bands.

Composer
Hans Offerdal
Arranger
Series
18
Theme
Complete set: 88.84
Score:
Article number: 7715000000796
Difficulty: 3
Duration: 540
Available: yes