​Junior Band:

Fires of Mazama - Michael Sweeney

©Hal Leonard, 2005

*Contributed by Ryan Meeboer/OBA Board

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PUBLISHER'S DESCRIPTION:

Aleatoric music for grade 1? Why not?! Through carefully controlled parameters, your beginning players can actually create their own erupting volcano effect! Mazama was the imposing mountain peak in southwest Oregon that erupted 7000+ years ago and became the serene and beautiful present day Crater Lake. Fires of Mazama opens with bold sounds and powerful melodies before the “eruption” changes everything. Afterwards, a calm chorale leads to the exciting final strains in this ingenious and impressive piece for beginners! Dur: 3:20

 

Publisher’s Website

https://www.halleonard.com/product/4002347/fires-of-mazama

 

YouTube

https://www.youtube.com/watch?v=ZWgLL4c-KGc

 

OBA GRADING: Grade 1.5

(score cover lists as a Grade 1)

 

TECHNICAL COMMENTS:

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• Composed in G minor concert and it remains true to this key signature for the most part, with the occasional accidentals throughout.

• Mainly composed in 4/4 metre, with only 2 bars in the intro switching to 2/4, but is very manageable by performers at this level of difficulty.

• Instrument ranges are very manageable for this level, with the trumpet 1 part reaching a fourth line D (D5) and the flute reaching a D above the staff (D6).  Clarinet 1 would have the largest range, as it reaches an A (A6) above the staff at one point, and consistently crosses back and forth over the break.

• The piece is rhythmically straight forward with only one measure containing a dotted-quarter eighth rhythm.  Otherwise, the fastest note value for wind instruments is two eighth notes and for percussion, the occasional sixteenth note group, that becomes more driving or consistent towards the end of the piece.

• Percussion is manageable by five players, but could be stretched to six (snare and bass drum, mallets, and auxiliary parts).  Auxiliary percussion includes some ‘less’ accessible instruments, such as a brake drum, rainstick, and gong that substitutes may need to be considered.

• French Horn and Oboe parts are ALWAYS doubled.

 

TEACHING/REHEARSAL COMMENTS:

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• There are many opportunities to work on various stylistic elements (dynamics, tempo, articulation) throughout this piece.  A majority of the piece is loud and energetic, with a lot of accents, so it is perfect to help students work on tone control while being able to create the effect the composer is looking for.  There are also many artistic dynamic changes, such as the diminuendo into a crescendo at measures 40-41 that can be really effective if performed well.  The lyrical section also contains many dynamic swells to give ensembles the opportunity to create a more dramatic effect.

• The biggest novelty for this piece is the erupting volcano effect that occurs midway through the composition.  The section can be very fun for young performers, as it gives them a little freedom to improvise for a short time.  Parameters are given by the composer to keep it simple enough, however, some guidance might need to be given by the director to keep things consistent across the ensemble.

• There is a short lyrical section in the piece, giving it some contrast.  It is also very well timed as it occurs after the ‘volcanic eruption’, creating a moment of peace following a rather chaotic section.

• Every instrument is given some melodic material at some point in the piece, making it a fun chart for everyone to play.

• As already mentioned, the Clarinet 1 part is probably the most challenging part to play because of its consistent movement over the break, so students will need to be confident in their abilities, not to mention there are some large interval jumps for this part.

• For the most part, the role of the percussion is to create the rhythmical drive for the piece.  There are some moments where it is used to give a more artistic feel, such as during the introduction, volcanic eruption, and lyrical section.

• There are a few technically challenging parts in this piece.  One would be entries during the volcanic eruption, where directors need to be clear on how they are going to cue each entry, and the measures following this section as instruments enter on various beats on the bar.  Another one to note, occurs at measure 25 where the Alto Saxophone 1 has to alternate between a D# and a C# rather quickly, so a performer may have to spend some extra time rehearsing that tricky fingering.

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PROGRAMMING SUGGESTION:

While this piece can make a great festival piece, it would make the perfect concert closer.  It has the attention grabbing opening, with strongly attacked chords, and an epic closing, finishing on a Picardy third.

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*Contributed by Ryan Meeboer

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Senior Band:

Oracles of the Sirocco - Robert Sheldon

©Alfred 2018

​*Contributed by Shashi Ramu/OBA Board

 

PUBLISHER'S DESCRIPTION:

The hot winds blowing over the Mediterranean Sea off the coast of Northern Africa are called the Sirocco. This wind emanates exotic energy, creating feelings of introspection and adventure captured in the mystical messages that seem to reside in the breeze.

Duration: 5:40

 

Publisher’s Website:

https://www.alfred.com/products/oracles-of-the-sirocco-00-46669

YouTube

https://www.youtube.com/watch?v=qNLwa5JmUXY

 

OBA GRADING: Grade 3.5

(score cover lists as a Grade 3.5)

 

TECHNICAL COMMENTS:

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• This piece is an ABC form with 3 distinct sections and styles

• The middle (lyrical/slow) section and the finale both refer to the original theme which is established in the opening section

• The biggest challenge (and usually students' favourite part of the piece) is the mixed metre C (finale) section. The main melody shifts between 7/8 - 6/8 - 7/8 - 3/4. There is also a reference/re-cap of the original 4/4 theme before the closing statement.

•  There is a major (but easy) oboe solo in the lyrical section , as well as a 1st trumpet solo up to a written G (F concert) - as well as a french horn solo (cued in 1st alto saxophone).

• Minimum of 4 players needed in the percussion section - most important parts are Snare Drum, Bass Drum, Cymbals/Suspended, and Timpani. The Mallet parts are, for the most part doubled in the woodwinds

• Robert Sheldon only ever writes for 2 french horns, and doubles the parts in the altos

 

TEACHING/REHEARSAL COMMENTS:

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• There is quite a bit of independent movement in the piece , even between woodwind individual sections and brass sections. Full ww sectionals or brass sectionals (eg. as opposed to separate flute , or clarinet, or trumpet sectionals) will likely be a better choice since there is a lot happening at once

• Much of the melody in the opening movement is actually flowing and lyrical in nature , even though it's played over top of an eighth note ostinato - there are definitely sections (4/4) where you may find it easier to conduct in 2, as it makes sense against the contour.

• Countermelodic and background rhythmic "fragments" happen all over the piece, especially in the first and third sections, and most typically in the high woodwinds. They are almost always stepwise motion and the students will just need to lighten up their fingers a little!

• The moving/accompaniment parts in the first and section are actually engaging and written in a such a way that the players will have to bring them out!

• As with many of Robert Sheldon's pieces, there is a very clear roadmap of markings. Dynamics and articulations are very managed, with very little additional interpretation needed. This is what makes this a very teachable piece and great to work on fundamentals while dealing with the challenges of the piece. Overall, it's usually a winner with students.

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PROGRAMMING SUGGESTION:

This is a great piece for performance, whether it be a concert (likely further into the year), or as a closing selection for a festival entry. For Ontario/MusicFest standards, it could be used for B400 - but it's likely accessible (with an extra push) by a B300 band.