Download Writing Program Notes

Writing Program Notes
Student Directors need to write program notes about each piece we will perform and read
them at the concert before we play the piece.
Instructions:
1. Write down your thoughts about the pieces your group is performing.
2. Include as much of the following information as possible:
 Who is performing the piece?
 Title of the piece and/or any information you can find about the piece
 Name of the composer and/or arranger of the piece and/or any information you
can find out about the composer or arranger.
 The type of mood(s) or feeling(s) demonstrated in the piece
 A brief outline or “play by play” of what instruments play the melody, when they
play it, and how they play it.
 Point out other specific things that the audience should notice.
 Much of this information can be found in the conductor’s score.
3. Turn in notes 2 weeks before the concert.
Here are some examples of the type of things Mr. Grush would like to see:
African Folk Trilogy
African music is characterized by short melodic patterns repeated with endless variations and interesting, syncopated rhythms.
Anne McGinty has arranged three African children’s songs into this delightful medley. The first song, Banuwa (BAH-noowah) is from West Africa and means “don’t cry little girl”. It has a simple introduction by the trumpets and gradually adds
more and more layers of instruments. The second song, Ditho tsa mmele (DEE-thoh sa muh-MEH-leh) is a South African
game song that teaches children the words for head, shoulders, etc. by pointing during the song. It is introduced by the flutes
and then played in a round by the rest of the band. The third song, Sansa Kroma (SAHN-sah KROH-mah) is a singing game in
which Sansa (a hawk) tries to catch small chicks, but the group protects them from the attack. Listen as the bands plays a sort
of musical question and answer. The trilogy ends with a short reprise of the first song.
The Headless Horseman
Timothy Broege writes, “this short piece compresses a fair amount of material into a brief time span. The introduction, Adagio
Misterioso (slowly and mysteriously), sets the stage for the entry of Washington Irving’s Headless Horseman. The dissonant
‘howl’ may be the fearsome whinnying of the stallion on which the horseman rides forth to snatch the souls of the
unsuspecting. Then, the frightening ride is underway. ‘Beware. Beware!’ warn the low instruments. The miniature chorale in
the middle of the piece pleads desperately for salvation, but there is no hope. The horseman resumes his charge, gathers up the
harvest of souls, and rides off into the night.” Soloists include: Connor Smithson on trumpet, Rachel Park and Kira lumsden
on flute, and Julia Niemi on Oboe.
Big Four March
Born in 1891, Karl King literally ran away to join the circus as a young man and eventually became the director of The Barnum
and Bailey Circus Band in 1918. He is one of the most prolific of all American composers, writing some 290 works for band.
Listen for crisp articulations and stark dynamic contrasts and don’t be afraid to tap your foot to this inspiring music.
Take the “A” Train
To get to Harlem on the subway in New York City in the 1940’s, one would take the “A” train. This jazz standard that became
synonymous with the Duke Ellington Orchestra was recorded on February 15, 1941. Billy Strayhorn wrote many classics for
Ellington and his Orchestra. In 1990, David Berger took the recording and transcribed it. Therefore, what we are performing
tonight is an authentic recreation of what the Duke Ellington Orchestra performed almost exactly 63 years ago today. Joelle
Portzer solos on the trumpet.