Program Notes

PLEASE WELCOME the NEW members of the Lane Tech Champerettes :

Nickia Morris, Deanna Hughes, Isabela Tovar, Aireon Stanford, Sanyah Bovan, Trinity Vernon-Pye, and Drum Major Samone Billingsley

Varsity Band

Malagueña is one of the most famous traditional Spanish melodies of all time. Originally written in 1933 as part of the Suite Andalucía, it has been reworked hundreds of times in settings ranging from Stan Kenton's jazz band, Marco Rizo's solo piano, and Dutch pop band Sandy Coast. We first performed this arrangement at our World Music Showcase a few weeks ago, and we enjoyed playing it so much that we had to bring it back

Concert Band 2

Lord of the Dance - "Lord of the Dance" is a hymn written by English songwriter Sydney Carter in 1963. The melody is from the American Shaker song "Simple Gifts". The hymn is widely performed in English-speaking congregations and assemblies.

The song follows the idea of the traditional English carol "Tomorrow Shall Be My Dancing Day", which tells the gospel story in the first-person voice of Jesus of Nazareth with the device of portraying Jesus' life and mission as a dance.

Declaration in Blue - American music can be defined in many way.  However, the deep roots of jazz and America's own musical contribution to the worlds.  "Declariation in Blue" celebrates that heritage by gently alluding to and borrowing from the jazz idiom.  The blues scale, dense harmonies, and thrythmic drive are all present.  However the piece never uses the swing eitght note, leaving the listener and ensemble fimrly grounded in the concert band.  The composer writes "In these very trying times for our country, I thought it important to compose an uplifting true American statement - a statement of hope and certainty that will resonate through the performance of our most precious natural resource, our children."  What follows is the statement, a "Declaration in Blue."

African Marching Song (Siyahamba)- A traditional Zulu Melody from South Africa "Siyahamba" is often performed by children's groups in both sacred and secular environments. Occasionally, the translated lyrics are modified for a secular performance: for example, the English translation "We are marching in the light of God" becomes "We are standing in the light of peace."

Symphonic Band

Washington Post - In 1889 a fledgling Washington DC Newspaper asked John Philip Sousa to compose a special march to be premiered at the awards ceremony of a children's essay competition the paper had sponsored.  With President Benjamin Harris in attendance, huge crowds on the grounds of the Smithsonian Museum offered their enthusiastic approval when Sousa led his Marine Band through this new work.  It quickly became one of his most well-known marches not only in the United States but across Europe as well.   The March and the Newspaper bear the same name.

Down a Country Lane - is a charming and evocative musical work that captures the essence of rural America. Aaron Copland, renowned for his distinctive American style, created this piece as part of a series of educational works for young pianists. It reflects Copland's fascination with folk music and his desire to bring a sense of simplicity and nostalgia to his compositions.

The piece begins with a gentle, meandering melody that sets a peaceful and contemplative mood. The melodic lines are characterized by a pastoral quality, conjuring images of winding country roads, verdant landscapes, and the tranquility of rural life. Copland's use of simple harmonies and diatonic melodies creates an accessible and heartfelt musical experience.

As the piece unfolds, Copland employs a variety of musical techniques to create texture and interest. Delicate arpeggios, syncopated rhythms, and shifting dynamics add depth and movement to the composition. The interplay between moments of stillness and bursts of energy reflects the ebb and flow of life in the countryside.

Throughout "Down a Country Lane," one can discern Copland's signature blend of classical music traditions and American folk idioms. He seamlessly weaves together elements of Western art music with hints of American folk tunes, capturing the spirit of the American landscape. The piece is imbued with a sense of nostalgia, evoking a simpler time and an appreciation for nature and the beauty of everyday life.

With its lyrical melodies and gentle ambiance, "Down a Country Lane" offers listeners a peaceful and introspective musical journey. It serves as a testament to Copland's ability to create works that resonate deeply with audiences, celebrating the rich cultural heritage of America while providing a glimpse into the serenity and charm of rural existence.

Variations on a Korean Folk Song - is a major musical piece written for concert band in 1965. As the name implies, Variations consists of a set of variations on the Korean folk song "Arirang", which the composer heard while in South Korea with the U.S. Army in the late 1950s.  In 1966 the piece was awarded the American Bandmasters Association's Ostwald Award.  The theme is based upon a concert A♭ major pentatonic scale. At the beginning of the composition, the first part of the theme, resembling Arirang, is introduced quietly in the clarinets; the other instruments join in to play the second part. The song then consists of five variations on this theme.

Beginning Band

Second Line- Also referred to as "Joe Avery's Blues", this is one of the most popular songs played on the streets of New Orleans. In a traditional New Orleans wedding, the "first line" is the family and newlyweds, while the band follows in the back, parading the guests from the ceremony to the reception. Similar ceremonies are held during funerals as a celebration of life. We have used this piece as a tool for learning blues improvisation, and you will be hearing from a host of different soloists. 

On the Colorado Trail - (from the composer):

When one thinks of cowboy song and Western lore, many colorful song titles and images come to mind: Oh Bury Me Not On the Lone Prarie, The Old Chisholm Trail, Streets of Laredo, I'm Going To Leave Old Texas Now, The Red River  Valley, I Ride an Old  Paint, and The Colorado Trail are perhaps the most familiar, among countless others. 

On The Colorado Trail  is based on the tender and expressive love song mentioned above. In the song, the cowboy is singing about a real or imagined young woman who has "eyes like the morning sun, cheeks like a rose." The opening sections begins with a slow, legato treatment of the melody, in keeping with the nature of the original song. In measure 24, however, we "hit the trail" with a variation-like section in a faster tempo.

Bohemian Rhapsody - Widely regarded as one of the "greatest songs of all time," it was originally written as three different songs. Freddie Mercury then decided to hastily combine them into what he called a "mock opera." Queen considered this song a joke when they first recorded it and had no idea it would reach billions of people in the way that it did. 

This arrangement is not a note-for-note copy of the 6-minute hit, but it does a great job sharing the melody across the ensemble. The woodwinds and high brass start with the operatic intro, before passing off Freddie Mercury's part to the alto saxes. The trumpets then pick up the melody before all the instruments join in. The song is one big palindrome; the drums cut out at the end with the acapella vocals (played by the clarinets) recalling earlier lyrics: "Any way the wind blows..."

Concert Band 1

Return of the Dawn Treader - As the title suggest it depicts the return voyage of the enchanted boat, the Dawn Treader, made famous by C.S. Lewis in his series of children's stories, "The Chronicles of Narnia" (1950-56).  The piece begins with a festive introduction which sets the mood and paves the way for the majestic first theme (measure 43).  The second theme, in 6/8, is introduced by solo flute and is in the style of an English sea shanty.  The two themes are then combines and heard simultaneously - brass on one, woodwinds on the other.  The introductory material then returns, and the piece ends with an exciting climax.

Rollo Takes A Walk - Rollo is a fictional character created by Charles Ives and used in his musical writings to illustrate ultra conservative musical tastes.  Rollo may not know anything about music, but he knows what he likes: usually something banal or too-often-played.  Among the kinds of music Rollo does not like are, not surprisingly, Ive's own pieces and modern music in general.  In Rollow Takes a Walk, composer David Maslanka develops Ives' satirical character, taking Rollo (and us) on a musical outing in which all the ideas, though original, are commonplace, very familiar-sounding, and even deliberately banal.  The piece is intended as a good-humored, gentle parody of concerts in the park and of some bands in which the composer has played where the tuning was less than perfect.  The piece is not intended as a put-down of bands but rather as an exploration of the "out-of-tune" or "microtonal" character that Maslanka views as a forceful, original elementa in America music.  Maslanka has included in this piece several ideas which evoke an earlier, more innocent era of America. as well as providing some fun fo the band and audience alike.  Four od the 2nd clarinetists have several measures played on a kazoo beginning at measure 62.  And the whole band, with the exception of the percussionist playing the wood blocks, has a vocal part at measure 81.  

Symphony No. 4: Finale - Written between 1877 and 1878, this finale in F minor is one of the more exciting pieces in all of orchestral music. The symphony as a whole was written for Tchaikovsky's patroness, Nadezhda von Meck, who had helped the composer get through a tough marriage. The fourth movement rarely takes it's foot off the gas. The blistering fast sixteenth notes, originally written for the violin section, is passed across the woodwinds and brass before the percussion joins in. The melody from the Russian folk song, "In The Field Stood a Birch Tree" comes through in the middle section with a musical commentary from the solo flute, however it is quickly interrupted. The intro is recalled with an even more vigorous coda at the end. This piece has been an awesome challenge to prepare, and we think it is a great way to end our concert. Enjoy!