Frederick Fennell Annotated Score

Below is a link to a PDF to the annotations of the score of Frederick Fennell (of the Eastman Symphonic Wind Ensemble). This may be helpful to see the insights of another conductors score markings to better inform how you rehearse and perform the movement.

jamesshuman.org/Documents/Holst%20F%20suite.pdf

Possible Rehearsal/Conducting Issues and Solutions

Some possible rehearsal issues in this piece stem from both rhythmic and harmonic difficulties. I think a good way to approach rhythmic difficulty would be to speak the rhythms; utilizing whichever system you have in place in your classroom. Different groups will have different strengths and weaknesses, so it is our job as the conductor to listen and feel for what might possible pose a challenge for our ensemble. One way I would approach the difficult rhythmic passages, as in m10 for almost all parts by teaching the entire ensemble the rhythmic pattern. Although they may not all play this rhythm in the piece, it can only improve their musicianship to learn it, and can prevent potential classroom management issues with idle students.

I know as a young conductor that mixed meter always trips me up! In addition to the constant shift in meter, many times the instruments play on the upbeat, which can also be very confusing to conduct and cue. I think this is a piece that would take a lot of practice conducting with a recording (maybe even slow it down in audacity to begin practicing, and eventually speed it up to where you want it to be performed).

Below is a video only of the conductor, which can be helpful to watch and learn from what he does well, in addition to what you may find unclear:

Dramatic Interpretation of The Blacksmith

Discussion of Orchestration, Rhythmic Motives, and Form

The movement begins with a march-like introduction by the brass section and a deep snare drum. At m5, there is a drastic change in texture, as the upper brass drop out (with the exception of the 1^st cornet, which drops an octave and almost takes on the timbre of a trombone in this register). This change in texture leads to the first entrance of the melodic line, this time in the oboe, E flat clarinet, B flat clarinet, alto sax, tenor sax, and both horns in F. As these instruments introduce the main theme, the other instruments play a very rhythmically driven, percussive accompaniment. On the pick up to m11, the 1^st B flat clarinet and the 2^nd B flat cornet take hold of the melody, accompanied by longer, more legato lines in the woodwinds and upper brass. In m13, the clarinet and cornet are joined once again by oboe, E flat clarinet, B flat clarinet, bass clarinet, bassoon, alto sax, tenor sax, cornet and both horns in F. At the pickup to m 15, the 1^st B flat cornet brings out the melody over the staccato/tenuto line in the lower brass and 2^nd B flat cornet. The cornet is joined by the oboe and 1^st clarinet in m18, just before the anvil entrance in m 19. The melody takes on a canonic imitation in m19 with the response of trombones and euphonium. The crescendo in m21 is especially effective, leading to the rhythmic synchronization of all instruments with the staccato eighth notes in m22. The recapitulation finds almost identical instrumentation to the first appearance of the theme, with open fifths in the lower brass.

In m1 and m2 is the most prevalent driving, rhythmic pattern throughout the movement. The constant shift from 4/4 to 3/4 stresses a rhythmic ambiguity, which mirrors the uncertainty of a tonal center. However, although the meter is shifting, the beat remains steady, and created the driving force behind the movement.

Harmonic Analysis

Although this suite appears to be written in F major, upon listening it is clearly not. The movement actually begins with the feel of G minor, or Dorian mode. The instability of this movement in addition to the lack of a clear tonal center makes this piece very difficult to analyze harmonically. At m11, there is a change in harmony, with the D in the bass. The open fifths foreshadow the clanging of the anvil, beginning in m19. With the first cornet entrance at the pickup to measure 15, the melody reappears, only this time beginning on fa, the fourth degree of the scale. Listeners feel a pull toward “home” at m23, and for the first time, listeners hear the F in the bass. However, we then receive a recapitulation of the familiar melody and an unexpected ending on a D major chord.

Phrasal Analysis

Introduction – m1 through m6

Period – pick-up to m7 through m14 (antecedent: pick-up to m7 through m10; consequent: m11 through 14)

Period – pick-up to m15 through beat one of m23 (antecedent: pick-up to m15 through m18; consequent: m19-beat one of 23 [canonic imitation])

Recapitulation of first period with minor rhythmic and harmonic alterations – beat 2 of m23 through m31

Closing – m32 and m33 (no sense of finality/stability)

In addition to analyzing the military band score, the knowledge of the lyrics to the Hampshire folk song influenced the way in which I distinguished phrases. As a vocalist, I appreciate the lyrical, melodic line not only as a musical phrase, but also as a developing story or thought. I think connecting words the pitches, and then taking them away was a great way for me to feel the flow of the phrases. As it is a folk song, there are various interpretations and compilations of lyrics; however, from my research, I found the following the most widely used accepted:

For the blacksmith courted me, nine months and better; And first he won my heart, till he wrote to me a letter. With his hammer in his hand, for he strikes so mighty and

clever, He makes the sparks to fly all around his middle.

Below is a video of a vocal arrangement of the movement - take note of their phrasing and the adaptations needed to make it suitable for male voices: