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.