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23075557
Bad King Wenceslas
23075557
23075557
23075557
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Concert band Bass Clarinet, Bass Drum, Bassoon, Bells, Chime, China Cymbal, Clarinet in Bb 1, Clarinet in Bb 2, Crash Cymbals, Euphonium, Euphonium Treble Clef, Flute, Flute 2, Hi-hat Cymbal, Horn, Mallets 1, Mallets 2, Oboe, Percussion 1, Percussion 2 and more. (Flute, Oboe, Flute 2, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Horn, Trombone, Euphonium, Euphonium Treble Clef, Tuba, Mallets 1, Xylophone, Bells, V) - Grade 2.5
SKU: CF.YPS282
Composed by Michael J. Miller. This edition: folio. Folio. Score and parts. Composed 2025. 192 pages. Duration 0:02:44. Carl Fischer Music #YPS282. Published by Carl Fischer Music (CF.YPS282).ISBN 9781491168110. UPC: 798408101046. 9x12 inches. Key: Bb major.
Bad King Wenceslas is a riff on the familiar Christmas carol Good King Wenceslas. Throughout the piece, the listener hears rhythmic and melodic motifs from the carol women together in a dark, mysterious setting.Measures 1-8 serve as an introduction where an ostinato on the first four notes of the tune begin in the flute. This idea gathers momentum with the rest of the upper woodwind family before the tune is revealed in double time in the lower winds. Alternating eighth-note patterns in the flute, oboe, and clarinet create a busy background under which the melody broods.After some playful back-and-forth between the various sections of the ensemble, the piece reaches its first climax and major cadence point. This sequentially fades away, leaving just the sleigh bells exposed. Measure 39 begins a chamber ensemble section highlighting small groups of instruments on the tune. A tutti syncopated moment concludes this idea before the tune is presented in canon. Measure 55 begins the canon in the alto and tenor saxophones, then the flute, oboe, and clarinets, the trumpets, and finally low winds. All the while the percussion holds steady on an ostinato groove pattern.The canon culminates in a key change at m. 73 moving from Eb minor to F minor. This is the most aggressive section of the piece, with more intricate counterpoint in the winds and rhythmic devices in the percussion. The finale of the piece begins in m. 89 with brief episodic statements from the various sections of the band. The final statement and conclusion of the work happens at m. 99 with fanfare motifs in the brass and aggressive rhythms followed by intermittent space.Throughout the piece, the conductor should take care to balance each phrase to the melody. Most sections have the opportunity to present part of the melody at some point.Lastly, all percussion parts should be covered as they are integral to the mood and momentum of the entire work.
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