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Second Suite for Band

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Alfred Reed

Alfred Reed


Subtitle: Latino-Mexicano


General Info

Year: 1980
Duration: c. 13:45
Difficulty: VI (see Ratings for explanation)
Publisher: Hal Leonard
Cost: Score and Parts (print) - $100.00   |   Score Only (print) - $7.50


Movements

1. Son montuno
2. Tango ("Sargasso serenade")
3. Guaracha
4. Pasa doble ("A la Corrida!")


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
Cornets I-II
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion I-II-II, including:

  • Bass Drum
  • Bell Tree
  • Bells
  • Castanets
  • Chimes
  • Claves
  • Cowbell
  • Crash Cymbals
  • Guiro
  • Maracas
  • Marimba
  • Sandpaper Blocks
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Timbales
  • Tom-Tom
  • Triangle
  • Vibraphone
  • Xylophone


Errata

None discovered thus far.


Program Notes

The Second Suite for Band was commissioned by the Sterling, Illinois, High School Wind Ensemble, G. Jack Schuler, Director, in memory of Ina R. Schuler. The first performance took place on March 29, 1979, with the Sterling group, under the direction of the composer.

The Second Suite for Band consists of four movements, each one based on a characteristic song, march or dance form usually associated with either a single Latin-American country or group of countries. The first movement, Son Montuno, is based on a rhythm closely associated with the calypso, and seems to have had its origin in Cuba or the nearby Caribbean countries. Its basic two-beat rhythm is performed lightly, and its melodies are also light, vivacious and delicate in character.

The second movement, Tango, is based not on the dramatic, highly charged Argentinian version which has become so familiar to us, but on the less frequently heard Brazilian interpretation, which is slower, smoother, and dreamier, rather than forthright and dramatic. Although they are both basically four-beat rhythms, the beats in the Brazilian version are played almost in a gliding fashion rather than in the emphatic manner of the Argentinian.

The third movement, Guaracha, is a rollicking Argentinian drinking song, in effect a little scherzo, that bounces along its insouciant way to contrast with the preceding Tango and the succeeding Paso Doble.

The fourth movement, Paso Doble, is built on rhythms associated either with a dance or march, and is Mexican in origin (although the term is also found in Spain, from where, presumably, it was brought to Mexico). Despite its name, which, literally translated, means "two-step", we find pasos dobles written in both duple and triple time, either for dancing or marching. The present version combines these two basic patterns into quintuple meter (5/4) in a brilliant march to the bull ring on a festival day, ending with one of those typical long Spanish melodic lines in triple time that suggest both a dance and a march.

- Program Note by Rundel


Commercial Discography

None discovered thus far.


State Ratings

  • Indiana: ISSMA SENIOR BAND GROUP I
  • Kansas: V
  • Louisiana: IV
  • Massachusetts: IV
  • New York: Concert Band VI
  • Tennessee: VI
  • Virginia: VI


Performances

To submit a performance please join The Wind Repertory Project

  • Callanwolde Concert Band (Decatur, Ga.) (Glenn Moore, conductor) – 29 September 2019
  • Beijing (China) Wind Orchestra (Li Fangfang, conductor) – 18 July 2019
  • University of Georgia (Athens) Hodgson University Band – 23 April 2018
  • Duke University (Durham, N.C.) Wind Symphony (Verena Mösenbichler-Bryant, conductor) – 16 November 2017
  • Spring-Ford (Penn.) High School Band (Seth Jones, conductor) – 5 February 2016 – (West Chester University (Penn.) Concert Band Symposium)
  • Atlanta (Ga.) Wind Symphony - 2013


Works for Winds by this Composer


Resources