Music Reviews for banddirector.com
by Vince Corozine
TITLE: AVENGER
Your percussion will shine in this aggressive band composition which explores contemporary harmonies and vigorous rhythms. The composer uses a variety of harmonic, rhythmic, and textural settings in the development of this work. It is helpful if the players have an understanding of the pitches within each chord, as some of the harmonies may be difficult for less experienced musicians to comprehend.
Careful attention should be given to dynamic markings in order to ensure the musical intensity of the performance. Strive to maintain a balanced ensemble sound in the fortissimo sections and sustain the overall drive and energy to the last note.
A rhythmic theme set in the full band texture provides a spirited opening of an essentially one-tempo program piece. This piece begins with a strong forte leading to a fortissimo using the full ensemble and builds in intensity until the end. An appealing syncopated theme follows, beginning at measure 10, stated by the horns and saxophones. At measure 14, the low bass section is added playing a second theme, which is a slight variation of the first theme, with the rhythm retrograded. A modification of the original theme is then transferred to the upper woodwinds at measure 18, played over a staccato rhythmic background. A well-handled crescendo builds to a fortissimo in measure 26 leading to two measures of staccato chords.
A pleasant contemporary use of fourths is introduced between the first and second trumpets beginning at measure 18. They announce a modification of the main theme.
Suddenly the percussion section takes over in a soli section of four measures. At measure 32, the volume level drops to a mezzo piano as the clarinets and alto saxophones play a legato theme, accompanied by soft percussion effects, such as cabasa, suspended cymbal and orchestra bells. This contrast in scoring is highly effective.
At measure 35 and again at measure 38, a light, delicate sound is achieved with a background figure played by the flute, oboe, and orchestra bells.
At measure 54 the original theme returns stated by the clarinets, alto and tenor saxophones, and horns accompanied by solo cabasa. At measure 62, a modification of the theme is stated in the trumpets (again in fourths) and by high woodwinds. In a sudden charge of energy, the piece ends fortissimo with a vigorous ending.
The percussion parts are heavy and active throughout the selection and must be held in check as to not cover up and overpower the ensemble. The percussion is tacet for only15 measures. Make sure that the consecutive eighth notes are not rushed. You’ll need five percussionists to cover orchestra bells, snare and bass drum, brake drum, cabasa or shaker, gong, tom-tom, and suspended cymbal. The presence of so many struck percussion presents some problems that require care.
The composer provides light, open spaces for contrast to the full ensemble sound that adds variety to the composition. The second clarinets are written below the break, but the horns play in all but four measures of the 79 measures that comprise the composition.
The form of the piece is introduction, two themes with interludes between and a coda.
This energetic composition is an effective rhythmic piece for band.
Vince Corozine Music , Author of "Arranging Music for the Real World" by Mel Bay Publications
Web: www.vincecorozine.com
