Composer

:

Alfred Reed

Genre

:

Band

Style

:

Band Music

Compose Date

:

1979

Average_duration

:

14:08

Movement_count

:

4

Movement ....

Alfred Reed's "Second Suite for Band" is a four-movement work for concert band that was composed in 1963. The piece was premiered by the University of Illinois Symphonic Band under the direction of Harry Begian on April 19, 1963, at the American Bandmasters Association Convention in Chicago. The first movement, "March," is a lively and energetic piece that features a strong rhythmic drive and a memorable melody. The second movement, "Song Without Words," is a lyrical and expressive piece that showcases the band's ability to play with sensitivity and nuance. The third movement, "Round Dance," is a playful and lively piece that features a catchy melody and a lively rhythm. The final movement, "Galop," is a fast-paced and exciting piece that brings the suite to a thrilling conclusion. One of the most notable characteristics of Reed's "Second Suite for Band" is its use of traditional forms and structures. Each movement is clearly defined and follows a specific form, such as the march form in the first movement and the rondo form in the third movement. This gives the piece a sense of coherence and unity, while also allowing each movement to stand on its own as a unique musical experience. Another characteristic of the piece is its use of orchestration and timbre. Reed was known for his skillful use of instrumental colors and textures, and this is evident throughout the suite. From the bright and brassy sound of the trumpets in the march to the warm and mellow tones of the saxophones in the song without words, each movement features a wide range of instrumental colors and textures that add depth and richness to the music. Overall, Alfred Reed's "Second Suite for Band" is a masterful work of band music that showcases the composer's skillful use of traditional forms and orchestration. Its memorable melodies, lively rhythms, and expressive qualities make it a favorite among both performers and audiences alike.

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