First Suite in Eb

by
Gustav Holst

Publisher: Boosey and Hawkes

Grade Level: 4

670 Fall 2017

Matt Scott

Table of Contents
Unit Goals.1
Unit Objectives..1
Standards.1-2
Resources.....2
Score Analysis....3-20
Historical background...21-24
Lesson 1.25-26
Lesson 2.....27
Lesson 3..28-29
Lesson 4..30-33
Lesson 5..34-35
Warm-ups..36-40
Student Guide..41-44

Unit Goals:

The students will learn the vocabulary of the terms in First Suite in Eb
The students will write a story using musical terms and examples within the paper

The students will rhythmically and aurally identify the melody of the
Chaconne/Passacaglia in the first movement

Unit Objectives:

After listening to the recordings of First Suite in Eb, students will answer the
questions given to them by aurally identifying them

Students will complete a worksheet about the history of Gustav Holst.

By the end of the warm-up, the students will have sung the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson, the students will have played the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson the students will be able to perform the Eb major scale
stylistically correct based on the term from the glossary being performed.

By the end of the lesson the students will complete a glossary term quiz and will
finish with a minimum 80% accuracy.

The students will complete a story (minimum 1 page) based on the presented
artwork and recording of First Suite in Eb.

Standards:

Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.

Pr.2.Ac Document and demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects of
musical works may impact and inform prepared and improvised performances.

Pr.4.Ac Develop and apply appropriate rehearsal strategies to address individual

and ensemble challenges in a varied repertoire of music, and evaluate their success.

Re.3.I Identify and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts,
and (when appropriate) the setting of the text.
 Resources:

Recording: https://www.youtube.com/watch?v=fLbP6qpI1YI

Helpful articles:
https://en.wikipedia.org/wiki/First_Suite_in_E-flat_for_Military_Band
http://windliterature.org/2010/12/14/first-suite-in-e-flat-by-gustav-holst/
http://www.gustavholst.info/biography/index.php?chapter=1
 Historical Background

Composer

Gustav Holst was born in England and showed musical talent from an early
age on the piano and the violin. Problems with neuritis and asthma forced Holst to
focus on the piano. His early employment as a church organist and choir director
created a lifelong interest in choral music, while studying composition at the Royal
College of Music, Holst was heavily influenced by the music of Wagner and Ralph
Vaughan Williams. Holst had met Vaughan Williams in 1895 and they became
friends, which began their habit of playing their newest compositions to each other.
During this time Holsts neuritis worsened, and he gave up the piano for the
trombone, believing it would both improve his lung capacity and give him greater
insight into composing for orchestra.
As an adult, Holst was a complex persona: friendly in private but not so much
in public.; eager to write music for schools but a member of the Hammersmith
Socialist club; and intensely interested in earlier British composers like Purcell but
keenly interested in Hindu philosophy. He had many failures as a composer,
especially in his operas. Many of his compositions for orchestra were viewed in
Britain as too esoteric and complex for audiences to understand. This rejection,
coupled with a grueling schedule as lecturer at Harvard in 1932, affected his nerves
and health to the point that he was sometimes ordered to take vacations; he was
eventually diagnosed with a duodenal ulcer.
A year before attending the Royal College of Music, Gustav heard Richard
Wagner's Gtterdmmerung under Gustav Mahler at the Covent Garden. He was
overwhelmed by the lush sonorities. Reinforced by the friendship of a fellow student
at the College, Fritz Hart, Gustav became an ardent Wagner enthusiast. Once after
hearing Tristan and Isolde in the gallery, he walked all night through the streets of
London with his mind in a whirl. Another overwhelming experience was hearing the
Bach Mass in B Minor at the Three Choirs Festival in Worchester in 1893. He was so
taken aback by the choruses that he felt as if he was floating about the crowds. It
was one of the few memorable musical events in his young life thus far.
When he was hired as the Director of Music at St. Pauls Girls School in
Hammersmith, Holst had little time to compose his music. One of the few major
successes in his life was The Planets, which was lauded both in Britain and abroad.
Many consider The Planets to be his best work, but his daughter Imogen Holst, says
that his Hammersmith: Prelude and Scherzo to be his best work.

Composition

Little is known about the origin of First Suite in Eb except the year of its
composition, kept in Holsts source notebook under the page for the year 1909. No
printed parts existed until Boosey and Co. printed a set of parts in 1921, and no full
score existed until 1948. In the 1948 score, Boosey added parts. This edited score
was the only authoritative version until the Colin Matthews edition of 1984.
 Although it wasnt until 1920 before the first known performance of the First
Suite in Eb took place, the piece instantly gained respect and acclaim. Most
professional conductors say that this piece is the first original work for the concert
band genre, and is still a cornerstone of band repertoire today.
The piece features a 16-note melody passed through the band, with 15
variations on the melody. The first movement begins with a baseline similar to that
of Henry Purcell and William Bell. The last note of the first movement is one of the
most famous Eb chords in all of musical literature. The second movement features
solos for the cornet, oboe, and clarinet. Many textures are also presented in the
movement. The third movement is a march that starts quickly after the second
movement. The brass performs the first theme; and the woodwinds play the second.
The movement ends with both themes together and a crescendo to the final note.

Historical Perspective

Prior to 1909 there were only a few original compositions for band excepting
marches, transcriptions, and novelty repertoire. Gossecs Symphonie Miliatire en
Fa (1974) and Berliozs Symphonie Funbre et Trimphale (1840) are two of the few
examples of serious music that composers wrote exclusively for winds and
percussion. These early compositions were written for groups like the Guard
Republicaine of Paris, and from that time until the 20th century, military bands and
the professional bands of Sousa, Gilmore, etc. were the only notable groups
performing this type of literature. Although the Suite contains a march, it is part of
an organic whole in three sections, all composed of original material.
The Suite was revolutionary in its treatment of the parts of the band as
soloists. Earlier music for band included numerous doublings, and it was expected
that there could be any number of players on one part. Holst, however, envisioned
the Suite in Eb as a collection of soloists, and there are frequent instances of de facto
chamber music.
The other two notable composers of early 20th century British band music
are Gordon Jacob and Ralph Vaughan Williams, and they wrote nothing for band
until after the 1920 premiere of Holsts Suite. In many senses, this composition is
the progenitor of music for concert band as we know it.

Technical Considerations

In the first movement rhythmic demands are modest; however, coupled with
the allegro moderato tempo marking, the 16th note passages in the woodwinds at
measure 40-49 make for some physical and mental challenges. Solos are generally
easy, with moderate ranges for all instruments except horn, which leaps to a high G
at a soft volume in measure 58. In considering other instruments with extremes of
range, trombone 1 must play a high Ab in measure 32, the tuba must play the F an
octave below the staff at measure 57 and cornet 1 and trumpet 1 have a written C2
at the last chord.
The second movement features an Eb clarinet 8th notes accompaniment at
vivace. Eb clarinet 2 has a cue written for it, but another Bb clarinet could play this
part if needed; the notes would be no higher than written A2. In general, rhythms
are not difficult in this movement, but maintenance of the tempo will be a problem,
since the pulse remains the same throughout the 142 measures.
Rhythms in the final movement are easy except for the final woodwind Eb
scale in 8th note triplets. Throughout the entire suite percussion technical demands
are light to medium. Knowledge of the Eb major, C minor, Ab major scales is
important. For the best understanding of the second movement, the contrast
between the minor scale and the Dorian mode could be explored. The Dorian mode
(movement 2, measures 67-98) has half-steps between scale steps 2-3 and 6-7.
The passages arent hard, but precision is required to sound clean and give a
good representation of what this masterful work is about. This song has been
performed thousands of times and it takes remarkable technical precision and
musicianship to make the performance truly memorable.

Stylistic Considerations

The first movement is a great study in contrasting styles, since each

presentation of the theme allows considerable opportunity to demonstrate a
musical style. The tempo should not be too slow a range of quarter note equals 96-
108 shows both the expressive qualities of the composition and the intent behind
the tempo marking of Allegro moderato.
The second movement has two basic styles: a light, detached style similar to
a bowed staccato, and gentle legato. The main stylistic consideration throughout the
movement is the attention to the last note of phrases in the accompaniment. Care
should be taken to ensure the endings are not abrupt.
In the last four measures, the accompaniment must be performed both softer
and lighter in articulation as the line ascends to the last C2 in the clarinet.
The 3rd movement should be performed with slight detachment or lift, with
emphasis on tone control. Because many groups will find it easy to play beyond
their ability to control volume, encourage the brass to rehearse no louder than forte.
The trio is a broadly written legato. Groups can show maturity of musical
expression both by performing 8 measure phrases and by the addition of subtle
crescendos and decrescendos throughout the phrase. Since phrases in the trio are
mostly in four-measure segments, consider conducting in four, with each beat one
measure long. This will encourage increased attention to long phrases and legato.

Musical Elements

Melody: Holst creates a strong monothematic presence throughout the Suite. It is

easy to trace this unifying idea by comparing the first notes of each theme. Holst
uses major, minor, and modal melodies in the Suite, and a short unit comparing the
half and whole step patterns of these modes is a worthwhile exercise, since Holst,
Vaughan Williams, and Jacob all freely incorporate these types of scales into their
compositions. Every instrument has melodic in this composition.
Harmony: The harmonic language is not complex. Of special interest to conductors
and theorists is the second half of the development in the third movement (measure
97), where C is prolonged through a progression featuring a rising chromatic line.
The progression is C major, Db major7, D7, F#7 (all over the base note C), and C
major.

Rhythm: Throughout the First Suite in Eb there is a steady pulse and consistent
feeling of meter. Each movement is consistent in its treatment of duple or triple
meter, and the pulse is consistent throughout each movement with the lone
exception being the end of the third movement. Holst provides a feeling of pulse
through his preference for tuba and low reeds in this role. There are neither odd
tuplet rhythms nor hemiolas in this composition.

Timbre: In many ways, the timbres in this work are consistent with the writing of
British music for band in the early 20th century. Flutes are primarily written in
unison, even in the upper register. There is a lot of cornet and trumpet in the
scoring, and these instruments constitute a soprano brass voice in four or five parts.
Tuba and euphonium are frequently doubled to form a bass line, but euphonium has
many places where it is the primary tenor melodic line. This is taken from the
British brass band tradition, where the baritone/euphonium timbre is potentially as
important a melodic voice as cornet. Holsts innovation shows in the variety of
timbres he uses. There is great contrast in every movement to provide opportunities
for solos. Holst also writes some instances of de facto woodwind quintet, brass
ensemble, and chamber music writing.

Form and Structure

Form: Passacaglia (theme and 15 variations). The theme and all variations are in Eb
major except variations nine and ten, which are in C minor, using an inversion of the
theme. All phrases are eight measures long except for those in variation 13
(measure 105-113) and variation 15 (measure 122-131). The passacaglia passes the
melody throughout the band.
 Concept Lessons:

1. Pre-listening (before music is passed out)

Objectives:

After listening to the recordings of First Suite in Eb, students will answer the
questions given to them by aurally identifying them

Activity:

The teacher will pass out a sheet with questions for the students to answer as they
listen to the recording. The teacher is checking for understanding, the grade comes
from completion.

Process:

- The teacher will pass out the paper with the questions on them
- The teacher will tell the students to read the questions so they know what to listen
for in the recording.
- The teacher will play the recording 3 times. If the students need the recording to
be played again, the teacher will play the recording.
- The students will hand in their sheets, and the teacher will pass out the music

Melody:

How many times does the melody happen throughout the first movement? 16

What is it called when there is a melodic line occurs several time and is modified
slightly each time? Theme and Variations

What is this type of melody called? There are two correct answers. Hint: One starts
with a C and the other starts with a P. Chaconne and/or Passacaglia

Rhythm:

Notate the rhythm of the melody. Hint: the first note is a quarter note pickup to the
downbeat of the next bar, and the time signature is 3/4 time.

Quarter, half, quarter, half, quarter, quarter, half, half, quarter, half, quarter,
quarter, half, dotted half

Texture

What is the order of instruments/sections (low brass, high brass) that have the
melody?
LB, tpt/tbn, low reeds, LB, LB, brass, tpt, horn, sax, horn/ww, tpt, tpt, ww,
brass, brass,

Assessment:

Was Question 1 Answered? Yes No

Was Question 2 Answered? Yes No
Was Question 3 Answered? Yes No
Was Question 4 Answered? Yes No
Was Question 5 Answered? Yes No
 2. Historical Context

Standard:

Re.2.I Describe how understanding context and the way the elements of music are
manipulated inform the response to music.

Assignment: Students will answer questions about the history of Gustav Holst. The
questions will be due two days after being assigned.

Objective: Students will complete a worksheet about the history of Gustav Holst.

1. Where was Gustav Holst born? England /2

2. Where did he go to school? Royal College of Music /2

3. What was Holsts primary instrument? Trombone /2

4. Where did Holst teach? St. Pauls Girls School in Hammersmith /2

5. Holsts neuritis caused him troubles with his primary instrument and he was
forced to focus more on what instrument? Piano /1

6. Who was his biggest musical inspiration? Richard Wagner /1

Assessment: The teacher will grade the six questions based on correct answers
 3. Passing the Melody

Standards:

Pr.2.Ac Document and demonstrate, using music reading skills where appropriate,
how compositional devices employed and theoretical and structural aspects of
musical works may impact and inform prepared and improvised performances.

Pr.4.Ac Develop and apply appropriate rehearsal strategies to address individual

and ensemble challenges in a varied repertoire of music, and evaluate their success.

Objectives:

By the end of the warm-up, the students will have sung the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

By the end of the lesson, the students will have played the recurring melodic line of
First Suite in Eb rhythmically and aurally accurate with minimal errors, passing the
melody to the next section in a seamless transition.

Activity: The teacher will lead a warm-up having the students sing (and later in the
lesson play on their instruments) the chaconne/passacaglia on pitch and work on a
seamless transition from each section in the order the melody appears throughout
the ensemble.

Process: Warm-up

- The teacher will go up to the board with a marker (or chalk) and ask the students
who has the main melodic line first, and write the answer on the board
- The teacher will repeat this process until the entire first movement has been gone
through
- The teacher will have the students with the melody first be ready to sing. The
teacher will instruct the students who have the melody next to raise their hands and
be ready to continue the melody, and when they begin singing the next group to
receive the melody will raise their hands
- The teacher will not stop until the whole first movement has been completed
- The teacher will then ask the students for feedback for what they observed
throughout the activity
- The teacher will offer their own comments
- The teacher will begin the exercise again, and will expect the students to make
adjustments based on the comments

Process: The Lesson

- The teacher will tune the band in the tuning sequence (F on trumpet, Bb on tuba, A
on oboe)
- Once the band is in tune, the teacher will move on in the lesson
- The teacher will conduct the same lesson as the warm-up, except now the students
will be playing their instruments. The students who will receive the melody do not
need to raise their hands as the givers of the melody know who they are passing
the melody to, and the receivers of the melody know that they are next to have the
melody
- At the conclusion of the first movement, the teacher will offer comments
- The teacher will have the students perform the exercise one more time (unless
more is necessary later)
- The teacher will play the metronome at the desired tempo of the first movement
and will turn the metronome off at the end of the first melodic line. The goal is for
the students to be responsible for the pulse. The teacher will only stop the ensemble
if there are severe rhythmic or note/pitch issues
- The teacher will run the exercise one more time if necessary
- The teacher will now put the exercise in context and play through the first
movement from top to bottom. The focus is on note and rhythmic accuracy of the
chaconne/passacaglia and the seamless transitions of the melodic line
- The teacher will offer comments from the run-through, and will then ask if any
students have questions or comments

Assessment: The teacher will evaluate student performance based on note and
rhythmic accuracy, as well as how well the seamless transition of the melodic line
worked
4. Glossary Definitions
Standards:

Re.3.I Identify and support interpretations of the expressive intent and meaning of
musical works, citing as evidence the treatment of the elements of music, contexts,
and (when appropriate) the setting of the text.

Objectives:

By the end of the lesson the students will be able to perform the Eb major scale
stylistically correct based on the term from the glossary being performed.

By the end of the lesson the students will complete a glossary term quiz AND WIL
COMPLETE WHAT PERCENT

Warm-up:

- The teacher will have the students perform an Eb major scale, and will explain the
reason for the Eb scale is because that is what First Suite is in
- The teacher will have the students list the terms that indicate style that are
involved throughout the piece. The teacher will call on the students, and will ask the
students what they think the term means
- After a student has listed a term and the definition (assuming their definition is
correct; if they are incorrect the teacher will call on other students who might have
the correct answer), the teacher will conduct the scale in that style and the students
will perform the scale in that style

Sequence:

- The teacher will have the students choose a term and mention where it is in the
music
- The teacher will tell the students to play a few bars, in the proper style
- The teacher will ask the students if their playing matches the style
- If the style matched, the teacher will move on to the next term. If the style does not
match, the teacher will explain what will make the style match

Assessment:

The teacher will pass out a matching term-definition quiz. The questions will be
graded on right answers.

Terms:

Chaconne

Allegro Moderato
Legato

Stacc(ato)

Pesante

Maestoso

Vivace

March

Piu mosso

Meno mosso

Definitions:

A. Repeated short progression

B. Moderately Fast

C. Smooth and connected

D. Detached or separated

E. Heavy, with great weight

F. In a dignified or majestic fashion

G. Lively or brisk manner

H. A procession suited for a parade or marital affair

I. More motion

J. Less motion

Answer Key:

Vivace: G

Meno mosso: J

Legato: C
Maestoso: F

Piu mosso: I

Pesante: E

Stacc(ato): D

Chaconne: A

Allegro moderato: B

March: H
 5. Art

Activity: The students will listen to First Suite in Eb, with the two pictures displayed
on the board. The students will write a story based on at least one of the pictures
based on what they hear in the music.

Objective:
The students will complete a story (minimum 1 page) based on the presented
artwork and recording of First Suite in Eb.

Sequence:

- The teacher will instruct the students to get out a piece of paper and write out a
story based on what they hear in the music of First Suite in Eb. The guidelines for
the paper will also be explained (guidelines listed in assessment portion of lesson)
- The teacher will pull up the two pictures, and the students will be given about 45
seconds to look at and observe the pictures
- The teacher will play the recording
- The students will write their papers as the recording plays
- The teacher will replay the recording as necessary
- The teacher will collect the papers

Assessment:

Story is one page long Yes No

Student mentions which Yes No
painting is being
referenced in the paper
Specific musical Yes No
examples/stylistic traits
are mentioned throughout
the paper
The paper has fewer than Yes No
3 grammatical errors
Student mentions which Yes No
movement is being talked
about in the paper
 Warm-ups (not listed in specific lesson plans)

1. Major Scales- Treble Clef

Major Scales: Bass Clef

2. Minor Scales- Treble Clef
Purpose of warm-ups 1 and 2:

Scales are a tool that should be used daily to help students hear pitches, get used to
playing in all keys, and getting comfortable with the fingerings of their instruments.
These would be played at the beginning of rehearsals. The director would decide
(mostly based on time needed for concert block pieces) whether to only play a few
scales that day or play the whole sheet down all at once.

Minor Scales- Bass Clef

3. Tuning

There will be a series of three tuning notes at the beginning of rehearsals. The first
tuning note will be given by the first chair trumpet, a Bb. The students will sing to
match the pitch, and will then play the note on their instruments matching that
pitch. The next note, an F, will be given by the tuba player, with the same sequence
of singing then playing following. The third note will be an A given by the first chair
clarinet, with the ensemble singing then playing the tuning note. Outside of playing
in tune, ensemble balance can be monitored during the tuning sequence.

Two more warm-ups are lesson plan specific and listed above in the lesson plans.
 STUDENT GUIDE

Learning Goals: At the end of the unit, you will have learned the following:

1. The historical background of Gustav Holst

2. When each section has the melody and who they pass it off to
3. How to internalize the pulse and maintain a steady tempo
4. The names of musical motives/forms

Resources for you to use

Recording: https://www.youtube.com/watch?v=fLbP6qpI1YI

Helpful articles:
https://en.wikipedia.org/wiki/First_Suite_in_E-flat_for_Military_Band
http://windliterature.org/2010/12/14/first-suite-in-e-flat-by-gustav-holst/
http://www.gustavholst.info/biography/index.php?chapter=1

Form and Structure

Form: Main melody(theme and x number of variations). The theme and all
variations are in Eb major except variations nine and ten, which are in C minor,
using an inversion of the theme. All phrases are eight measures long except for
those in variation 13 (measure 105-113) and variation 15 (measure 122-131). The
passacaglia passes the melody throughout the band.

First Lesson:

Answer the worksheet as you listen to the recording.

Melody:

How many times does the melody happen throughout the first movement?

What is it called when there is a melodic line occurs several time and is modified
slightly each time?

What is this type of melody called? There are two acceptable answers. Hint: One
starts with a C and the other starts with a P.
Rhythm:

Notate the rhythm of the melody. Hint: the first note is a quarter note pickup to the
downbeat of the next bar, and the time signature is 3/4 time.

Texture

What is the order of instruments/sections (low brass, high brass, low woodwinds,
high woodwinds) that have the melody?

Second Lesson:

Answer the questions provided in the worksheet. This assignment is due two days
after being handed out.

1. What country was Gustav Holst born in? /2

2. Where did he go to school? /2

3. What was Holsts primary instrument? /2

4. Where did Holst teach? /2

5. Holsts neuritis caused him troubles with his primary instrument and he was
forced to focus more on what instrument? /1

6. Who was his biggest musical inspiration? /1

/10

Third Lesson:

No worksheets, just bring your instruments!

 Fourth Lesson:

Match the definitions to the terms by putting the letter of the definition next to the
term.

Terms: Definitions:
Chaconne- A. Repeated short
progression
Allegro Moderato- B. Moderately Fast
Legato-
C. Smooth and connected
Stacc(ato)- D. Detached or separated
E. Heavy, with great weight
Pesante-
F. In a dignified or majestic
Maestoso- fashion
G. Lively or brisk manner
Vivace-
H. A procession suited for a
March- parade or marital affair
I. More motion
Piu mosso-
J. Less motion
Meno mosso-
 Fifth Lesson:

Write a story about the pictures you see and the music is being played. Use musical
terms, expressions, and examples in your paper. Minimum 1 page in length,
maximum of two pages.