Abby Giles

University Band- Wesley Lewis

Unit Study- The Red Balloon by Anne McGinty

Unit 1: Composer
Anne McGinty was born in 1945 and is a native of Findlay, OH. She received her
bachelor or music and master of music degrees from Duquesne University with emphasis
in flute performance and composition. McGinty has been active throughout her career as
a flutist, teacher, and clinician. She is a well-known composer and arranger of music for
young bands. McGinty has composed over 130 works for band ranging from Grades 1-5.
McGinty operates Queenwood Publications, which specializes in music for young
musicians, with her husband, John Edmondson. Along with The Red Balloon, her other
original band works include Falling Branch, Clouds, American Folk Festival, Excelsior,
and Divertissement.

Unit 2: Composition
The Red Balloon was composed in 1992, and it is based on a painting which left
an impression on the composer even though she only viewed it once. The painting shows
a grandfather facing away from a small child. The two people and the background of the
painting were painted white-on-white. The only color in the painting is the red balloon,
which the child is holding. This composition is intended to not only suggest the flight of a
balloon, but also to encourage players to use imagination to visualize its journey in the
air. The duration of this work is approximately 2:30.

Unit 3: Historical Perspective

Program music can be defined as referential music, which is instrumental music
that describes, characterizes, suggests, interprets, or is inspired by a nonmusical subject
or idea that the composer indicates through a title and/or explanatory remarks. Program
music became one of the prominent forms identified with the Romantic Movement in the
nineteenth century. Its free expression and frequent references to extra-musical events,
characters, or situations cause it to be identified as program music. Many important
works have programmatic subjects, such as Tchaikovsky’s Overture 1812 and Romeo
and Juliet, Schumann’s Carnaval, Berlioz’ Symphonie Fantastique, Mussorgsky’s
Pictures at an Exhibition, Paul Dukas’ The Sorcerer’s Apprentice and Richard Strauss’
Don Juan and Till Eulenspiegel. Works for band programmatic in nature include:
Bassett’s Colors and Contours, Schuman’s George Washington Bridge, Dello Joio’s
Scenes from the Louvre, Colgrass’ Winds of Nagual, and Maslanka’s A Child’s Garden of
Dreams.

Unit 4: Technical Considerations

Instrumentation

The instrumentation is suited for a young band with like-instruments paired together:
Flute Baritone Saxophone Triangle
Oboe Trumpet 1-2 Snare Drum
Clarinet 1-2 Horn Suspended cymbal
Bass Clarinet Trombone/Baritone Claves
Alto Saxophone Tuba Tambourine
Tenor Saxophone Bells Bass Drum

Woodwinds
Intonation of octave melodies in mm. 17-24 and mm. 63-70 will require attention. The
flutes need to be able to produce a good tone on D2. Clarinet 1 must be comfortable
moving over the register break but Clarinet 2 stays below the written B for the entire
piece. Both clarinet 1 and 2 divide for a total of four parts at m. 70. Both alto and tenor
saxophones need to be aware of the low pitches (written D, E-flat and E for alto
saxophone) that must be played piano. This will be an issue if the band has an abundance
of alto saxophones.

Brass
The range for all of the brass instruments is consistent for Grade two in this composition.
Trumpet 1 goes to a written E1 and is divisi for sections of the piece, for a total of three
trumpet parts. There is an optional trumpet solo in mm. 71-74, and low brass and
woodwinds are together and have the melody in mm. 37-42.

Percussion
The bell part in this piece can be challenging because of its many accidentals and
exposed writing. Sensitivity is required to play the snare drum and auxiliary percussion
instruments. Because of this, they may be challenging for some young players.

Articulation
Smooth, legato playing is required throughout by all wind and brass players. This is the
primary focus in order to properly convey the style of the piece. Although many notes are
slurred, attacks still need to be together and in the legato style of the piece. Brass players
can use a “doo” syllable to achieve this.

Harmony
Accidentals (both sharps and flats) are prominent throughout the piece and are used
liberally in all parts. Lydian mode is also prominent. This will most likely be a new
concept for young players.

Rhythm
The rhythmic values in the piece are basic, and the dotted-quarter note is prominent in the
melody. Dotted-half, half, dotted-quarter, quarter and eighth notes are also common
throughout the piece.

Unit 5: Stylistic Considerations

The melody of this piece must have an airy, ethereal quality in which slurred
phrases are sustained fully with a relaxed tone quality in order to match the ideal of this
piece. The melody often ends with one instrumental color and is immediately passed on
to another, requiring a smooth connection of sound between the two phrases. This could
depict a balloon floating through the air. Articulation decisions need to be addressed in
regards to the tenuto and accent markings. Consider these markings to show stress and
weight within the confines of the overall impression of the piece.
Dynamics change often, with added diminuendos and crescendos. Diminuendos
often continue until a new sound enters. Because of this, they need to be carefully
considered. The director needs to carefully articulate when they should start and end.
Constant attention is required to balance between the primary musical ideas and the
accompaniment. The percussion section provides different colors that provide variety,
and they should be subtle and not too overpowering to the melodic ideas. Bells provide a
complementary color to the melodic line as well as present melodic material alone.

Unit 6: Musical Elements

Melody:
The melody is often grouped in four-measure phrases. The flute and oboe first present the
melody line. The A theme is varied in terms of scoring, transposition, and a
developmental nature. Melodic lines sometimes come to a resting point before continuing
a new voice. Handing off the melody is a very important concept in this piece. A
seamless effect is the goal for this.

Harmony:
The Lydian mode is prominent throughout this piece. The composer uses this mode based
on C, G, D-flat, B-flat, F, E-flat, and G-flat. D major and E-flat major are used briefly.

Rhythm:
The dotted-quarter-and-eighth-note rhythm is found throughout the melody of this piece.
Ties over the bar line are found in the clarinet accompaniment figures.

Timbre:
Sensitive playing from the percussionists is required as well as a light, ethereal tone
quality from all of the wind players. Many different color changes occur as the melody
passes from one set of instruments to another. The characteristic tone quality of each set
of instruments changes the quality of the melody. An awareness of the paring or
combination of instruments and how balance contributes to the overall timbre of the
combination is required. Percussionists need to consider how their parts fit in with the
rest of the ensemble.

Unit 7: Form and Structure:

Section Measure Musical Considerations

and Scoring
Section 1
A 1-9 Melody presented in flute
and oboe; elision with
section B of theme; mainly
stepwise motion; C Lydian
tonality
B 9-16 Skips prominent in melodic
 line; alto saxophone and
clarinet add diagonal
harmonies; bells and
triangle add color to
accompaniment;
harmonically unsettled: A
Dorian, B-flat Lydian, A-
flat Lydian, D-flat Lydian
(implied); triton relationship
to G Lydian arrival in m. 17
Section 2
A 17-24 Stepwise melody now in
oboe, clarinet, horn, tenor
saxophone, and bells; G
Lydian tonality (G major
triad in low brass and low
woodwinds, trumpet, alto
saxophone, and flute)
A 25-36 Stepwise melody in
trumpet; D-flat Lydian
tonality; clarinet has
accompaniment pattern
similar to mm. 1-9; four
measure extension in D
major moves upward from
trumpet, alto saxophone,
and clarinet to flute, oboe,
and clarinet; claves and
tambourine add rhythmic
element.
Transition
A’ 37-46 First phrase of stepwise
melody in low brass and
woodwinds with slight
rhythmic alteration; four-
part harmonies in horn,
tenor saxophone, trumpet,
and a lot saxophone, then
flute and clarinet; E-flat
major tonality followed by
shift to G Lydian with
repeated fragment from
phrase in oboe, clarinet,
horn, tenor saxophone, and
bells used to slow forward
motion; six measures with
 no percussion, then snare
drum, claves, and
tambourine help with poco
ritardando in mm. 44-46
Section 3
A 47-55 Return of section A;
stepwise melody in alto
saxophone with flute added
to second phrase; B-flat
Lydian tonality
B 55-62 Melody B in flute for two
measures, then in trumpet
for four measures, then
back to flute, oboe, clarinet,
horn, and tenor saxophone
for two measures;
harmonically unsettled
Section 4
A 63-70 Varied form of first two
phrases from section A;
tonally unsettled; F Lydian
A 71-80 Second phrase of section A
melody in E-flat Lydian in
trumpet (optional solo),
followed by shortened
section B melody in clarinet
for two measures, then
trumpet for four measures
with an overlap of the last
two measures in flute, oboe,
and clarinet; ends in G-flat
Lydian with a tritone
relationship to C Lydian
arrival in m. 81
Closing Section
A 81-92 Return to C Lydian with the
harmonic movement
through F and B-flat Lydian
before returning to C
Lydian; literal presentation
of first phrase of section A
melody; second phrase
varied with melodic line
passed from trumpet 1 to
bells to flute and oboe;
second phrase of section A
 recalled by bell solo;
incomplete cadence in
melodic line.

Unit 8: Suggested Listening:

 Basset, Leslie. Colors and Contours. Deja View. North Texas Wind Symphony,
Eugene Migliaro Coporon, conductor. Klavier 11091. 1998.
 Cassette recordings to Queenwood Publications Beginning Band Books I and 2.
 Colgrass, Michael. Winds of Nagual. Hearts Music. Cincinnati Wind Symphony,
Eugene Migliaro Corporon, conductor. Klavier 11064. 1995.
 Dello Joio, Norman. Scenes from the Louvre. Teaching Music through
Performance in Band, Volume 1, Grade 4. The University of North Texas Wind
Symphony. Eugene Migliaro Corporon, conductor and Keystone Wind Ensemble,
Jack Stamp, conductor. GIA Publications CD-490. 1997.
 Maslanka, David. A Child’s Garden of Dreams. Emblems. Cincinnati Wind
Symphony, Eugene Migliaro Corporon, conductor. Klavier 11030. 1991.
 Schuman, William. George Washington Bridge. American Dreams. Cincinnati
Wind Symphony, Eugene Migliaro Corporon, conductor. Klavier 11048. 1992.

Unit 9: Additional References and Resources:

“The Basic Band Curriculum: Grades 1, 2, 3.” BD Guide, September/October 1989, 2-6.

Duarte, Leonard P., Daniel S. Hiestand, Carol Ann Prater, Doy E. Prater. Band Music
That Works, Volumes 1-2. Burlingame, CA: Contrapuntal Publications, 1987,
1988.

Dvorak, Thomas L., Cynthia Crump Taggart, and Peter Schmaltz. Best Music for Young
Band. Bob Margolis, ed. Brooklyn, NY: Manhattan Beach Music, 1986

Garofalo, Robert J. Instructional Designs for Middle/ Junior High School Band. Fort
Lauderdale, FL: Meredith Music Publications, 1995

Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill, 1988. Kreines,

Joseph. Music for Concert Band. Tampa, FL: Florida Music Service, 1989.

Queenwood Publications, Scottsdale, AZ

Rehrig, William H. The Heritage Encyclopedia of Band Music, Paul #. Bierley, ed.
Westerville, OH: Integrity Press, 1991.