Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 1 2 3 4 5 6 7 8 9
Form
A
Phrase
Structure
Tempo
Q=152
Dynamics
ff f
Meter/Rhythm
Tonality
C minor with Chromaticism
Harmonic
Motion
I IV V I V I
Orchestration
Oboe, Bsn., B. Sax, Horns, Tb
Full Ensemble
General
Character
Loud, Boisterous, Russian Dance
Page 1
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 10 11 12 13 14 15 16
Form
B
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Fb minor with chromaticism
Harmonic
Motion
V Chromatic
Orchestration
Oboe, Bsn., B. Sax, Horns, Tbns, Eups, Tuba, Snare, B. Drum. (Melody or ostinato). Fl. Tpt, Cym
(interjection)
General
Character
Precise, thoughtful
Page 2
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 17 18 19 20 21 22 23 24 25
Form
A
Phrase
Structure
Tempo
Dynamics
ff f
Meter/Rhythm
Tonality
C minor with Chromaticism
Harmonic
Motion
I IV V I V I
Orchestration
Full Ensemble Picc, Fl., Cl,
General
Character
Stomping, Pushed
Page 3
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 26 27 28 29 30 31 32
Form
C
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
F Major
Harmonic
Motion
V V I I V V I V I
Orchestration
Picc, Fl., Cl, Bsn., Eb Clar, Bb Clar, B. Clar, Bari, Horns, Snare
General
Character
Birds chirping, dancy
Page 4
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 33 34 35 36
Form
A
Phrase
Structure
Tempo
Dynamics
ff
Meter/Rhythm
Tonality
C minor with Chromaticism
Harmonic
Motion
I
Orchestration
Full Ensemble
General
Character
Manly, Deep, Full
Page 5
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 37 38 39 40
Form
A
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
C minor with Chromaticism
Harmonic
Motion
IV V I V
Orchestration
Full Ensemble
General
Character
Manly, Deep, Full
Page 6
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 41 42 43 44 45 46 47 48 49
Form
Trio
Phrase
Structure
2nd ending
Tempo
Dynamics
f ff f
Meter/Rhythm
Tonality
A Harmonic Minor
Harmonic
Motion
I I
Orchestration
Everything Above Trumpets playing melody or harmony. Trum
General
Character
Drunk, Bar-song,
Page 7
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 50 51 52 53 54 55 56 57 58
Form
Trio
Phrase
Structure
1st 2nd
Ending Ending
Tempo
Dynamics
ff f ff
Meter/Rhythm
Tonality
A Harmonic Minor
Harmonic
Motion
Orchestration
bove Trumpets playing melody or harmony. Trumpets below interjection.
General
Character
Drunk, Bar-song,
Page 8
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 59 60 61 62 63 64 65 66 67
Form
Dog Fight
Phrase
Structure
2nd
Ending
Tempo
Dynamics
Meter/Rhythm
Tonality
C minor with b5
Harmonic
Motion Gb (only
V VI II II bV aug
one note)
Orchestration
Full Ensemble
General
Character
Pompous, Reaching, Fighting
Page 9
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 68 69 70 71 72 73 74 75 76
Form
Dog Fight
Phrase
Structure
Tempo
Dynamics
ff
Meter/Rhythm
Tonality
C minor with b5 CM
Harmonic
Motion
V I
Orchestration
Full Ensemble
General
Character
Pompous, Reaching, Fighting
Page 10
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 77 78 79 80 81 82 83 84 85
Form
A C
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
C Minor with Chromaticism C minor with
Harmonic
Motion
IV V I V IV
Orchestration
Full Ensemble Full E
General
Character
Thrilled, Stomping Disclaimer, Pr
Page 11
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 86 87 88 89 90 91 92 93 94 95 96 97
Form
Coda
Phrase
Structure
Tempo
Dynamics
fz fz
Meter/Rhythm
Tonality
C minor with Chromaticism
Harmonic
Motion
I V I
Orchestration
Full Ensemble
General
Character
Disclaimer, Precise, Final move
Page 12
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 13
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 14
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 15
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 16
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 17
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 18
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 19
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 20
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 21
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Measure # 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267
Form
Phrase
Structure
Tempo
Dynamics
Meter/Rhythm
Tonality
Harmonic
Motion
Orchestration
General
Character
Page 22
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
This section is marked ff and has accents every other bar. This makes it feel like there is a push First use of stacatto, with few
or a heavier foot every macro beat. It also is repetitive which means it could be sang or easily call and response with the h
danced to.
Conducting
Concerns
I need to show heaviness with out making myself tight. Everyone has the same rhythm so I do I must change my person
not need to worry about dividing my concentration. GIVE BEAT 2 TO THE BASS DRUM IN EVERY different person that is ver
ODD BAR.
Rehearsal
Consideration
Rehearse all of the A sections together so they remain consistent. The subtleties of the music
16th notes need to remain i
will come when played in context but make sure first that there is a difference between the
trumpet and flute/picc. Chrom
accented and unaccented notes, and that the sound of the upper register on all instruments
note not just
remains in tune and in tone. Start there and the dynamic will come in time.
Page 23
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
First use of stacatto, with fewer instruments playing. The 16th note is introduced. Sounds like a
call and response with the higher instruments calling with the deeper instruments responding
with heavy accents.
Conducting
Concerns
I must change my personality with each section change. My pattern needs to look like a
different person that is very light 3 beats and heavy for 1. It also needs to be smaller than
before to show the dynamic change.
Rehearsal
Consideration
16th notes need to remain in time. There aren't any crazy range problems except in the first
trumpet and flute/picc. Chromatic line at the end needs to be played with precision, placing each
note not just guessing. Rep the chromatic scale in warm-ups.
Page 24
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
Back to the original melody, noted the same way with no changes in it. Stomping for the accent
Highest instruments in the
on every macro beat and pushed for the same reason. Feels like the sound is being pushed
then followe
down with heaviness.
Conducting
Concerns
Back to the heaviness of before. Make sure there isn't anything tightened up causing tension.
Go back to the lightness
Tension is an illusion that the body shouldn't feel but the ensemble should see. Feel like you are
woodwinds. Show on your
moving through water or jello.
Rehearsal
Consideration
16th notes in the upper voi
The range of all instruments is on the high side work through endurance problems through long-
pattern is under their fingers
tones and lip slurs.
Page 25
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
Highest instruments in the band are playing the melody, which is outlining a major arpeggio
then followed by a 16th note triplet giving it a light airy feel.
Conducting
Concerns
Go back to the lightness like in the B section but direct your attention toward the upper
woodwinds. Show on your face the happiness/dancy attitude you want them to play with.
Rehearsal
Consideration
16th notes in the upper voices, they are just arpeggios so run the arpeggios. Once the scale
pattern is under their fingers it should be fine but until then work on articulating some kind of
note in tempo.
Page 26
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
Back to main theme, which once again is notated the same way. It is still loud and in-your-face along
Conducting
Concerns
Once again, back to the main theme. Show them the loud pushed sound but make it different than before. Add in a sligh
entertaining like you want them to play the melody.
Rehearsal
Consideration
The accented notes should be the highest point of dynamic. Begin with setting that volume then decrease the unaccented no
zone.
Page 27
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
otated the same way. It is still loud and in-your-face along with having a very heavy, pushed feeling.
Conducting
Concerns
ushed sound but make it different than before. Add in a slight eye brow raise maybe don't conduct a few beats of time be
entertaining like you want them to play the melody.
Rehearsal
Consideration
n with setting that volume then decrease the unaccented note volume and that should bring everything out of the screaming
zone.
Page 28
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
The slur is utilized for the first time with a new rhythm of the dotted 8th, 16th preceded by three 8th notes. It is fe
this moment. The dynamics come down to f giving it less of the
Conducting
Concerns
Be the actor for them that shows this story of a drunken person singing. Be ready to go back to keeping the tim
Rehearsal
Consideration
There is a way to play slurred but still in time. The fingers must move precisely at the right time and nothing else
break with ease.
Page 29
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
ed 8th, 16th preceded by three 8th notes. It is felt in the macro beat and has a 2 bar phrase which is something that is new at
he dynamics come down to f giving it less of the heavy feel of the A section.
Conducting
Concerns
n singing. Be ready to go back to keeping the time but if you show them the music they will play it. Be precise but sloppy.
Rehearsal
Consideration
ove precisely at the right time and nothing else changes. Cls cross the break in the melodic line work on getting them over the
break with ease.
Page 30
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
This section has the same rhythmic structure as before but is now articulated with accents instead of slurs. This is in C mino
reaching up and not quite getting it. I picture the section before being sung by a drunk person and this section being su
Conducting
Concerns
Be ready to show the call and response between low brass and upper voices. Give them cues and energy of what you want
Rehearsal
Consideration
Melody is in instruments that don't usually get melody. You will have to walk the entire ensemble through rebalancing with the
This will mean having them adjust their tone to be projecting rather tha
Page 31
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
Back to everyone singing along with ever
d with accents instead of slurs. This is in C minor but cannot get around the b5 scale degree giving it a sense of
seriously, notated the same way and w
ung by a drunk person and this section being sung by a completely sober man who has a crack in his voice.
heaviness and pushing the so
Conducting
Concerns
The release of the prior section should co
s. Give them cues and energy of what you want them to do. Make sure the tension stays out of your pattern. looser than there has been before. This
thrilled that there i
Rehearsal
Consideration
Last time at the A section. Everyone will b
e entire ensemble through rebalancing with the low voices being on top instead of being the base of what happens.
mentally exhausted and physically worn o
hem adjust their tone to be projecting rather than smooth.
with great soun
Page 32
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
A reprise of something very close to the B section
Back to everyone singing along with everyone else. Feet are stomping, beers are being poured. But
of the lower, deep voice just the higher voices cal
seriously, notated the same way and with the same accents as before bring back that feeling of
respond. (The sober guy went to the bath room
heaviness and pushing the sound out. (like drunk people singing a bar song).
"wa
Conducting
Concerns
The release of the prior section should come from pattern loosening. It still must remain precise but
Give the ensemble the final release of the musi
looser than there has been before. This will bring the "thrilled" sound out of them because you look
your arms. Controlling the tension and the h
thrilled that there is something going different going on.
Rehearsal
Consideration
Last time at the A section. Everyone will be tired and with you leading them hear they will hopefully be
The last thing the audience hears need to be clea
mentally exhausted and physically worn out. Even though all of that is true, the ending must be filled
2nd bar must be felt more than heard. The la
with great sound that is joyous, not depressing.
Page 33
Composition: Galop_x000D_Composer: Shostakovich_x000D_
Means for
Expression
e of something very close to the B section theme but isn't quite the same, there is no response
wer, deep voice just the higher voices calling out. That is, until the end when the lower voices
nd. (The sober guy went to the bath room and everyone left him. He is calling out to saying
"wait up".)
Conducting
Concerns
he ensemble the final release of the music it should be loud and in-your-face but not tight in
ur arms. Controlling the tension and the heaviness is key especially in the later sections.
Rehearsal
Consideration
thing the audience hears need to be clean. 16th notes must be in time and beat two of every
bar must be felt more than heard. The last note must ring not be splatted across the hall.
Page 34
