Excerpt+8

Question: In this overture to a musical, short sections of upcoming songs are pieced together. Comment on the different atmospheres created and discuss the musical features that are used to create these different atmospheres. media type="file" key="08 Track 08 2.m4a" align="center" width="300" height="50"

Section 1-Exciting/upbeat atmosphere (march like) -Sustained full orchestra chord begins piece followed a series of frantic 16th notes in the violin part. -Low brass play on the beat while snare creates fanfare feel by playing on the offbeat -Violins continue 16th notes -The tempo and intricate relationship of rhythm in this section create the excited feeling -Trumpet play a very disjunct but excited melody -Woodwind and brass then play a short unison melody which leads into a solo brass entry -This solo brass entry leads into the romantic section

Section 2-Romantic/beautiful -Off beat motif continues but not on snare drum as its too harsh to convey romanticism -Woodwind (probably flute or piccolo) and harp play on the offbeat gently while the strings play a beautiful legato melody. -This conjunct violin melody convey the romantic atmosphere as it is so gentle and smooth -Harp and flute are also instruments that can play gently and delicately quite easily probably why they were chosen in a romantic sounding section -Brass often have small interjections at the end of phrases -It almost feels dance like because of the off beat emphasis -The melody is passed briefly to flute and trumpet and then back to strings. -Drum roll leads to final section

Section 3-Comical/playful atmosphere -Brass plays a very comical and playful melody which is passed to strings -The agility and flamboyance of the melody and tonality is what makes the section feel comical -Off beat emphasis on snare drum makes piece upbeat and happy -Cliche ascending horn ending leaves piece on a happy note Rory

-Full orchestra enters with a suspenseful sustained chord, created by trilling strings and woodwind underneath crescendoing brass.-Suddenly, the strings take over with buzzing semiquaver passages, creating a feeling of excitement and suspense.-Percussion (particularly cymbals) and lower brass enter, emphasising the offbeats, creating a jolly march-like mood and feeling of moving forward.-Higher brass enter with a happy, consonant melody, adding to the march-like feel-Suddenly, the happy walking feel created by the lower brass and percussion drops out and is taken by suspenseful trilling strings. // Tempo actually is slower here. // -A lyrical melody played by the brass enters over the top of the strings. The melody used long, flowing phrases and is played with legato articulation.-The lyrical melody is taken over by the lush strings.The warm tone colour of the strings creates a romantic feeling. Woodwind create a light accompaniment using short, rounded notes to create a plucked sound. This light accompaniment creates a dance feel.-Muted brass and woodwind take over the melody and more masculine character is brought out by the reedy, more buzzing tone colour.-The strings play another melody, as if responding to the melody of the brass and woodwind.-The whole orchestra come together in a homophonic texture and use a rit to create a 'finale' like feeling.-This finale is suddenly thrown away with the entry of the upbeat melody in the brass playing at tempo once again. This melody is almost comical at times, with the three repeated crotchets being accented by the crashing cymbals. Flutes are used to maintain the feeling of forward motion and excitement by playing pushing semiquavers.- Q&A like phrases are exchanged between the strings and the brass & percussion. When the strings play, a comical offbeat accompaniment is played by the brass, who suddenly intercept wtih the motif of the 3 accented crotchets heard in the previous melody.-The melody in the brass heard previously returns, and is variated upon to create an ascending and building coda, before the orchestra comes together to play a light, understated ascending major arpeggio to end.Lena ﻿  ﻿// Excellent Lena. The questions asks about the different atmospheres created, so your response really needs to highlight the three distinct sections; the atmosphere created in each one, and how it is created. I would even divide your response into three distinct sections. 9/10 //   High String trills with Sf brass sustained notes crescendo creating a suspense section before moving into a very fast rhythmical violin ostinato. The ostinato is very fast and uses very short note values at a fast tempo, it is also very scalic as it moves up and down the scale moving in a wavy conjunct motion. this continues underneath the brass that re-enter, Tuba having the bass line outline the chord progression of the violin ostinato, other brass instruments provide off beat accents with short chordal entries on each off beat accompanied with percussion (cymbals are off beat and bass drum takes the same rhythm as tuba). Higher brass enter with the first theme, very rhythmical, lots of short notes contrasted with sustained notes creates a very jumpy and happy atmosphere. //Good - also mention dotted note rhythms to create 'military' effect.// This catchy melody then transposes up and up by 2nds creating the suspense atmosphere again which then moves into the next section, with a hit on the end of the build section the string trills are heard again, this time in a lower register. A very consonant bras melody then enters over the top of the trills with a descending motif into the next theme. Double bass plays on the first and second beat of each bar outlining the chords for the next theme. strings have a very conjunct smooth melody lots of glissandi used and slurs, very lyrical. Woodwind entries are on the off beats and ascend till the brass comes in at the end of the second bar with a descending fill that lands on the next beat of the next bar which is a variation of the first 2 bars with a slightly different melody and the bass line changes respectively. The strings crescendo and then decrescendo making way for the winds to take of the melody the strings now taking their role but plucking. Brass have stopped and the flute takes over their role but making it much more soloistic and lyrical. After a brief return to the original lyrical section the brass enter and full orchestra build in dynamics and tension. //The tempo is slower in this middle section.// From the highpoint of this climax the brass have a very similar rhythm to their original happy theme at the begining but it descends this time. The strings have the same scalic passages as the ostinato at the beginning, this coupld with the brass then through modulation find their way back to the happy jumpy theme at the beginning. Very comical ending with use of all four beats accented with very consonant harmony. Arpeggios in strings occasionally create sense of laughter. the piece finishes with a typical building arpeggio to the tonic of the chord. // Excellent detail Troy 9/10 // Troy Rogan

Excited march-like : brief high register string and brass trills and drum roll which builds anticipation and sense of upcoming resolve, followed by fluid fast scalic strings, strong brass (low register) then enters with "oom-cha" rhythm emphasising the offbeats driving the song forward and creating a march-like fanfare overall tone colour. This tone colour and bouncy rhythm is emphasised by the entrance of more brass (medium register) which enters with main melodic line. This melodic line is then taken over by strings, creating excitement and contrast in tone colour and progression of melody. The very repetitive strings section begins to diminuendo which leads onto the following section and marks a distinct change in ambience. Regal ball-room: All instruments drop out except for strings trill which once again creates suspense and sense of upcoming resolve, the lower brass then enters with a straight rhythm descending line, creating a more subdued feel. The tone colour of each instrument is emphasised as a result of the steady rhythm which allows each note to settle rather than bounce to the next. The texture becomes very well balanced and the tone colour is consequently lush with strings, muted brass and occasional high register percussion (sounds like a triangle) providing the pulse. The melodic line is very consonant. Legato articulation and mp dynamics help to create an easy transitions from one note to the next. With the chosen articulation, dynamics and instrumentation the perfect 5th jumps seem effortless and almost scalic. This section is very romantic especially with the domination of strings. However this melodic line crescendos and ascends to a sudden fortepiano (fp), leading onto an even more romantic and subdued section. Romantic lush: Rhythm becomes more bouncy yet still very light with piano off beat percussion accompaniment, muted trumpet providing main melodic idea while high register flute or piccolo floats over the top with soft descending motif. Brass dominates momentarily with simple ascending motif in lower register with harsh tone colour, reminiscent of the march-like section. Then lush strings enter once more and brass weaves in and out ending this section with a very full textured chord progression: a mixture of the very metallic sound of brass with the lush legato quality of the strings. The harmonic qualities of each chord are emphasised through very long sustained notes. The end chord however is part of an interrupted cadence which is very briefly resolved in the proceeding section. Excited chaotic busy: First note resolves previous section providing easy transition from lush romantic feel to the unpredictable feel of this section. Brass once again dominates with loud dynamics and a descending melodic motif with accented articulation. Fast and fluid high register strings underline this brass motif using turns similar to trills as they provide suspense and lead onto the main melodic idea for this section. This melodic line is led by brass. Strings then proceed with short melodic motifs in the upper register and sustained notes. Strings then take over the main melodic idea from the brass section creating a sense of unpredictability. The cymbals also emphasise the monotonous quality of the three repeated notes by emphasising those three beats. This simple ta ta ta section is the only stable section of the melodic line and is of great contrast to both the flighty accompaniment of the strings and the jumpy brass line. The jumpy rhythmic quality is highlighted to the end of the piece with brass "jabs" on the offbeats. The piece is finally resolved with an ascending chordal passage ending on the upper register tonic. Harriet Davies

The first atmosphere created in this excerpt is happy and excited due to:-the high register of all instruments, especially violins-the virtuosic fast scalic passages in the violins-the fast tempo-the driving feel due to a strong sense of pulse created through accents on all 4 beats of the bar along with accents on the off-beats to create sense of restlessness and forward motion-the major key-the dotted rhythms used extensively in the melody -the melody is quite disjunct which creates an effect of being unable to contain emotion-the instruments playing the melody change frequently creating restless excitement-the texture is very busy due to the virtuosic string motif, the highly accented accompaniment, the melody and counter melody all seemingly competing with each other to be heard-the loud overall dynamic-the staccato and very short articulation The second atmophere created is more reflective and romantic due to:-the slower tempo-more legato articulation-more of a focus on melodic material-melody more stepwise than before-texture is clearer and less busy: melody, counter melody and accompaniment are all much simpler-use of longer notes values in the melody-softer overall dynamic-all instruments in a more middle register The third atmosphere is similar to the first however slightly longer and even more built up and excited to the end. Emily Sheppard

This overture is divided into three sections, the first and last sections and fast and playful and the second is slow and lyrical. 1st section: Opens with a long, crescendoing chord with sustained trills. Then there is fast, exposed passagework in the violins. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Drums and lower brass play on the off-beats creating an upbeat and lifted character <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;"><range type="comment" id="435436">Melody enters in the brass section <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;"><range type="comment" id="482417">Upbeat tempo and loud dynamic creates and excited and upbeat opening. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Accelerando towards the end of the section increases the excitement. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">2nd section: <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Lush, broad and romantic strings enter with the main melody of the second section. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Double basses and cellos have pizzicato on each beat. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Flute melody is sweet and flowing with bassoon interweaving with the flute melody. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Lush strings enter again, this time at a higher pitch, with woodwind fills at the end of each phrase in the strings. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">At the end of the second section the strings slow down to a unison passage in a grand, stately character. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">3rd section: <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Opens with an identifiable and predictable melody in the brass with fast passagework in the strings. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Then the strings and brass are in unison with fast crescendos adding to the build up towards the end. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">Off-beat accents in the brass. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;">The overture finishes with a fast, ascending, unison arpeggio with glockenspiel using short articulation and a short last note. <span style="color: #800080; display: block; font-family: Georgia,serif; text-align: left;"><range type="comment" id="432385">Justine

<span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%;">There are two distinctively different atmospheres that appear in the overture. The form of these moods is ABA1 and thus it is appropriate to discuss each one individually:

<span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%;">A: - Excited, suspenseful atmosphere. <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%;">B: - Romantic, light atmosphere. <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%;">A1: - Excited, Suspenseful atmosphere. <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;"><range type="comment" id="610136">Matt
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· To establish a sense of excitement and suspense the overture begins with a sustained chord that crescendos, with the help of a snare drum roll, into the opening theme.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· The first section is characterized by the combination of the strings and woodwinds playing dizzying semiquaver figures underneath a staccato brass melodic feature. This constant repeated figure contributes to excited, frenetic nature of the overture.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· The lower brass accompany with a syncopated off beat counter melody, which plays in conjunction with the snare drum on the “and” of every beat. This syncopation helps to create an element of surprise and unpredictability, as well as contributing to the excited atmosphere.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· The percussion and low brass sections catch a series of accents or “hits” that are featured in the melody, creating a sense of unity in the music.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· The overall dynamic of this section is ff due to <range type="comment" id="420347">the entire
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; margin-left: 37.9pt; text-indent: -18pt;">· The beginning of this section is marked by an awkward displacement of metre or an increase in tempo until this is abruptly ended leaving only the sustained strings still playing.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; margin-left: 37.9pt; text-indent: -18pt;">· A new, much slower, tempo is established with the entrance of the brass playing a broad, sweeping melodic figure marking the beginning of this new more romantic, contemplative mood.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; margin-left: 37.9pt; text-indent: -18pt;">· There is a role reversal in this section in which the strings now take up the featured melodic role, now playing a new lush, romantic, flowing, legato melody accompanied by muted brass and woodwinds playing a counter melody accenting beats 2 and 4 creating a playful, dancelike feel yet still retaining the romantic mood of the section.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; margin-left: 37.9pt; text-indent: -18pt;">· Throughout this section the flute plays short interjections in between the melody phrases. The airy, breathy tone colour of the instrument helps to contribute to the light nature of this section.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; margin-left: 37.9pt; text-indent: -18pt;">· The overall dynamic of this section is p and this highly contrasts with the opening theme and its strong, tutti dynamic.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· The prelude to this section is more in the vein of the preceding section as it maintains the slower tempo, however to lead into the return of the first theme there is a large crescendo in which the entire ensemble plays in unison building in volume to an exciting climax.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· This is followed by the familiar string and woodwind semiquaver accompaniment marking the return of the first section.
 * <span style="color: #101b96; font-family: 'Courier New',Courier,monospace; font-size: 90%; text-indent: -18pt;">· For the most part this section is the same as its first playing but now the main melody swaps between the brass and strings, further accentuating the chaotic, frenzied nature of this section and excited, suspenseful mood created by this.

**<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">Mati: again, exam style: ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">Notes: ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-Full orch trill-in trumpet ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-wild strings and brass melody -fanfares ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-quieter trill - brass chorale segue to ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-string long lush melody, off beats & interjections from brass ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-wind chorale takes over in same style ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-strings return, more passionate, with brass entry ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-fanfare returns, wild strings ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-string melody, busy brass accomp & interjections - back to fanfary melody ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">-abrupt finish ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">Answer: ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">The overture immediately catches our attention with a subito fp trill in full orchestra that crescendos to wild running string passages. The music establishes that it has some importance and then breaks into joyous brass fanfares for a<range type="comment" id="479293"> short time. ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">The trill returns but this time segues into a short brass chorale - a more solemn call to attention and then the strings play a soulful and romantic melody. A sparser texture is used to create this more floating atmosphere. Sudden interjections indicate a playfulness about it. The setting becomes more intimate whne a small chamber wind groups plays similar <range type="comment" id="703442">ideas. Soon the strings return and quickly a passionate climax is reached using brass & full orchestra. ** **<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">The fanfares & wild strings return, snapping us out of the romantic mood. An abrupt finish leave us waiting for more. The music succesfully segues through all of this by using constant offbeat (oompah) accomp which also gives the feeling that the music is going somewhere and progressing. It never <range type="comment" id="691674">sleeps. **

<span style="color: #008080; font-family: Tahoma,Geneva,sans-serif; text-indent: -18pt;">

<span style="font-family: Calibri; margin-bottom: 10pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">This overture is mainly divided into 3 main sections. The 1st and the last section are exciting and fast while the 2nd section is slow, and more lyrical. **__ Section 1 – Exciting and majestic atmosphere __** <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- It begins with the strings and the woodwind playing fast semiquavers to create a buzzing, exciting atmosphere. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Then, they crescendo until the low brass enters on the offbeat to create an off-balance, promenade pulse while the high brass is playing the melody in a major key.

<span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Later on, the strings are doubling up the high brass to create a fuller and richer sound. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Strings’ semiquavers are climbing higher and higher while the melody is now simpler and more rhythmic in the high register. <span style="font-family: Calibri; margin-bottom: 10pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Suddenly everyone stops except the strings (playing soft semiquavers) to create contrast with the next section. **__ Section 2 – Romantic and calm atmosphere __** <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Brass’s tone colour for the smooth, legato melody is now warmer and <range type="comment" id="936345">grand-like with lots of air, to give the majestic mood in the section. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- The melody is now played by the lush strings with longer note values and smoother tone articulation. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- While the brass and the woodwind are softly and lightly playing on the off-beats to give the sense of forward motion as well as the dance feel. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- There are call and response happening with the strings and the brass + woodwinds. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Very repetitive melody, with lots of long held notes, and harmonies. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- The fragmentation of the brass melody from previous section is coming back again softly in the background, taking over the melody played by the strings. <span style="font-family: Calibri; margin-bottom: 10pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- And then the <range type="comment" id="284685">melody is played twice as slow, with crescendos on each note to make it more dramatic for the next section, which can be called the recapitulation. **__ Section 3 – Excited and comical atmosphere __** <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Melody’s articulation is now short and bouncy played by the high brass accompanied by the buzzing strings in the background to make it more excited and moving forward. While the horns are playing the harmonies in chord on the off-beats to get the “promenade” feeling back again. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- The strings then take over the melody with a simpler melody while the brass is playing on the off-beat to make a lighter texture comparing to the opening of the section. <span style="font-family: Calibri; margin-bottom: 0pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- Then the brass as well as the cymbals interrupts the melody with short, sharp chords on the off-beats to make edgy feeling. <span style="font-family: Calibri; margin-bottom: 10pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">- The woodwinds and muted brass then copy the melody the strings previously played and then everyone joins together with the brass once more playing the melody with the marimba playing a second melody (to make the mood more comical with the hollow tone colour) and everyone else playing on the off-beat. <span style="font-family: Calibri; margin-bottom: 10pt; margin-left: 36pt; margin-right: 0cm; margin-top: 0cm; text-indent: -18pt;">Widdy

// 1. //<span style="color: #ff0000; font-size: 140%; font: normal normal normal 7pt/normal 'Times New Roman';"> // Sue's response // // There are three sections contained in this excerpt. The first is introduced by fast and furious semiquaver runs on violins, which create a sense of urgency and drama. This is accentuated by the martial style melody on trumpets which uses dotted note rhythms, a fast tempo and in set in a major key. Crisp art ﻿ iculation and strong accents are used to ‘punch out’ the strong and emphatic melody and this is reinforced by the drums which provide a strong driving beat and reinforce the accented notes. In the second section, contrast is created by the switch to a slower tempo and more legato articulation. After a grand entrance by the trumpets, the melody is taken by the violins and cellos, creating a wide ranging, sweeping and more sentimental style of melodic line //// which is interspersed with short interjections from the trumpets and backing figures o the flutes. A very 1930’s jazz orchestra tone colour is created by the strings combined with muted trumpets and saxophones, which play with vibrato, typical of this era. The melody is passed to the saxophones, then back to the strings. The final section sees a return to the style of the first section, using a faster tempo and high energy created by swirling semiquaver runs on violins which accompany a strong upbeat melody on the trumpets and trombones. Heavy accents and crisp articulation from the brass are emphasised by strong reinforcement from the cymbals, drums and xylophone, creating a bright, optimistic warm and percussive tone colour and adding to the vibrant energy of the excerpt. //