muted. Most instruments require a “straight metal mute,” however, the trumpets employ “harmon mutes with the stem extended.” The “buzz” created by the harmon mutes superimposed on the nasal sound of the other mutes creates a remarkable timbre highly reminiscent of a crumhorn consort. The ‘b’ Example 5: Der Schutzenkönig; phrase ‘x’ – bars 213-220
f
and written at a quiet dynamic, but the contrary motion, note-exchange counterpoint maintains momentum. (See Ex. 6 below.) As with other instances of a similar colour, this phrase sounds archaic. The quiet volume might imply viols or even lute. At the second statement, Blackshaw creates another interesting, and quite modern, colour by combin ing piccolo and flutes with brass and percussion.
mp
phrase is immediately repeated by full band with an expanded percussion section that includes the lagerphone and woodblock A brief percussion break prepares for the re-entry of ‘a’.
This section and the work concludes with the third phrase (‘z’) of the tune, which is repeated and extended to provide a secure ending. (See Ex. 7 near bottom of page.)
At bar 179, ‘a5’ appears as another surprise. Scored only for piccolo, flutes and oboe, accompanied by lagerphone, this very light texture might suggest recorders. This section concludes with two repetitions of ‘b’.
The first four-bars of the twelve-bar phrase is scored to recall the first statement of ‘y’, oboe, clarinets and saxophones, but
Example 6: Der Schutzenkönig; phrase ‘y’ – bars 229-236:
Der Schutzenkönig contrasts met rically with the two previous tunes mp (3/4 instead of 6/4) but maintains triple meter. Introduced by four bars of loud drum cadences that continue throughout a large part of this section, the joyous, celebratory tune begins at bar 213. The character of the tune supported by the drum cadences suggests a procession, which might very well have been part of the dance steps for this tune, since the title implies a festivity that included a shooting competition.
Like previous sections, this part of Blackshaw’s piece is structured according to the phrases of the tune. The first phrase (‘x’) appears in full band scoring and is repeated with minor alterations. Contrary motion, note-exchange counterpoint generates considerable forward energy. (See Ex. 5 top of page.) The second phrase (‘y’) is simpler than ‘x’ and is also repeated. The first statement is scored for oboe, clarinets and saxophones
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is played at a loud dynamic and is accompanied by the drum cadences. Here, the archaic sound might suggest shawms instead of the softer-toned viols. From this point the texture and volume accumulates to create an exuberant closing.
Example 7: Der Schutzenkönig; phrase ‘z’ – bars 245-256:
Dance music from the Middle Ages transcribes especially well for concert band, undoubtedly because of the long association of wind instruments with dancing. Renaissance dance tunes, especially those con nected with the more robust country dances, would have been performed by the wind band of the time. (String players at this point in history used the so-called “Baroque bow”, which was bent in the opposite direction from bows used today, specifically to mute the attack, and therefore lacked the incisiveness in rhythm necessary for dance music). Blackshaw’s Terpsichorean Dances is a worthy addition to the considerable repertoire of this type that already exists; however, few works have so successfully combined colours evoking the Medieval wind band with those of the modern concert band. www. MBM
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