Composition: In the Bleak Midwinter Mackenzie Webster

Composer: Gustav Holst arr. Robert W. Smith

Measure # 1 2 3 4 5 6 7
Form A
Phrase
Structure
Tempo
Gradiose, quarter note = 80-84
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion V I

Orchestration Everyone except chimes and triangle

General
Character Grandiose, Fanfare
Means for
Expression The entrance of the Horns and Trombones in big leaps cause a grandiose and fanfare beginning. Akin to the caroling
trumpet at the gates of heaven.

Conducting
Concerns A gentle entrance at the beginning for everyone with "shhh." When brass come in with their fanfare, make sure to
give a strong prep, along with giving a strong prep for everyone coming in at m. 4.

Rehearsal
Consideration The conductor will have to address the intensity of the "shh" throughout the piece. There will have to be a distinguish
between accents and tenutos. All of the sff dynamics will have to be specified.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
Form B
Phrase
Structure
Tempo
Lamenting, quarter note = 88-92
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion I I

Orchestration 1st clarinet solo, bells, and triangle

General
Character Lamenting, Melancholy
Means for
Expression The solo Clarinet enters as the only instrument in the ensemble playing, later accompanied by the bells and the triangle.
With the melody being played alone in one voice it's giving a feeling of lameting and melancholy.

Conducting
Concerns When there is only the solo there is no conducting required, but in m. 16 lightly cue the mallet instruments that come in.
Start conducting at m. 23 when the horn solo enters.

Rehearsal
The conductor could have the solo clarinet shape the phrase as they thought fit, but the conductor could also guide and
Consideration
specify how they want the soloist to play the phrases. If the percussionist is unaware, triangle will have to be taught and
the conductor will have to make sure the bells player is using the correct mallets.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39
Form B'
Phrase
Structure
Tempo
Lamenting, quarter note = 88-92
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion I V

Orchestration clarinets, 1st and 2nd horn solo, baritone solo, bells and triangle
General
Character Lamenting, Hopeful
Means for
With the addition of the solo voices and the rest of the clarinet section, people are no longer alone. While there is still a
Expression
feeling of lament due to the same melody being presented in the same voice, having more people accompaning and
adding more melodic lines adds a sense of hopefulness.
Conducting
Concerns Conduct with smooth arcs to represent the phrase lines and how they line should be played. Make sure to cue the various
solo entrances throughout the phrase.

Rehearsal
Consideration The conductor could have the new soloist shape the line as they please, or they could give the players guidance as to what
they want the line to sound like. Balance will be necessary between all players since there will be very few of them.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 40 41 42 43 44
Form A'
Phrase
Structure
Tempo
Lamenting, quarter note = 88-92 Faster, quarter note = 100-104
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion I

Orchestration Everyone except chimes and wind chimes

General
Character Fanfare, Acceptance
Means for
The fafare theme comes back for 3 measures with the same voices as before, and then with the quickening of
Expression
tempo and the 8th and 16th notes in the upper woodwinds it gives a sense of acceptance from the previous
lament.
Conducting
Concerns Conduct with weight to convey fanfare and couteract the smoothness of the previous section and emphasize
the sff dynamics in the other parts. Stay solid on the tempo change.

Rehearsal
Correct technique for gong and 8th/16th notes in upper woodwinds will have to be taught, along with making
Consideration
sure the bells player switches to the correct mallets. Balance between the different sections who are entering
together will have to be addressed.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 45 46 47 48 49 50 51 52
Form B'
Phrase
Structure
Tempo
Flowing, quarter note = 100-104
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion I

Orchestration Everyone except saxophones, trumpets, trombones, chimes, and bass drum
General
Character Flowing, Soaring
Means for
With the continued 8th and 16th notes in the upper woodwinds and the entrance of the Horn and Baritone solis the feel
Expression
goes from a 4/4 to a macro and gives the feeling of soaring and flowing above the lament of the melody still present.
Your loved one has died, but you are coiming to terms with it and are once again happy.
Conducting
Concerns
Go into a half time feel for this phrase. You might have to cue the suspended cymbal.

Rehearsal
The conductor will have to make sure the percussionists who have to switch instruments have a precise plan and
Consideration
placement for what instruments they have to play, when, and how they will get them. Intonation between sections with
solis will have to be addressed.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 53 54 55 56 57 58 59 60 61
Form B'
Phrase
Structure
Tempo
Flowing, quarter note = 100-104
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion V I

Orchestration Just woodwinds

General
Character Flowing, Soaring
Means for
Expression
The macro feeling and feeling of soaring flowing is still present even though instrument families changed.

Conducting
Concerns
Go back into standard time feel. Shape the musical phrase.

Rehearsal
Consideration
Adjustments to the balance will have to be made due to the instumentation and where the melody lies completely changing.

Page 6
Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 62 63 64 65 66 67 68 69
Form B'
Phrase
Structure
Tempo
Majestic! quarter note = 80-84
Dynamics

Meter/Rhythm

Tonality Eb Major
Harmonic
Motion V I

Orchestration Everyone except bells and triangle, and wind chimes

General
Character Majestic, Freely
Means for
Expression The free woodwind 16th notes and the accented and majestic melody in brass, the piece feelslike it is coming to an end.
You are moving on after losing a loved one.

Conducting
Concerns Give a freeing expression. You could make your pattern very big her if you wanted. Show the woodwinds you want
short staccatos with you left hand.

Rehearsal
Consideration How to play with different styles will have to be addressed. Tonguing technique for woodwinds will have to be taught
for the multiple slurred and staccato 8th and 16th notes. The baritone and horn counterline will need to be brought out.

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Composition: In the Bleak Midwinter Mackenzie Webster
Composer: Gustav Holst arr. Robert W. Smith

Measure # 70 71 72 73 74 75 76 77 78
Form A' B'
Phrase
Structure
Tempo
Majestic! quarter note = 80-84 Deliberate, quarter note = 52-60
Dynamics

Meter/Rhythm

Tonality Eb Major Eb Major

Harmonic
Motion dim i I I vii

Orchestration Everyone except wind chimes,

Everyone except wind chimes triangle, and bells
1st clarinet solo, wind chimes
General
Character Fanfare, Final Reminiscent
Means for The melodic theme is played for the last time in the voice it
Expression originally was presented in. It gives a sense of the reminiscence
With the final return of the fanfare theme and the extension of the
through the imitation of wind. Having a sense that your family
line, the piece feels like it is coming to an end. member that has passed is still looking over you by causing the
wind to stir in just the right way.
Conducting
Concerns Can stop conducting when the solo comes in in m. 78
The fanfare return for the last time. Emphasize the sff entrances.
and let them fade away to nothing.

Rehearsal
Consideration There will have to be a distinguish between accents and tenutos. All The conductor can have the soloits play the line as they seem
fit. Work with the clarinet on how to decrescendo to nothing.
of the sff dynamics will have to be specified. The conductor will have to address the intensity of the "shh"

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