October (Whitacre)

October is a contemporary piece for concert band that was written by Eric Whitacre in 2000. Based on the guidelines as established by the authors of Teaching Music through Performance in Band, October is a Grade 4 piece.

File:Eric whitacre.jpg

Eric Whitacre conducting a wind ensemble

Composition background

File:Sun shining through trees in fall.jpg

An image similar to what Whitacre had in mind while composing.

Eric Whitacre composed October with the intention of evoking a serene and peaceful musical representation. It is based on his favorite month and the feelings in this month brings to his mind. Whitacre stated,

"Something about the crisp autumn air and the subtle changes in light always make me a little sentimental, and as I started to sketch I felt the same quiet beauty in the writing. The simple, pastoral melodies and the subsequent harmonies are inspired by the great English Romantics, as I felt this style was also perfectly suited to capture the natural and pastoral soul of the season. I'm happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds."

The composition October was commissioned on May 14, 2000 by the Nebraska Wind Consortium. This was a band assembled of students from thirty different high school bands from Nebraska. This consortium was organized by Brian Anderson; Whitacre decided to dedicate the piece to Anderson because of all the work Anderson invested to bring the students together.

Grading difficulty

Rhythm and metric complexity

The first aspect that stands out about October in terms of metric complexity is the number of times the piece switches between 2/4 time, 3/4 time, 4/4 time, 5/4 time, and 6/4 time. While common time (4/4) is the primary meter, there are many sections that stay in the same meter for as short as one measure. One aspect that makes switching between multiple meters feasible is that the division of the beat remains the same. Although switching between time signatures may be difficult for students to grasp at first, it is actually a tribute to the piece because it forces the students to constantly watch the conductor and pay very close attention to counting.

With regard to rhythm, the majority of the piece consists of rhythmic patterns that should be manageable for high school students. The majority of the problems with rhythm will stem from the challenge of remembering which meter each particular measure is in and playing the right amount of beats. Essentially, the piece includes simple divisions of duple rhythms, such as whole notes(4 beats), dotted half notes(3), half notes(2), quarter notes(1), and eighth notes(1/2). The last of these divisions, the eighth note, truly dominates the first half of the piece occurring in every measure in at least one instrument. In the second half of the piece, quarter and half notes dominate with a quarter note triplet in one measure. There is one particularly difficult measure, and really one difficult beat, that occurs toward the end of the piece. The low brass and the low woodwinds play an eighth note triplet with sixteenth notes on the last beat, while the 3^rd B♭ clarinets play four sixteenth notes, the 2^nd B♭ clarinets play five sixteenth notes, the oboes play six sixteenth notes, and the 1^st B♭ clarinets, the E♭ clarinet, and the flutes play seven sixteenth notes all on beat three. The students will need to be taught how to place the notes and this will require a considerable amount of presentation and practice.

Instrumentation

The instrumentation of this piece is standard for most high school concert bands. There are thirty-three different parts that Whitacre wrote - these need to be covered individually for a true performance of this piece. A few students can double on the two flute parts, the three clarinet parts, the saxophone parts, and the trumpet parts. With the oboe, E♭ clarinet, bass clarinet, bassoon, horn, trombone, euphonium, and tuba lines, more than likely only one student will play each of the parts written for the particular instrument. Ideally, the band should be about sixty-five members strong, although more players would not detract from the quality. This is a reasonable number for a high school band, but of course the number of students will depend on the school district. If there are sixty-five students, a number of them will be the only person on their particular part. By high school, this should not be too difficult, but it is crucial to emphasize the importance of their part in the piece. Playing it by themselves with the understanding of its importance will motivate them to practice and perform to the best of their ability. Two instruments that Whitacre composed for, the E♭ clarinet and bass trombone, are strictly high school instruments (not middle school); if none of the students in the ensemble have played these instruments yet, October could work as a suitable transition piece. This is because the piece is more lyrically difficult rather than technically difficult. This would also be motivation for the students to practice and succeed on these new or less familiar instruments.

Instrument ranges

• Note - Ranges are the written pitches, not the concert pitches.

Flute	Oboe	Clarinet	Bassoon	Saxophone	Horn	Trumpet	Trombone	Euphonium	Tuba
(1) D♭ below the staff - A♭ four ledger lines above the staff	(1) D below the staff - D above the staff	(Eb) B♭ below the staff - E above the staff	(1) C♯ below the staff - E above the staff	(Alto 1) B below the staff - B♭ above the staff	(1) A below the staff - F, fifth line	(1) B♭ below the staff - G natural above the staff	(1) C, second space - E above the staff	(1) G, first line - E above the staff	(1) G♭ below the staff - D, third line
(2) C below the staff - A♭ four ledger lines above the staff	(2) D♭ below the staff - D above the staff	(1) A♭ below the staff - E above the staff	(2) C below the staff - D above the staff	(Alto 2) B below the staff - G above the staff	(2) A below the staff - F, fifth line	(2) B♭ below the staff - G natural above the staff	(2) B♭, second line - B♭ above the staff	(2) G, first line - E above the staff	(2) G♭ below the staff - D, third line
		(2) G♭ below the staff - B above the staff		(Tenor) E, first line - C above the staff	(3) A below the staff - F, fifth line	(3) B♭ below the staff - E, fourth space	(Bass) F below the staff - E, third space
		(3) E below the staff - B above the staff		(Bari) E, first line - B above the staff	(4) A below the staff - F, fifth line

Scoring and texture

This piece requires a substantial amount of playing from each section and consists of many parts that involve the entire ensemble. More importantly, this piece will teach the students more about blending with other instruments and how to match the timbre across the ensemble. In terms of overall scoring, most of the instruments play both melody and accompaniment at some point throughout the piece. Many times in traditional band compositions, the flutes will have the melody and the tubas will have an uninteresting accompaniment. With October however, the moving lines are played by everyone in the ensemble; this will keep the students engaged throughout the time spent working on the piece. As far as texture is concerned, this piece switches many times between thin and thick sections. The most usual pattern is that a small group of woodwinds will play, then the whole ensemble will play, and then a small group of woodwinds will play again. This texture will create the serene and expressive mood that Whitacre aims to generate and again will allow individuals, as well as the ensemble, to play with emotion.

Technical facility

When glancing at the score, it is not the usual rhythm and speed difficulties that cause technical problems. Rather, the difficulties in this composition arise from the different keys, the key relationships, and the pianistic melodic line. First, Whitacre uses four main concert key signatures: D-flat major, A-flat major, B-flat major, and G major. While these are the main key signatures that are written, the composer explores tonality through a number of different key centers. For this reason, balance, and especially intonation, will be two large factors to acknowledge while rehearsing in order for the group to achieve the correct end result. One other learning opportunity that is presented through all of the key signatures is that the transitions utilize less commonly used note spellings in some instruments, also known as enharmonics. For example, the euphonium, trombone, and bassoon use F♭, which is the same as E♮, while the flute and tuba use B, which is the same as A♮. One other technical consideration is the way all of the different time signatures affect the piece. Because the meter switches many times, the piece is highly rubato, and the students must pay attention consistently throughout.

Form and structure

October is composed of an introduction, four main themes, a short interlude, and concludes with a coda. . A new theme is heard from measures 19 through 30: the woodwinds continue to play, and the texture progressively build as the brass instruments enter. After the second theme is heard, the first theme returns for a short length, this time with all of the instruments playing. The clarinets and horns play an alternating rhythm, and the bassoon and the trombone create a hocket as they play the transition to the next section. The third theme, which is in A♭ major, is heard from measure 40 to measure 65. A solo euphonium plays the first part of this section; clarinets playing tremolo, muted trumpets, and stopped horns accompany the soloist. This section grows as more instruments enter, and the phrase reaches its climax with a metric modulation. Theme three is followed by a short, four-bar interlude in which the oboe solo from the beginning is heard once more, but this time in the key of B♭ major. Measures 72 through 89 present the fourth and final theme in the key of G major, again with the upper woodwinds playing first and then growing until all of the instruments have entered. Before the coda is heard, the first theme is played again from measures 73 to 97 for a final time and with the entire ensemble playing. The piece finally reaches the coda played from measure 98 to the end (m. 113). A six-measure melodic hocket is played between the horn, trombone, euphonium, and trumpets, which concludes with a major musical climax in G major. October concludes with the low brass and woodwinds playing a long diminuendo into nothingness.

Melodic material

October begins in the key of D♭ Major with the solo oboe playing an introductory melody (I). This calm, serene, almost mysterious opening sets the scene and the mood for the entire composition. It consists of the eighth and quarter notes similar to those used in most of the melodic lines throughout the piece. Something unique about this melody which makes it attractive and grabs the listener’s attention is Whitacre’s use of the grace notes. This is a small addition yet makes the opening melody to be much more interesting. The next melody is a strong line played by all of the upper woodwinds, the tenor sax, and the horns (II). It is composed using a variety of intervals, such as fourths, fifths, sevenths, and an octave, causing it to be somewhat angular. Theme two melody, played by the upper woodwinds, also uses eighth and quarter notes but is very stepwise in motion as compared to the previous melody (III). After this melody is heard, the next new melody is played by the solo euphonium, which consists of many leaps as well as stepwise motion and even repeated notes (IV). While October does contain an interlude, the melody here is simply a restatement of the opening melody in a different key. The final theme presents a new melody played by the flutes, clarinets, and alto saxes, and is even simpler than before in terms of rhythm, yet still moves along (V). Finally, the melody in the coda is spread out among the saxes, trombones, euphonium, and trumpet and brings the piece to an immaculate finish (VI).

Harmonic material

Whitacre composed October with a very thick harmonic texture in order to evoke the deep feelings that he experiences during this month. The piece begins in D♭ Major with a single held note in the 1st clarinets and gentle wind chimes underneath. The chimes continue and rest of the clarinets join in to support the fragile oboe playing the melody. As the introduction moves to the first theme, the texture becomes thicker and the bass clarinet, bassoons, euphoniums, and tubas now play the accompaniment. In theme two, the rest of the brass join the euphoniums and tubas in playing the harmony as the upper woodwinds play the melody above them. The transition into theme three involves the bassoons playing a harmony that also sets up a tonal transition to the key of A♭ Major. In this new key and new theme, the accompaniment returns to the clarinets, who are playing trills. Here it is not so much the notes they are playing but rather the sound effect this technique has as an accompaniment to the euphonium solo. Another tonal transition occurs, this time to the key of B♭ Major; again, the bassoons, who are now joined by the euphoniums and tubas, play harmonic ostinatos. All of the brass again play the harmony during the fourth theme, which has yet again changed keys to G Major. This time, however, the transition happens with a pause in motion rather than through ostinatos. Finally, in the coda, all of the woodwinds now play accompaniment trills above the melodic brass. The piece concludes with the brass quietly playing one final G Major chord.

Form and structure chart

	Introduction	Theme 1	Theme 2	Theme 3	Interlude	Theme 4	Coda
Form	Homophony	Homophony	Polyphony	Homophony- Polyphony	Monophony	Polyphony	Homophony
Measure Groupings	m. 1-9	m. 10-18; 31-39; 73-97	m. 19-30	m. 40-65	m. 66-71	m. 72-89	m. 98-113
Tonalities	D♭ Major	D♭ Major	D♭ Major	A♭ Major	B♭ Major	G Major	G Major
Melodic Materials	Oboe solo	Upper woodwinds, tenor sax, horns	Upper woodwinds	Solo euphonium; upper woodwinds and horns	Solo oboe	All woodwinds	Saxes, horns, trombones, euphoniums
Harmonic Materials	Clarinets	Bass clarinet, euphonium, tuba	Brass	Clarinets; trumpets and low brass	Clarinets and brass	Brass	Woodwinds
Rhythmic Material	Whole, half, quarter, eighth, ties, and grace notes	Dotted half, half, quarter, and eighth notes	Whole, dotted half, half, quarter, and eighth notes	Whole, dotted half, half, quarter, and eighth notes	Whole, quarter, and eighth notes	Mostly whole, half, and quarter notes. A few eighth notes. One quarter note triplet	Whole, dotted half, half, and quarter notes. A few eighth notes.
Texture	1st clarinets start alone, solo oboe with all clarinets accompaniment – thin	Thicker texture – almost all instruments playing. Most playing melody, only few on harmony.	Starts thin with just upper woodwinds, becomes thick with tutti, thins out again now with brass playing	Very thin in begin. With solo and only clarinet tremolo accompaniment. Instruments begin to enter and by m. 52, everyone is playing.	Extremely thin spot with only two sections playing, yet still moves along	Thick texture with most instruments playing whole time. Longer, legato phrases	Fairly thin texture though woodwind whole notes will provide support. Melody switches btw groups of brass instruments = hocket
Dynamics	Begins pianissimo; hairpins in every measure; crescendo to next section	Mezzo forte; hairpins in m. 11; small cresc. in m. 13 to forte; m. 18 decres. to mezzo piano	Mp; brass enter m. 22 at mf; cresc in m. 24 to f; hairpins thru-out to f	Mf solo, mp accomp.; entrances at mf; two bar cresc. to f at m. 53	Mp solo, piano and pp accompaniment	Mp; two bar cresc. to mf in m. 78 followed by a slight decres. Hairpins thru-out m. 79-84; f in m. 85; huge cresc. to fortissimo in m. 89	Forte piano; melody at mf; accompaniment two-bar cresc. to f in m. 102; all cresc. to ff in m. 104; decres. To ending pp

References

• Whitacre, Eric. October. 2000.
• Blocher, Larry, et al. Teaching Music Through Performance in Band, Vol. 6. Chicago: GIA Publications, 2007.
• National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. Plymouth: Rowman & Littlefield Education, 2007.
• Johnson, Keith. Brass and Performance Pedagogy. New Jersey: Pearson Education, 2002.
• Griswold, H. Gene. Teaching Woodwinds. New Jersey: Pearson Education, 2005.
• Bluestine, Eric. The Way Children Learn Music: An Introduction and Practical Guide to Music Learning Theory. Chicago: GIA Publications, 2000.
• Chosky, Lois. The Kodály Method: Comprehensive Music Education, 3rd ed. New Jersey: Prentice Hall, 1999.
• House, Robert W. and Charles Leonhard. Foundations and Principles of Music Education. New York: McGraw-Hill, 1959.
• Gordon, Edwin. The Psychology of Music Teaching. New Jersey: Prentice Hall, 1971.
• Reimer, Bennett. A Philosophy of Music Education. New Jersey: Prentice Hall, 1970.
• Schafer, R. Murray. Creative Music Education. New York: Schirmer, 1976.
• Snowman, Jack and Robert Biehler. Psychology Applied to Teaching, 11^th ed. New York: Houghton Mifflin, 2006.
• Brookhart, Susan M. Grading, 2nd ed. New York: Merrill, 2009.
• Eric Whitacre. October in Wind Symphony. 2010. 20 April 2010. http://ericwhitacre.com/music-catalog/wind-symphony/october