23M1 Young Concert
"Tango Mood" has been written as an early "major work" for the developing Band and introduces rhythm, accidentals, articulation, soli and even counterpoint.
"Tango Mood" is a very sectional arrangement and most of the technical points are dealt with for the whole band in the introduction. Therefore it should be an easy piece to get off the ground. There are also cues to assist in flexibility and artistic freedom for the conductor. Some alternate parts have been included to cater for the different methods and syllabus used by different organizations, particularly for the Eb Bass Tuba which has great difficulty with unison pitch methods at this level.
The following teaching points are covered in this arrangement:
Accidentals - when they apply and when they are cancelled i.e. another accidental or the next bar line - e.g. - what is the note in Bar 4?
Articulations - staccato, accent and fermata
Rhythm - Argentine Tango, all quavers are paired or stand alone on the beat.
Counterpoint - a small section for horns cued onto flutes or clarinets.
Alternate/chromatic fingering :- Bb Clarinets - low B to and from Bb, Eb Clarinets and saxes - consecutive low F/ F# , Bb Sax - consecutive middle B/Bb, Eb Bass tuba (dependant on which part is used). Less common alternatives are also in the Bassoon and Bb sax parts.
Percussion - Snare, Bass, Toms, Crash and Hi Hat cymbals - as individual instruments and/or on the Kit, Glockenspiel and/or Xylophone, Timpani, Hand Cymbals, Cabassa, Bongo or Conga. Whilst parts are included for these percussion instruments, it is not essential that all are played - on the other hand it ensures that there is something for all the members of the percussion section.
Form - Intro, A, B, A, Bridge, A, Coda.
Divisi. - the divisi passages in this arrangement should not be interpreted as 1st. and 2nd parts but more to allow flexibility in individual players who may or may not have the same level of achievement.
Other items you may wish to discuss with your students are the use of unison, use of sectional soli, the use of pitch soli e.g. the bass soli at bar 61, the contrasting "legato" passage at Bar 21 and sustained passage at B29, the harmonic reversal in the main theme at bar 71.
Range and notes required
Concert Ab, A, Bb, C, D, Eb, F. - Horns have same written range as Bb brass
Semibreve, Minim, Crotchet, quavers in pairs or one on the beat followed by a quaver rest. - no dotted notes.