Incidental Reflections
Lists abound of pieces for the concert band and wind ensemble that are considered to be in the core repertoire for concert bands and wind ensembles. The composers who created these works are instantly recognized and often their most notable work leaps to the front of the mind. Outside that circle of select works are a pantheon of composers with fantastic pieces that, though might not be considered to be among the core repertoire, are essential repertoire that develop artistry in the ensemble setting and provide a quality musical experience in the concert band or wind ensemble setting.
Although he may not have works considered to be within the core repertoire, Claude T. Smith has a number of pieces that are essential works for high school and collegiate instrumental ensembles to rehearse, study and perform. The Incidental Suite (available from C.L. Barnhouse, and the score cover is featured on this article) is one such work that continues to hold a musical freshness in audience and performer appeal some fifty-five years after its initial publication. Arguably, it is Smith’s best work, perhaps rivaled only by his setting of Eternal Father Strong to Save or Emperata Overture. While the technical demands of some of his other works are higher, Smith creates motives, phrases, and harmonic progressions that weave connective aural threads throughout the work. As these elements are combined, developed and their potential fully realized, the entire piece retains a great deal of variety in melodic craft, timbre, and texture.
As the title would suggest, the entire work contains a number of motives that individually might seem unrelated and without strong connection to other musical elements. However, as the music unfolds in the pulsating rhythms of the “Tarantella” (Movement 1), the understated lyricism of the “Nocturne” (Movement 2), and the energetic climax of the “Rondo” (Movement 3), the performer and audience alike find sublime genius in how Smith has woven these threads together.
The opening of the work includes an important three note motif within the interval of a minor seventh finds its way into each movement. Within each statement of the melody in the “Tarantella” the motif is found, and an answer in the dominant is found at measures 50 and 105. The fugue at measure 68 (Rehearsal Letter E), begins with the familiar three note motif. As the counter-subject is introduced at measure 72, the motif returns in the dominant form in the lower voices. After the motif is exchanged four times from upper to lower voices at the conclusion of movement 1 (measures 132-135), Smith re-introduces it at the opening of the “Nocturne”. The intervals now performed at a significantly slower tempo retain a haunting and pensive quality that foreshadows the emotional overtones of the second movement. The dominant form of the motif returns in the “Rondo” at measure 26 (two measures prior to D) to set up the return of the opening theme of the movement.
Smith weaves another melodic thread between movements two and three. A comparison of the melody found in the Horn at letter C of the “Nocturne” with the line in the saxophone, horn and euphonium line at Letter E of the “Rondo” shows a similar tonal language. The plaintive melody from the “Nocturne” undergoes an aggressive diminution and emerges in the “Rondo” with a buoyancy that brings a lift to the rigidity of the opening measure of Letter E. The answer to the “Nocturne” melody at C is found first in the Trumpets and Trombone before moving to upper woodwinds. There is a role reversal for the answer to the “Rondo” melody at Letter E as it travels from upper woodwinds then to trumpet and trombone. In both cases, Smith creates tension that seeks relaxation as the upper voice moves downward to create a stable chord.
Smith crafts unique countermelodies that provide a great deal of tension against the main melody of both movements one and two. At measure 23 (Letter B) of the “Tarantella”, the bassoon and euphonium (cued in tenor sax) present a countermelody that moves in contrast to the dance like main melody and is colored by a concert Ab. Within the “Rondo”, the flute solo presents the countermelody against the alto saxophone solo at measure 24 (Letter B), also colored by the concert Ab. In both cases, it stands out in the canvas as it is the interval of a tri-tone from the tonic pitch of the d minor key signature. The seemingly inconsequential presence of the concert Ab in each countermelody establishes a yearning for resolution from unexpected tension, which holds the aural interest of both audience and performer.
In a similar fashion to connective melodic threads, Smith utilizes harmonic progressions throughout the suite that provide a great deal of tension and interest to the sound canvas. Movements two and three share a progression in which the root of each successive chord moves upward an interval of a minor third/augmented second (sonically equivalent but appear different on paper). In the “Nocturne”, this progression begins on the final chord on which the ensemble arrives at measure 49, and proceeds ascending until measure 55. Within the “Rondo”, this progression is found beginning at measure 47.
The final aural thread that Smith uses to tie all the aforementioned aspects together throughout the three-movement work is his orchestration choices. These choices not only aid in the development of student musicians in an ensemble setting, but they allow the timbre of each instrument family to be heard (even at moments of dense scoring in climactic moments). The fugue in movement one, although cued in other parts, is written in such a way that the clarinet family is prominently featured in their best ranges. The space which Smith affords the flute and alto saxophone duet in movement two at measure 23 allows for the exchange of beautiful lines while hearing each individual timbre resonate. Letter E of the “Rondo” affords the audience a moment to appreciate the sound of conical brass against cylindrical brass colored over top by woodwinds. Percussion parts are scored effectively as punctuations to exciting moments in each movement, and also provide a well-balanced rhythmic impetus in the outer movements. While there are moments of dense scoring that brings about the full sonic capability of the ensemble, Smith provides contrasting moments of chamber-like playing (e.g., the end of movement 1, the beginning of movement 2) alongside moments in which the timbre of each section is clearly heard.
In my humble opinion, there is nothing incidental about The Incidental Suite by Claude T. Smith. There are unique melodies, interesting orchestration and timbre choices, and highly expressive moments woven together in a brilliant manner. In consider the totality of the work, the afore mentioned elements grant The Incidental Suite a distinguished place among essential repertoire for high school and collegiate instrumental ensembles. It remains one of my favorite pieces at the Grade 4 level, and a work I believe will continue to serve bands well.
