Toccata for Band: Another Look
Frank Erickson (September 1, 1923-October 21, 1996) is perhaps best known for his lyric work Air for Band (published in 1956, and later revised in 1966). While Air for Band set a standard for expressive playing in lyric works for young band, Erickson’s Toccata for Band is another work that is well-established in the repertoire for mid-level bands. Erickson created a work that connects to aspects of its eponym, retains a unique form, and contains a unique modal melodic language.
The toccata, as a musical form, first emerged in the history of music during the latter part of the 14th century. During the 16th century, the term was associated with a keyboard work complete with fast-moving, virtuosic passages, thick chords, and was written in a free style (Encyclopedia Britannica, 2023). The use of the toccata as a style piece for wind ensembles and concert bands has resulted in several important works being written over time. This list includes, but it is not limited to, Toccata Marziale by Ralph Vaughan Williams, Toccata by Frescobaldi and transcribed by Slocum, and a relatively new contribution by Patrick Burns bearing the title Toccata as well.
The opening motif of the piece found in upper woodwinds and trumpets bears the characteristics associated with a toccata. Considering the skill level of the ensemble for which it is written, one can truly admire Erickson for giving young musicians the opportunity to display their virtuosity through performance of the passage. The rest of the ensemble certainly resembles what one might expect in the left hand of a keyboard composition, with block chords scored throughout.
It is not accurate to categorize the work as being written in a three-part form. Looking at the piece from melodic content, harmonic development, and tempo, the piece contains three distinct sections with two of them reappearing with some elements developed. In broad terms, the piece can better be thought of as ABCAB form – a form unique to itself. The opening motif returns throughout the work four more times – two times almost verbatim, and two times with some modal and harmonic modifications. Erickson’s lyric writing that made Air for Band so popular is on display in the section at measure 73 and again at the conclusion of the work starting at measure 188. The melody in measures 85 through 87, and again in 200 through 202 echoes back to the conclusion of Air for Band. Written a year after that piece, one can only wonder how intentional Erickson was in this moment or if he never gave it a second thought.
One of the more prominent aspects of the work is Erickson’s use of mode. Dorian mode is prominent in the opening motif and in some of the transitional material. The second theme (introduced at m. 9 and developed at m. 38) includes use of C Mixolydian. Even as the second theme returns, Erickson invigorates the line by utilizing the trumpets in an almost fanfare-like section supported by Horn in F and Euphonium. While he preserves the contour of the line, the result is a refreshing change to the aural palate. On the heels of the second theme in fanfare style and the Gb Mixolydian transition, Erickson again challenges the expectation of the listener as the opening motif returns at measure 55 but this time in C Dorian.
Within the B section, it is interesting to note how Erickson moves from C Major at measure 73 to Eb Major four bars later. As the next section unfolds, Erickson maintains C Major through the first four bars, but reorchestrates to allow different colors of the ensemble to emerge. As mentioned earlier, measure 85 harkens to another one of Erickson’s works which perhaps makes a ritardando seem very natural in measure 87. While not written, it is an option for conductors to consider using, and then resume measure 88 at the Andante con moto that begins the section.
The opening of the section at measure 91 in part connects back to the second theme first heard at measure 9. This time, Erickson preserves contour of the earlier theme but utilizes augmentation to enhance the development prior to the return of the first two themes. The concluding tonal patterns at measures 113-114 help set up the development of the syncopated passages that emerge in the horn and trombone and joined by trumpet four bars later. The extended eight measure crescendo builds the anticipation of the return from the opening theme verbatim from the first eight measures of the piece.
Measure 144 through 170 show Erickson’s ability to develop themes and ideas at his compositional best. Gb Mixolydian returns albeit briefly at measure 144 as the harmonic center shifts to Eb Major at measure 148. It is interesting to note that Erickson shifts to what appears to be F# Mixolydian at measure 151 – why he wrote it as such and not as Gb Mixolydian is a mystery. The shifts in meter (between 3/4 and 2/4) alongside the harmonic shifts in some ways masque the return of the syncopated figure found back at measures 115. Finally at measure 171, the opening theme returns in the upper woodwinds overtop the counter-fanfare in the trumpets and block chord orchestration in the other voices. The eighth notes that build from the bottom of the ensemble lead to beautiful transition leading the return of the themes found back at measure 73. The unique difference found at this return is that Erickson has moved the theme into D Mixolydian (with an interjection of F Mixolydian for four measures beginning at 192). The final movement towards measure 204 demonstrates Erickson coloring of the score with several secondary dominants before finally leading to a beautifully scored D Major chord at the end.
It is difficult to imagine the state of young and mid-level band repertoire without the voice of Frank Erickson as part of it. In an era in which contemporaries were writing some of the works that are still regarded as cornerstone and essential repertoire, Erickson proved an axiom that bears mention for all composers: Great music doesn’t have to be hard; Great music needs to be great. While many composers can point to specific works which they consider to be jewels, Erickson’s Toccata for Band is a true gem for mid-level bands.
Encyclopedia Britannica (n.d.). Toccata. In Encyclopedia Britannica. Retrieved March 7, 2023, from https://www.britannica.com/art/toccata
