John Foulds Arranged by Keane Southard
Hellas A Suite from Ancient Greece For
Concert Band
(1932/2014) (Duration: c. 13 mins.)
Instrumentation: The concert band should be split into two separate bands as follows below, although this is optional as I understand such large stage changes may be impractical in the context of a concert. If performing with a band split in two, each should be placed on opposite sides of the stage or performance area (stage left and right) separated by the percussion placed in the middle of the stage. Band 1: Flute 1 Oboe Clarinets in Bb 1 Bass Clarinet in Bb Alto Saxophone 1 Baritone Saxophone Trumpet in Bb 1 Trombone 1 Euphonium Band 2: Flute 2 Clarinets in Bb 2 Bassoon Alto Saxophone 2 Tenor Saxophone Trumpet in Bb 2 Horn in F Trombone 2 Tuba Percussion: Tambourine (or Sleigh Bells, Mvts 1, 2) Bass Drum (Mvts 1, 2, 3, 5) Suspended Cymbal (Mvt 1) Cymbals (Mvt 3) Tam-tam (or Susp. Cym., Mvt 2) Marimba (2 players, Mvts 1, 2, 3, 4)
Transposed Score This arrangement was created thanks to kind permission from Graham Hatton (Hatton & Rose Publishers). Score and Parts for individual movements of this suite are available via: Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com
Program Notes: Hellas: A Suite of Ancient Greece by British composer John Foulds reached its final version in 1932 for double string orchestra, harp, and percussion. Ever since hearing his “AprilEngland” on the radio one morning in graduate school, I have been fascinated with this incredible composer who was unjustly neglected for nearly fifty years, despite experimenting with micro-tones before almost anyone else, being a Western pioneer of Indian classical music, foreshadowing minimalism, and, above all else, writing great music. “Hellas” is an exploration of the Gregorian modes (sometimes incorrectly referred to as the Greek modes. Although their names are Greek, they have nothing to do with ancient Greek music, and it seems that Foulds himself believed this myth as well.) Each movement explores a different mode while keeping the same key signature (although there are a few notes from outside the mode introduced briefly in the first two movements.) I created this concert band arrangement of “Hellas” both because I thought it would work well in an arrangement for beginner concert bands and because I wanted to share his fantastic music with more people, as he deserves to be recognized as one of Britain’s greatest composers. I should note that I have not included the sixth and final movement of the original suite, “Corybantes,” as this brief movement is at a much higher difficulty level than the rest of the suite, and such an arrangement for band would be out of reach for beginning bands. Keane Southard 2014
Performance Instructions: 1. In my experience with the music and scores of John Foulds, I have noticed that sometimes his metronome markings don’t seem to fit the musical material, and at worst makes the music unplayable and unclear (and recordings show that performers seems to agree with me.) With this being said, I think adjusting tempi reasonably is perfectly acceptable for this work, as well as other works of Foulds. 2. Marimba notes should not be rolled unless indicated (by a tremolo). 3. Notes with both staccato and tenuto marks indicate notes that should be tongued but with as little separation as possible.
1. Solemn Temple Dance
q = 76 Remoto e Senza Passione
(in the Lydian Mode)
Band 1 Flute 1
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Oboe
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Clarinet in Bb 1
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Bass Clarinet in Bb
Alto Saxophone 1
Baritone Saxophone
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p
Trombone 1
mp
Euphonium
q = 76 Remoto e Senza Passione mp
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Band 2 Flute 2
mp
Bassoon
Alto Saxophone 2
mp
mp
Bass Drum
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©2014
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(not rolled)
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Suspended Cymbal
Trombone 2
Tambourine (or Sleigh Bells)
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Horn in F
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Trumpet in Bb 2
Tenor Saxophone
Tuba
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Clarinet in Bb 2
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Trumpet in Bb 1
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John Foulds Arr. Keane Southard
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2. Processional
q = 88 Senza Deviazione
(in the Ionian Mode)
Band 1
Flute 1
Oboe
John Foulds Arr. Keane Southard
A
Clarinet in Bb 1
Bass Clarinet in Bb
Alto Saxophone 1
Baritone Saxophone
Trumpet in Bb 1
Trombone 1
Euphonium
q = 88 Senza Deviazione
Band 2
Flute 2
Clarinet in Bb 2
Bassoon
Alto Saxophone 2
Tenor Saxophone
Trumpet in Bb 2
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Trombone 2
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©2014
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Band 1
3. Dirge for a Hero (In the Phrygian Mode)
John Foulds Arr. Keane Southard poco accel.
Clarinet in Bb 1
Bass Clarinet in Bb
Alto Saxophone 1
Baritone Saxophone
Trumpet in Bb 1
Flute 1
Oboe
Trombone 1
Euphonium
Band 2 Flute 2
Clarinet in Bb 2
Bassoon
*q. = 69
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Horn in F
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Cymbals
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©2014
* The slight changes of Tempo, as indicated by metronome, are to be managed insensibly and not exaggerated.
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Tbn. 2
Tba.
B. D.
Cym.
Mar.
Tbn. 1
Fl. 2
f
q. = 92 f
f
f
f
f
f
f
F
q. = 92
f
f
f
f
f
f
f
f
F
f
f
q. = 92
f
f
f
mf
p
27
28
38
Fl. 1
Ob.
Cl. 1
B. Cl.
Alto Sax. 1
Bari. Sax.
Tpt. 1
Tbn. 1
Euph.
Fl. 2
Cl. 2
Bsn.
Alto Sax. 2
Ten. Sax.
Tpt. 2
Hn.
Tbn. 2
Tba.
f
f
f
f
f
f
ff
ff ff
p
f
ff
ff
G
ff
mf
ff
mf
ff
f
f
f
ff
f
G
ff
ff
f
ff
f
ff
Mar.
ff
f
ff
f
f
ff
B. D. Cym.
f
ff
f
G ff
f
f
f
ff
p
Fl. 1
Ob.
42
Cl. 1
B. Cl.
Alto Sax. 1
Bari. Sax.
Tpt. 1
Tbn. 1
Euph.
Fl. 2
Cl. 2
Bsn.
Alto Sax. 2
Ten. Sax.
Tpt. 2
Hn.
Tbn. 2
Tba.
p
Cym.
p
rit.
p
p
p
p
p
p
p
Mar.
p
p
p
pp
p
rit.
mf
pp
p
mf
p
B. D.
p
29
rit.
p
30
H q. = 69 perendosi al fine 46
Fl. 1
Ob.
Cl. 1
B. Cl.
pp
Bari. Sax.
Tpt. 1
Euph.
Bsn.
pp
pp
Tpt. 2
pp
pp
B. D.
q. = 69 perendosi al fine
pp
pp
pp
H
pp
Mar.
q. = 69 perendosi al fine
Cym.
Ten. Sax.
Tba.
Tbn. 2
Alto Sax. 2
Hn.
H
Cl. 2
pp
Fl. 2
pp
Alto Sax. 1
Tbn. 1
q = 84 STROPHE
4. Song of Argive Helen
Band 1 Flute 1
Ob. solo
p
p
Clarinet in Bb 1
Bass Clarinet in Bb
Alto Saxophone 1
Baritone Saxophone
Trumpet in Bb 1
Trombone 1
Euphonium
Band 2 Flute 2
Clarinet in Bb 2
Bassoon
semplice ma patetico
Ob. solo
A
John Foulds Arr. Keane Southard
semplice ma patetico
*solo
Oboe
(In the Aeolian Mode)
p
semplice ma patetico
p
mf
p
mf
p
mf
q = 84 STROPHE
Ob. solo
p
Ob. solo
p
semplice ma patetico
A
semplice ma patetico
p
mf
p
mf
Alto Saxophone 2
Tenor Saxophone
Trumpet in Bb 2
Horn in F
Trombone 2
Tuba
q = 84 STROPHE
Marimba (2 players)
p
* This solo may be played by a clarinet or flute in place of oboe
©2014
A
mf
B 32
9
Fl. 1
rall.
mf
Ob.
mf
B. Cl.
Alto Sax. 1
Bari. Sax.
mf
p
p
Cl. 1
A tempo ANTISTROPHE
(Tutti)
mf
p
p
Tbn. 1
Euph.
p
Tpt. 1
B
A tempo ANTISTROPHE
rall.
Fl. 2
mf
Cl. 2
Bsn.
Alto Sax. 2
Ten. Sax.
Tpt. 2
Hn.
mf
(Tutti)
mf
p
Tba.
p
p
mf
p
mf
Tbn. 2
mf
p
(Tutti)
p
p
B
Mar.
mf
rall.
p
A tempo ANTISTROPHE p
(Tutti)
Fl. 1
p
(Tutti)
Ob.
C
18
p
Cl. 1
B. Cl.
Alto Sax. 1
p
33
perdendo
p
p
Tbn. 1
p
Euph.
Bari. Sax.
Tpt. 1
p
p
Fl. 2
Cl. 2
Bsn.
Mar.
C
p
p
C
p
p
p
p
perdendo
p
p
p
Tba.
Ten. Sax.
Tbn. 2
pp
Hn.
Alto Sax. 2
Tpt. 2
perdendo
E
34
Fl. 1
Ob.
Cl. 1
B. Cl.
Alto Sax. 1
Bari. Sax.
Tpt. 1
Tbn. 1
Euph.
A tempo STROPHE
rit.
D
27
mf
mf
mf
mf
mf
mf
mf
mf
mf
E
Fl. 2
Cl. 2
Bsn.
Alto Sax. 2
Ten. Sax.
Tpt. 2
Hn.
Tbn. 2
Tba.
mf
A tempo STROPHE
rit.
D
p
mf
pp
mf
mf
mf
mf
mf
p
pp
mf
mf
pp
E D
Mar.
rit.
pp
A tempo STROPHE
(not rolled)
f
36
Fl. 1
Ob.
Cl. 1
B. Cl.
Alto Sax. 1
Bari. Sax.
Tpt. 1
Tbn. 1
Euph.
Fl. 2
Cl. 2
Bsn.
Ten. Sax.
Tpt. 2
Hn.
Tbn. 2
Tba.
Mar.
p
F
p
f
f
f
f
mp f
mp f
f
mf
mp
p
p
f
f
mp f
f
mf
f
35
mp f
f
f
f
mp f
f
mp
mp
f
mp
f
p
f
f
F
f
f
mp f
f
p
p
f
mp f
f
p
p
p
p
p
Alto Sax. 2
f
f
p
mp f
p
p
mp f
f
p
f
p
p
p
F
mf
mf
mf
mp
f
mp f
mp f
G 36
45
Fl. 1
Ob.
perdendo
p
Cl. 1
B. Cl.
Alto Sax. 1
p
rit.
pp
pp
p
quasi in tempo
Bari. Sax.
Tpt. 1
Tbn. 1
Euph.
pp
p
G Fl. 2
Cl. 2
Bsn.
Alto Sax. 2
Ten. Sax.
Tpt. 2
Hn.
perdendo
Tba.
p
pp
pp
pp
p
pp
G
Mar.
rit.
p
p
Tbn. 2
quasi in tempo
perdendo
quasi in tempo
p
rit.
pp
Band 1
q = 58
5. Temple Chant (In the Dorian Mode)
Clarinet in Bb 1
Bass Clarinet in Bb
Alto Saxophone 1
Baritone Saxophone
Trumpet in Bb 1
Flute 1
Oboe
Trombone 1
Euphonium
Band 2 Flute 2
Clarinet in Bb 2
q = 58
p
pp
p
pp
p
p
pp
pp
q = 58
©2014
p
A
p
p
p
f
Bass Drum
p
f
Tuba
pp
f
Trombone 2
f
Horn in F
f
Trumpet in Bb 2
f
Tenor Saxophone
pp
f
Alto Saxophone 2
A
pp
f
Bassoon
John Foulds Arr. Keane Southard
p
p
p
p
p
p A
38
7
Fl. 1
Ob.
B
mf
mf
Cl. 1
mf p mf
B. Cl.
mf
Alto Sax. 1
p
Bari. Sax.
Tpt. 1
Tbn. 1
mf mf
Cl. 2
Bsn.
mf
mf
mf
mf p p mf
p mf p
p mf
p
mf
p mf
mf
mf
p mf
mf
p mf
mf
p p mf
w/ timpani sticks
p
mf
B. D.
B
mf
Tba.
mf
mf
Tbn. 2
p
p mf
mf
Hn.
mf
p mf
mf
Tpt. 2
mf
mf
Ten. Sax.
mf
mf p
mf
Alto Sax. 2
p mf
p
mf
Fl. 2
mf
Euph.
p p mf
p
mf
B
13
Fl. 1
Alto Sax. 1
Bari. Sax.
Tbn. 1
Fl. 2
Cl. 2
Bsn.
mp
mf
Tbn. 2
Tba.
C
mf
mf
f
mp
mf
p
pp
mf
C
mf
f
D
mf
mf
f
pp
pp
mf
mf
mf
mp
mf
B. D.
f
mf
Hn.
f
mf
Tpt. 2
mf
mf
Ten. Sax.
mf
mf
f
f
mf
Alto Sax. 2
39 mf
mf
D
f
f
Tpt. 1
mf
B. Cl.
Cl. 1
mp
Ob.
Euph.
C
pp
pp
pp
pp
mp
pp
pp
D
40
20
Fl. 1
Ob.
Cl. 1
E mf
f
mf
f
mf
mf
Cl. 2
Bsn.
mf
Alto Sax. 2
Ten. Sax.
Tpt. 2
Tbn. 2
mf
p
ff
ff
ff
ff
p
ff
ff
p
mf
f
f
mf
ff
f
mf
f
E mf
ff
f
ff
f
mf
ff
ff
f
mf
mf
B. D.
f
mf
Tba.
f
mf
f
mf
mf
f
E
mf
Hn.
mf
mf
f
mf
mf
f
ff
f
p
mf
mf
ff
mf
Fl. 2
f
mf
Euph.
mf
Tbn. 1
mf
mf
Tpt. 1
p
ff
p
mf
Bari. Sax.
mf f ff
mf
Alto Sax. 1
ff
mf
B. Cl.
ff
p
p
ff
f
F 27
Fl. 1
f
Cl. 1
B. Cl.
f
pp
p
pp
p
p
f
Ob.
pp
pp
Alto Sax. 1
Bari. Sax.
Tpt. 1
Tbn. 1
p
f
f
Euph.
Fl. 2
Bsn.
p
f
Ten. Sax.
Tpt. 2
Hn.
Tbn. 2
f
f
pp
p
F
pp
p
p
p
pp
p
p
p
p
p
p
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
p
pp
p
pp
pp
pp p
pp
B. D.
p
p
pp
p
pp
pp
pp
Tba.
pp
pp
pp
p
f
pp
p
f
Alto Sax. 2
p
pp
pp
F
pp
f
Cl. 2
pp
pp
f
pp p
pp
pp
pp
pp
41