Kelsey Scheuerman
Prelude, Siciliano, and Rondo
Malcolm Arnold, arr. John Paynter
Grade 4
Unit Study
Unit I- Composer
Sir Malcolm Arnold was born on October 21, 1921 in Northampton, England.
He was born to a poor family but despite of this, he became quite successful as a
composer and performer.
He studied at the Royal College of Music as a teen under the trumpet
professor Ernest Hall and composition professor, Gordon Jacob.
Arnold flourished as a trumpet performer working his way through the ranks
of the London Philharmonic Orchestra in 1941 and eventually becoming the
principal trumpet player for the ensemble.
As a composer, Arnold wrote in the style of great composers like Ray VaugnWilliams and Gustav Holst. His music was based off native folk songs and European
dances, which were very popular during this time. In addition to these styles, he also
wrote marches and film scores, including his score for The Bridge on the River Kwai
that received an Academy Award in 1958.
Throughout his life and after his death in 2006, Arnold will forever be known
for his brass ensemble and orchestral works such as Four Scottish Dances, Four
English Dances and Tom D’Shatner Overture.
Unit II- Composition
Prelude, Siciliano and Rondo was arranged for wind band by the director of
bands at Northwestern University, John Paynter (1928-1996). The movements were
derived from a brass band piece entitled Little Suite for Brass, op. 80. By adding
percussion and woodwind parts, the timbre changes from the original composition,
while keeping the overall theme of the music in tact. This composition is meant to
highlight the mellow tones and bouncy articulations of the traditional British Brass
Band.
Each movement represents a different style, in 5-part rondo form, aka
ABACA. As per tradition, the three-movement piece features a fanfare, ballad and an
exciting closer to signal a piece’s end.
The melodies are beautiful and clear; with an easily identifiable tonic but
underneath Arnold incorporates some interesting chromatic movement and nonchord tones to spice up the piece. The rhythm has a dance-like quality or a “lilt” that
is easy to move with while performing.
Unit III- Historical Considerations
Malcolm Arnold wrote many of his pieces after the World Wars, during a
style shift that included many darker styles of 12-tone music. Arnold stayed in more
of a traditional mindset and wrote happier tunes that could easily be confused with
Gustav Holst’s compositions. The themes are light and bubbly and are easily enjoyed
by performers and audiences alike.
Unit IV- Technical Considerations
The score for this piece is interesting because it does not include a key
signature. All tones not included in the assumed key of C major are notated with
accidentals, which would be confusing for the conductor.
Some special instruments include the piccolo, alto clarinet, cornet, string bass
and harp. Many cues are included if such instruments are unavailable and, according
to the score, nothing musically is sacrificed.
I-Prelude
The prelude is a beautiful opener with few technical issues. Certain
instrument groups are featured together so a good sense of chamber music listening
is required in this movement and throughout the piece. A few things to consider:
1. Harp and Double Bass are cued in other parts in case you do not possess
these instruments.
2. The percussion parts are scored too loudly for the rest of the ensemble with a
marking of ff. Make sure your percussionists can balance with the winds.
3. The wind parts are fairly free of difficulty and the ranges and keys are
manageable. Take time to work on vertical alignment between parts.
4. The brass parts may include some double tonguing which may require extra
practice depending on the technical abilities of your ensemble.
II- Siciliano
The siciliano presents a challenge because it requires strong bassoon and
horn players. These musicians must not hide in the texture but sing out proudly.
Clarinets have some technique that could be a problem, especially in the timing of
the 16th note arpeggios.
III- Rondo
One key component of the rondo’s success is tight articulations. There are
many unison runs and such that require matches articulations and lightness.
Balance between melody, countermelody and back-up figures will help the overall
effectiveness and beauty of the closer
Unit V- Stylistic Considerations
The biggest style feature of this trio is the sounds of the British Brass Band.
Regal and proper are two words to keep in mind while preparing and performing
the music because you will be emulating the traditional style.
I- Prelude
In the prelude, the brass section should take the lead while the woodwinds
add color and rhythmic drive. Strong horns and trumpets are imperative for this
movement and they should take charge of the movement.
The timpani roll towards the end of the movement should be strong and firm;
don’t be afraid to be heard. The percussive figure adds to the bass sound that is
important for ensemble balance.
II- Siciliano
The siciliano needs to be very legato and flowing. The horn and bassoon
starts with a driving rhythm that acts as the 6/8 metronome for the band. When the
cornet solo comes in at A, make sure the accompaniment quiets to hear the solo. The
solo should be warm and shimmery.
Continuing through the piece, it is marked cantabile (singingly) and should
be played as such; think of a gondolier singing while paddling the gondola.
The sixteenth notes in the woodwinds should be a compliment to the melody, not an
overbearing addition of notes.
III- Rondo
The accents and staccatos are very important and should be worked on in the
same way you would practice correct notes. All note lengths and style should match
across the ensemble or the performance will not be as effective as possible. For
articulations, listen back to the xylophone. A dry ‘tongue’ is what we would like for
this piece and the xylophone part is written very well to act as a reference.
This movement is very fun and dance-like, so don’t be afraid to move to the
music. Make sure while you are enjoying the dance, the balance, blend and tone stay
in control.
At D, make sure to sing out the melody. The trumpet fanfare should cut
through and be brought out because they are introducing new material that should
be highlighted. The off beats should anticipate the beats or they will drag or rush,
which will ruin the spirit of the piece.
VI- Musical Elements
I-Prelude
The theme is stated in a fanfare in the beginning with the brass section. The
horns and woodwinds take over with a countermelody before a variation of the
fanfare is stated. The clarinet, oboe, flute and xylophone present a piano section
after the fanfare for a change of pace in the opening statement. The movement ends
with brass choir and percussion, quietly.
II-Siciliano
The horns and bassoon begin a continuing ostinato throughout the piece at a
piano level. The solo cornet comes in with a shimmering melody that melts like
butter, with small interjections from bass clarinet and low reeds. The flute mimics
the solo cornet as a nice change in color. Woodwinds enter with bright rhythmic
arpeggios that add to the dark texture. The melody is restated in cornet, trombone
and flute. In the minor C section, the horns take the lead to change the color and
while the oboe and clarinet bring the piece back to a major tonality with their
version of the melody. The clarinets replace the horn ostinato with a variation under
the solo cornet until the solo saxophone emulates the sound. The piece ends with a
soft flute chord.
III-Rondo
This movement begins with an abrupt change in pace with thick monophonic
and monorhythmic textures. The trumpet and flute take the melody with a quickly
pulsing ostinato behind them, leading to a fury of bright woodwind runs. Oboe and
clarinet restate the theme but the horn and low brass quickly changes the color and
tone to minor for a moment before growing into the loud opening restatement. The
piece ends with a thick texture of trills in all instruments and five unison hits.
VII- Form and Structure
-PreludeMeasure Number
1-8
Form
Introduction
9-18
19-23
24-29
30-38
A section
B section
A section revisited
C section
39-47
48-55
A section revisited
Coda
-SicilianoMeasure Number
1-4
Form
Intro
5-20
21-28
29-44
45-53
54-69
70-75
A section
B section
A section revisited
C section
A section revisited
Coda
-RondoMeasure Number
1-24
25-32
33-44
45-60
Form
A section
B section
A section revisited
C section
61-81
82-95
A section revisited
Coda
Notes
Bb-Ab Major, opening
statement
Transition period
D minor, brass fanfare
DM
D-Bb major, Woodwind
chamber
Bb Major
Bb Major
Notes
Eb Major, Bassoon and
Horn ostinato and rhythm
Eb Major, Cornet solo
Eb Major
Eb Major
B minor, B Major
Eb Major
Eb Major, conclusion
Notes
Bb Major, Unison rhythm
DM, Woodwind runs
Eb Major
G minor, English horn,
Horn soli, waltz
Bb Major, Rhythm change
Bb Major, Acceleration to
the end
Unit VIII- Suggested Listening
1. Arnold, Malcolm
 Four Scottish Dances
 English Dances
 Four Cornish Dances
 Little Suite for Brass, op. 80
 Tam O'Shanter Overture
 Symphony #1-4
 Fanfare for Louis
2. Holst, Gustav
 First Suite in E Flat for Military Band
 Second Suite in F for Military Band
3. Grainger, Percy
 Over the Hills and Far Away
 Molly on the Shore
 Irish Tune from County Derry
Unit XI- Additional References and Resources
1. Pease, Andy. "Prelude, Siciliano, and Rondo by Malcolm Arnold."
Http://andypease.wordpress.com. N.p., 16 Oct. 2012. Web. 14 Mar. 2013.
<http://andypease.wordpress.com/2010/10/16/prelude-siciliano-androndo-by-malcolm-arnold/>.
2. "Student Study Guide: Prelude, Siciliano and Rondo." Prelude, Siciliano And
Rondo. N.p., n.d. Web. 14 Mar. 2013. <http://prelude-siciliano-androndo.weebly.com/student-study-guide.html>.
3. Laney, Ryan. "A MASTER'S REPORT IN CONDUCTING FOR WINDS &
PERCUSSION: ANALYSES AND REHEARSAL STRATEGIES FOR SONATA NO.
13 BY GIOVANNI GABRIELI, SERENADE NO. 12 IN C MINOR BY WOLFGANG
AMADEUS MOZART, AND PRELUDE, SICILIANO AND RONDO BY MALCOLM
ARNOLD." Krex.k-state.edu. N.p., 2012. Web. 16 Mar. 2013. <http://krex.kstate.edu/dspace/bitstream/handle/2097/13681/RyanLaney2012.pdf?sequ
ence=5>.
4. Merideth, Tony, and Paul Harris. "Sir Malcolm Arnold CBE Biography."
Malcolmarnold.co.uk. N.p., Sept. 2006. Web. 16 Mar. 2013.
<http://malcolmarnold.co.uk/bio.html>.
5. "Malcolm Arnold Listening Library."
Http://ksu.naxosmusiclibrary.com.er.lib.k-state.edu. N.p., Sept. . Web. 16
Mar. 2013. <http://ksu.naxosmusiclibrary.com.er.lib.kstate.edu/google/searchgoogle.asp?googletext=malcolm%20arnold>.
6. Miles, Richard, Larry Blocher, Eugene Corporon, and Jack Stamp. Teaching
Music through Performance in Band. Vol. 1. Chicago: GIA: GIA Publications,
1997. Print. Teaching Music Through Performance in Band.