An Analytical and Educational Survey of Howard Hanson's Dies ...

43The first variation has a small number of challenges for the performers: correctentrances of overlapping soli melodies (found in sections at rehearsal marks 8 and 9),augmented and minor major seventh chords (at four measures before rehearsal marks 9and 10), and short technical passages in A melodic minor for clarinets, bass clarinet,flute, and piccolo (starting at rehearsal mark 10). Students may not be accustomed toplaying and hearing these harmonic qualities in a band ensemble setting; it is important toacclimate their listening to these qualities for intonation and general awareness.The second variation presents a unique challenge for aural memory in thesforzando whole-note melody. Since the melody is presented in whole notes and thewhole notes are orchestrated for different instruments with octave displacement, itisimportant to identify the melody to the students for their understanding and focus.Additionally, tuning the unisons and octaves in both melody and accompaniment shouldbe a priority; sforzandi should be loud but controlled.The third variation contains solos for flute, oboe, clarinet, bassoon, and Frenchhorn; soloistic passages may be found throughout the variation. The sparse, revealingtexture of this variation, the overall piano dynamic, and the time signature changes canprovide a challenge for students to count and enter correctly and to play confidently. Bothconflicts may be abated through clear direction and conducting, though students shouldstill be held accountable for concentration.The fourth variation is the most technically challenging for individual accuracyand ensemble precision. Individual preparation is especially important so that studentsmay focus on their role in the written orchestration.