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Title	From Wales To Harlech  NEW!
Article no.	4123477
Category	Concert/wind/brass band
Subcategory	Concert march
Instrumentation	Ha (concert/wind band); YB (young band)
Format	PrtStm (full score and parts)
Country of publication	USA (us)
Publisher *	C.L. Barnhouse Company
Publisher's article no. *	BA 024-4768-00
Series title	Rising Band Series
Year of publication	2019
Price	click here
Arranger	Glover, Andrew
Difficulty level	2
Duration	2:16
Additional info/contents	“From Wales To Harlech” is a stately British-styled march, combining two famous Welsh marching songs: “The Prince of Wales March” and “Men of Harlech.” Carefully scored for access by second year bands, this outstanding concert march is a perfect selection for any concert situation. Ranges and technical demands are limited, but the musical and programmatic rewards are high! (© Barnhouse Music)
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Programme notes *: From Wales To Harlech, a British concert march for young wind orchestras "From Wales To Harlech" combines two well-known melodies from the Welsh musical tradition. Andrew Glover arranged this concert march based on Sir Arthur Sullivan’s “The Princess of Wales March” and the traditional march “The Men of Harlech,” the origin of which is unknown. The two source pieces represent different historical contexts: Sullivan composed his march for the wedding of Edward, Prince of Wales, and Princess Alexandra of Denmark on April 11, 1863. “The Men of Harlech” is a traditional Welsh march melody, believed to date back to the 18th century. By bringing these themes together, the work becomes a distinct concert piece in its own right. The title refers to Wales and Harlech, a town in the northwest of the country. The march thus draws upon a regional musical tradition, though it is not intended as a historical reconstruction. At its core, the piece presents a sequence of contrasting sections, specifically arranged for a concert band. • Structure and musical progression The score is structured as a concert march, beginning with a brief introduction. This is followed by the first major section, spanning measures 9 through 40. The music here should remain light and agile; even in the more robust passages, an overly heavy sound should be avoided. This creates a march character defined by clear motion and controlled energy. The trio begins at measure 41. In march music, the term “trio” typically refers to a contrasting middle section, often featuring a new or more prominent melody. At this point, the musical character shifts: from measure 43 onward, the melody and its harmonic accompaniment should be played in a more sustained and lyrical manner. The march pulse, however, remains constant. The beginnings of notes should be clearly articulated, while a small amount of space should be left between the notes themselves. For measures 51 through 59, the conducting notes indicate a gradual increase in volume. The sound should begin in a restrained manner and expand progressively up to measure 59. This progression presents the ensemble with a specific challenge regarding dynamics: the increase in volume must be audible, yet without any loss of clarity in tempo, articulation, or ensemble coordination. • Rhythm, Melody, and Sound The suggested tempo is a quarter note equal to 86. For a march in the British tradition, this is relatively measured, lending the piece a dignified, stately character. The steady, consistent motion forms the rhythmic foundation; therefore, a stable, underlying beat is more important for the performance than achieving a fast tempo. The rhythmic figures in both the melody and the accompaniment must align precisely within this pulse. The melodies alternate between bold, march-like gestures and longer, lyrical lines. The first section calls for a light, clear style of playing, while the trio emphasizes melodic cohesion and a more vocal, expressive approach. Musical tension is thus created not merely through volume, but also through the interplay between articulated movement and sustained melodic lines. The instrumentation includes woodwinds, brass, and percussion. Flutes, oboes, clarinets, saxophones, and bassoons are joined by trumpets, horns, trombones, euphonium (baritone), and tuba. The sound is further enriched by glockenspiel, timpani, snare drum, cymbals, and bass drum. A piano or keyboard part is also provided as an option. This broad instrumentation allows for a dynamic range that encompasses cantabile melodies, a supportive bass foundation, and striking, emphatic accents. At the same time, the conductor can adjust the balance to suit the specific instrumentation and capabilities of the ensemble. • Educational Value and Performance Practice This edition is classified as Level 2 and is intended for developing concert bands or youth ensembles. The series in which this work appears is aligned with the pitch and rhythmic sequences found in common instructional materials used during the first years of study. Consequently, this march allows for the integration of fundamental musical skills with a cohesive concert performance task. For rehearsals, the focus can be placed on several key areas: maintaining a steady pulse at a moderate tempo, executing precise entrances, ensuring controlled articulation, and employing nuanced dynamics. In the trio section, care should be taken to ensure that the extended melodic lines do not result in a blurred sound; the notes should feel connected, yet their individual beginnings must remain distinct. As the music builds from measure 51, the ensemble needs a shared understanding of how the volume and fullness of sound should develop. Compared to many American concert marches, "From Wales To Harlech"—as indicated in the performance notes—suggests a slower march tempo and a more dignified character. This distinction should not be emphasized through excessive heaviness; rather, the key is a clear, controlled style of playing that maintains the characteristic pulse while highlighting the contrast between the lighter opening section and the more lyrical trio. • “From Wales To Harlech” combines historical melodies with an instrumentation and difficulty level tailored to young wind orchestras. This work is therefore suitable for ensembles that want to work on articulation, dynamic shaping, and the interplay of different registers, while also including a British-style concert march in their repertoire. Text: © musicainfo.net (KI) Quellen/Sources: Barnhouse Music: From Wales To Harlech

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	Format
	From Wales To Harlech (concert/wind band; young band), full score and parts
	From Wales To Harlech (concert/wind band; young band), full score
	From Wales To Harlech (concert/wind band; young band), full score, large
	Catalyst, audio CD

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