Mode 9

For Concert Band

Listen:

Program Notes

Mode 9 was written simply to be an opener. It begins with the ensemble tuning to two pitches, first, the brass to a Bb, and then the woodwinds to an A. While the woodwinds are tuning, the piece immediately takes off at a quick pace, combining a moving beat with an active bass line in A minor.

The title and key both come from 1547, when a Swiss theorist by the name of Henricus Glareanus published the Dodecachordon in which he solidified the concept of church modes, and added four additional modes to the original eight. One of the modes, mode 9, was designated as the Aeolian mode. I thought this to be a very fitting title as the piece is written entirely in the Aeolian mode.

Performance Notes

In the beginning first two bars, they are used as tuning bars. The effect is to make the audience think that the ensemble is tuning like usual. Brass should tune first to a concert Bb; then woodwinds to a concert A. While the winds are tuning, the conductor should already be on the podium beating time and the 3rd bar should come directly out of the tuning note with no space in-between. While tuning, players should diddle as they normally do during “pre-rehearsal” warm up.

Mallets used on this piece should be a little more on the dry side. Something around a medium hard would probably work fine depending on the performance venue. The mallet instruments need to be more articulate, rather than an effect.