Knights Of The Round Table Steve Rouse

Alternative Artikelnummer: MBM1080
Knights of the Round Table! The words alone evoke images of the majesty and grandeur of King Arthur's Court, whose trusted band of loyal knights protected ladies and damsels, honored and fought for kings, and undertook the most dangerous quests.

Can these images be translated into music so that they are clearly recognized by everyone who listens?

Is not music the art most capable of expressing emotions and their resonance within us? Knights of the Round Table conveys the spirit associated with King Arthur's Court - splendor, magnificence, power, and dignity.

NOTE TO THE BAND DIRECTOR

Knights of the Round Table will work well for a wide range of instrumental configurations. While the work uses reinforced voices for sureness of performance and to create a sound that is always strong, the way the voices are reinforced varies throughout, so that a fresh, shifting color palette is heard.

Although the score includes some instruments that are less common in the beginning band (namely, oboe, alto clarinet, and bassoon), the score is designed to work well without these instruments - they are welcome, but they will not be missed. The trombone/euphonium part is divided in a few measures. Based on the ensemble's capabilities and needs, the conductor should choose who plays which part. The upper part can be left out entirely if there is only one player or if the players are less capable. The lower notes generally double the tuba at the octave and should be well supported. If there is no tuba in the ensemble, extra emphasis should be placed on the lower part of the trombone and euphonium part, which is usually the bass line of the ensemble.

If percussion resources are limited, the snare drum and bass drum parts are most important, followed by bells and timpani. The percussion instruments should be balanced and tastefully integrated into the ensemble. No single percussion instrument should stand out over the ensemble blend. Be especially careful with the bells. This instrument participates regularly throughout the score, so a sound that is present without standing out above the ensemble is desirable.

While the technical demands of the work are very limited, I have tried to capture a grown-up sound that will appeal to young performers. Without adding additional technical challenge, I have included some harmonies and contrapuntal results that are less common at this level.

ACKNOWLEDGMENT

The first performance of Knights of the Round Table was by the Owensboro, Kentucky, Sixth Grade Bands A and B on September 23, 2002, at the first Fall concert. (The students who first performed the score had started band the previous fall as fifth-graders.) I have known the director, Paula Humphreys, since 1997, and admire her work as a teacher and flutist, and I am most grateful for her seasoned and wise advice as I finished composing the work.