The Study and Application of Rhythmic Analysis for Wind Band ...

In carefully edited editions, such as the Wingert-Jones publication edited by Frank50Byrne, these rhythmic differences are thoroughly noted and will factor in greatly in aninformed performance (Sousa 2000).For instance, the horn part changes slightly in thesecond strain at measure 37.Example 8.2 mm. 34-35, 39-40. Changing horn durations.This subtle change, though written with the same rhythmic attacks, greatly modifies thefeel of the strain, moving from a highly buoyant texture to a more metrically groundedone.The bass line has numerous expressive responsibilities based on rhythmic choices.Measures thirteen and fifteen provide an excellent example, as eighth notes are used inplace of quarter notes, implying lightness of a new quality (Example 8.3).Example 8.3 mm. 13-16. Changing tuba durations.The notation is especially expressive in the final strain, moving from quarter notes todotted quarter notes and back repeatedly.These considerations also require a lightinterpretation at such moments as 120, where the lightness of the rhythm is still