Paul Hindemith's Symphony in Bb for Band is a work composed for modern wind band instrumentation and configuration in mid-20th century America which resulted in a composition of immense scale and grandeur. The first composition of this piece occurred when Hindemith was invited by the US Army “Pershing's Own” to conduct and premiere one of his pieces for wind band in 1951. The first performance of the symphony in B flat for wind band turned out to be truly a success. a successful one for Hindemith in that this piece is exemplified in techniques such as the substantial orchestration of the work and the prolongation of form and thematic material for the setting of the wind ensemble. This performance created a piece full of different uses of sound textures and various exposed solos, placing higher demands on musicians of the time as well. This in turn gave way to compositions of long duration, technique and skill for the wind ensemble and influenced composers such as Samuel Adler and Lukas Foss. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The instrumentation of this piece is also structured on an immense scale but can be performed without certain instruments if necessary. However, if performed in this way, the ideals and themes that Hindemith attempted to display in this piece may not be as prevalent in this form due to the lack of volume and sound. The instrumentation includes two flutes, piccolo, two oboes, clarinet in E flat, four clarinets in B flat, alto clarinet, bass clarinet, two bassoons, two alto saxophones, tenor saxophone, baritone saxophone, four cornets, two trumpets, four horns in f, three trombones, euphonium, tuba, timpani, bass drum, cymbals, glockenspiel, snare drum, tambourine and triangle. Like Florent Schmitt, Hindemith uses this extensive instrumentation to create a wide range of colors and do so in a formal structure. The unusual techniques on the instrumentation of this piece focus on the bassoons and French horns. If you were to look at the score of this piece, you would notice that the bassoons are listed under the bass clarinet instead of the double reeds. The French horns are placed between the trombones and the euphonium, which are also considered peculiar. An interesting aspect of the score takes place in the first trombone part. In this part the use of the tenor key is written. This implies that not only must the principal trombonist be able to play successfully in the bass clef, but he must also be able to decipher between the bass and tenor clef and also play equally well in the latter key. The first movement of this piece begins with the style signature 'moderately fast, with vigor' and does not contain a key signature. This movement is in binary form and makes use of different eighth and sixteenth note figures dotted throughout. The movement contains a five-note motif played according to the quartile structure, a technique of which Hindemith was quite fond. The second movement begins with the indication Andantino grazioso and is also in binary form. There is an incredible amount of rhythmic activity in this movement and it features solo material from cornet, alto saxophone and clarinets. Once again, the fourth interval is used as the basis for the thematic material that unfolds in this movement. Hindemith also exploits woodwind timbres in this movement and uses these instruments extensively throughout. The third movement is entitled "Fugue, rather broad" and contains a contrapuntal texture like that of a Fugue. Polytonality is evident throughout this movement with several chords that seem to violate the sound and the.