AFTER THE CAKE WALK

De�/Sm

ith/Perna

S975CB HL00277827

AFTER THE CAKE WALK

Grade 4

Robert Nathaniel DettArranged for Band by

Lee Orean SmithEdited by

Dana Paul Perna

Characteris�c March Two-Step

Although Nathaniel Dett was to achieve notoriety for his compositions in more extended forms during his adulthood, earning the admiration of John Philip Sousa, Percy Grainger, and Sir Eugene Goossens (among countless others), his earliest known compositions were redolent of the popular music he would have been exposed to during his youth. These included marches, polkas, waltzes, cakewalks, and the current rage of that period, ragtime. Among Dett’s earliest titles was After the Cake Walk, “Characteristic March Two-Step.” Perhaps written as early as 1899, when Dett was just a teenager, the Southern Music Company current edition is wholly based upon an original 1901 band publication arranged by Lee Orean Smith. Smith was also responsible for preparing Dett’s piano solo version for publication, as well as its forms for “theatre” orchestra and “mandolin club.” Owing to the fact that Smith’s highly idiomatic scoring was prepared for the band of 1901, rather than today’s concert band, Dana Paul Perna adapted, edited and extended Smith’s instrumentation in order to make it possible for Dett’s music to become available to a new generation of musicians and listeners alike.

Concerts in the Park Series

Southern Music

Robert Nathaniel De� (October 11, 1882 – October 2, 1943), was a composer, organist, pianist and music professor. While born in Canada, he spent most of his professional career in the United States. During his life�me he was a leading black composer, known for his use of African-American folk songs and spirituals as the basis for choral and piano composi�ons in the 19th century Roman�c style. He was one of the first black composers to be a member of the American Society of Composers, Authors and Publishers (ASCAP). His works were o�en featured on the programs of Will Marion Cook’s New York Syncopated Orchestra. De� performed at Carnegie Hall and at Symphony Hall in Boston as a pianist and choir director.

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S975CB HL00277827

Robert Nathaniel Dett

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FULL SCORE

Robert Nathaniel Dett

After the Cake Walk Characteristic March

Two-Step

Arranged for Band by Lee Orean Smith

Edited by

Dana Paul Perna INSTRUMENTATION

1-FULL SCORE

1-PICCOLO

3-1st FLUTE

3-2nd FLUTE

1-1st OBOE

1-2nd OBOE

1-CLARINET in Eb

4-1st CLARINET in Bb

4-2nd CLARINET in Bb

4-3rd CLARINET in Bb

1-ALTO CLARINET in Eb

(not shown on score)

2-BASS CLARINET in Bb

1-CONTRA ALTO CLARINET in Eb or

CONTRABASS CLARINET in Bb

(not shown on score)

1-1st BASSOON

1-2nd BASSOON

1-SOPRANO SAXOPHONE in Bb

3-ALTO SAXOPHONE in Eb

2-TENOR SAXOPHONE in Bb

1-BARITONE SAXOPHONE in Eb

2-1st CORNET in Bb

2-2nd CORNET in Bb

2-3rd CORNET in Bb

2-1st TRUMPET in Bb

2-2nd TRUMPET in Bb

1-1st HORN in F

1-2nd HORN in F

1-3rd HORN in F

1-4th HORN in F

2-1st TROMBONE

2-2nd TROMBONE

2-3rd TROMBONE

3-EUPHONIUM in Treble and Bass Clef

4-TUBAS

1-STRING BASS

(not shown on score)

6-PERCUSSION: Snare Drum,

Cymbals, Bass Drum, Bells

Grade 4Duration:

Approx. 4 Minutes

About the Composer

Robert Nathaniel Dett (October 11, 1882 – October 2, 1943), was a composer, organist, pianist and music

professor. While born in Canada, he spent most of his professional career in the United States. During his lifetime he was a leading black composer, known for his use of African-American folk songs and spirituals as the basis for choral and piano compositions in the 19th century Romantic style. He was one of the first black composers to be a member of the American Society of Composers, Authors and Publishers (ASCAP). His works were often featured on the programs of Will Marion Cook’s New York Syncopated Orchestra. Dett performed at Carnegie Hall and at Symphony Hall in Boston as a pianist and choir director. Nathaniel Dett was born in Drummondville, Ontario (now a part of Niagara Falls), where he began piano study at an early age. In 1893, the family moved to Niagara Falls, NY. Around the age of 14 he began playing piano for his local church. He studied at the Oliver Willis Halstead Conservatory of Music and the Lockport Conservatory before entering the Oberlin Conservatory of Music. While at Oberlin, he was first introduced to the idea of using spirituals in classical music. He heard the music of Dvořák, which reminded him of the spirituals he had learned from his grandmother. He was the first black student to complete the five-year course at Oberlin.

Dett earned his position as a major pianist-composer in 1914, when his piece “Magnolia” was performed at

the Samuel Coleridge-Taylor Club. On June 3rd of that year, he performed “Magnolia” and “In the Bottoms.” The Chicago Evening Post reported that among the works on the “All Colored” program, his works were the most innovative, and complimented his high level of piano skills. On December 27, 1916, he married Helen Elise Smith; the first black graduate of the Institute of Musical Art, which later became the Juilliard School. In 1918, Dett wrote of his compositional goals:

“We have this wonderful store of folk music – the melodies of an enslaved people . . . But this store will be of no value unless we utilize it, unless we treat it in such manner that it can be presented in choral form, in lyric and operatic works, in concertos and suites and salon music—unless our musical architects take the rough timber of Negro themes and fashion from it music which will prove that we, too, have national feelings and characteristics, as have the European peoples whose forms we have zealously followed for so long.”

Late in his career, Dett’s style shifted from that of his earlier neo-romantic works as he adopted more

contemporary idioms. In this later period he wrote piano suites such as “American Ordering of Moses” (1937), “Tropic Winter” (1938), and “Eight Bible Vignettes” (1941–1943) — his final piano suite.

Dett joined the United Service Organization (USO) as a choral advisor to contribute to the war efforts. While

traveling with the USO chorus, he died of a heart attack on October 2, 1943. He was buried beside his wife, as well as his two daughters, in the town of his birth at Niagara Falls, Ontario. Honors followed Nathaniel Dett after his death. The Chapel of the British Methodist Episcopal Church in Niagara Falls, Ontario, was named in his honor, commemorating his term as organist at the church from 1898 to 1903. The church was designated a National Historic Site of Canada in 2001.

In the 2000s, Dett is remembered most for his work in combining the music in the style of the European

Romantic composers with African-American spirituals. Canada’s Nathaniel Dett Chorale, founded in 1998, bears his name and performs his music as well as that of other composers of African descent. The chorale is one of many that have recorded his music. In 2014, Dett’s oratorio “The Ordering of Moses,” was revived by the Cincinnati May Festival, and performed the same week in Music Hall in Cincinnati and at Carnegie Hall in New York. The incident from the world premiere in 1937, where the live broadcast was cut off by the NBC network during the performance, was re-created, using actual tapes of the announcer. There is no documentary evidence of the reason for the interruption of the broadcast, although it is considered likely to have occurred because of complaints received by the network from those objecting to the playing of music composed by an African-American.

About the Edition

Although Nathaniel Dett was to achieve notoriety for his compositions in more extended forms during his adulthood, earning the admiration of John Philip Sousa, Percy Grainger, and Sir Eugene Goossens (among countless others), his earliest known compositions were redolent of the popular music he would have been exposed to during his youth. These included marches, polkas, waltzes, cakewalks, and the current rage of that period, ragtime. Among Dett’s earliest titles was After the Cake Walk, “Characteristic March Two-Step.” Perhaps written as early as 1899, when Dett was just a teenager, the Southern Music Company current edition is wholly based upon an original 1901 band publication arranged by Lee Orean Smith. Smith was also responsible for preparing Dett’s piano solo version for publication, as well as its forms for “theatre” orchestra and “mandolin club.” Owing to the fact that Smith’s highly idiomatic scoring was prepared for the band of 1901, rather than today’s concert band, I adapted, edited and extended Smith’s instrumentation in order to make it possible for Dett’s music to become available to a new generation of musicians and listeners alike. For conductors who desire to perform this work in its original 1901 edition, that instrumentation is as follows:

Piccolo in D-flat (no specific indication for parts for flute) Oboes Bassoons E-flat Clarinet 3 B-flat Clarinets (printed as two parts: “Solo or 1st B-flat Clarinet” and “2nd & 3rd B-flat Clarinets”) B-flat Soprano Saxophone E-flat Alto Saxophone B-flat Tenor Saxophone E-flat Baritone Saxophone 3 B-flat Cornets (printed as two parts: “Solo B-flat Cornet (Conductor) and “2nd & 3rd B-flat Cornets”) 4 E-flat Horns (appearing in this edition as 4 Horns in F) 3 Trombones (the third also as “Bass Trombone”) 2 Tenors (which are Trombones 1 & 2 notated in treble clef) Baritone (presented as Euphonium/Baritone in this edition) Basses in either E-flat or B-flat (presented by Tuba in this edition) Percussion (three players - cymbals, snare drum and bass drum; the bells/glockenspiel having been added by Perna)

In this current publication, a full score was prepared in order to clarify what Smith had written, since scores were not published during that period. “Solo B-flat Cornet (Conductor)” was considered sufficient in those days. From there, all matters regarding orchestration were carefully considered with regard to alignment of measures, balance, markings, dynamics, repeat signs, and everything else that is editorial in nature. Some modifications were made in order to best serve whichever size of forces a conductor may decide to use. The final strain (ms. 82 to 93) takes the 1st B-flat Clarinets into their highest register, exactly where Smith scored it. If this range poses too great a challenge for your players, it may certainly be played an octave lower. The E-flat Clarinet part (highly desirable) is higher still, but the Flute parts (added by Perna) can carry the day if a competent E-flat Clarinet player is not to be found. Certain additions to Smith’s instrumentation were included for greater balance and depth of color; for example, in order to complete the harmony in the cornet parts, two “trumpet” parts have been added. As stated previously, please keep in mind that, given the idiom and period this work hails from, certain parts to this “Characteristic March Two-Step” can be omitted since their tone-strands are sufficiently covered. Dett’s music came to the attention of a wider public on an international scale due to his association and personal friendship with Percy Grainger, whose February 10, 1920 recording of “Juba Dance” (Columbia A6145), as well as his subsequent “Duo-Art” piano roll proved something of a commercial “hit.” With regard to After the Cake Walk specifically, I became better acquainted with it while working on a recording (still available on the Altarus label) by the late pianist Denver Oldham (1936-2012) on which it is included. Coupled with an earlier version I had prepared for brass band in dedication to Ringebu Musikkforening (a Norway-based brass band by whom that version was premiered), I felt that its preparation for a band’s instrumentation became absolutely necessary. Upon discovering that Smith had already prepared one when this opus was new, everything made sense. It has been a tremendous honor to return this lesser known title to the band literature where it rightfully belongs. Dana Paul Perna Recording Secretary, International Percy Grainger Society, Palm Coast, FL

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Copyright © 2018 by Southern Music Company (ASCAP).International Copyright Secured. All rights reserved.

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Piccolo

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Flutes 2

Oboes 1/2

Eb Clarinet

Bb Clarinets 1

Bb Clarinets 2/3

Bb Bass Clarinets

Bassoons 1/2

Soprano Saxophone

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

Bb Cornets 1

Bb Cornets 2/3

Bb Trumpets 1/2

Horns in F 1/2

Horns in F 3/4

Trombones 1/2

Trombones 3

Euphoniums

Tubas

Snare Drum

CymbalsBass Drum

Bells

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Full ScoreS975

Robert Nathaniel Dettarranged for band by Lee Orean Smith - 1901

edited by Dana Paul Perna - 2014Two-Step

After the Cake WalkCharacteristic March

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