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Second Prelude: Concert Band Conductor Score & Parts

$50.00 USD
$50.00 USD
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Second Prelude Cover Image
Second Prelude: Concert Band Conductor Score & Parts

Second Prelude: Concert Band Conductor Score & Parts

By George Gershwin, ed./ arr. John Krance

Grade: 3

Item: 36-50100126
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Description
The only solo Piano pieces for concert performance which Gershwin wrote were five Piano Preludes which he himself premiered in December of 1926 in New York City. Of the original five, three have remained, having been published in 1927. Of these three the SECOND PRELUDE is by far the most popular. Cast in a simple song-form (ABA) its plaintive “blues” melody unfolds and is gradually developed through a richly harmonic accompaniment into a contrasting “Con Moto” middle section, whereupon the original theme returns and the piece ends in quiet repose. The overall mood is one of contemplation and introspection.This version of SECOND PRELUDE is arranged for Concert Band by John Krance and has have attempted to capture the mood and beauty of the original piano score.

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Additional Details
Series: LudwigMasters Concert Band
Publisher: Keiser Productions, Inc.
ISBN10: 1-62-156705-2
ISBN13: 978-1-62-156705-9
UPC: 746241225931
SKU: 36-50100126
Instrumentation: Concert Band

More about this title

About the Composer: George Gershwin

George Gershwin (1898-1937) was an American composer who bridged classical concert music and popular song with unprecedented fluency. His five piano preludes, premiered by the composer himself in 1926, represent his most significant contribution to the solo piano repertoire and showcase his gift for weaving jazz idioms and blues sensibility into formally disciplined structures.

Gershwin's music has become foundational to American music education because it demonstrates how vernacular musical language can sustain serious artistic ambition. Teachers and students encounter his work across multiple contexts: as keyboard literature, as orchestral masterworks, as a bridge between classical tradition and American musical identity.

Why we love this

This arrangement preserves the introspective beauty of Gershwin's original prelude while giving it orchestral dimension. The Grade 3 scoring opens the piece to bands that might not have advanced pianists, and John Krance's orchestration honors the harmonic richness and blues vocabulary of the source material without overwhelming it. Programming this work signals to audiences and students that concert band can deliver genuine artistic depth and historical significance.

What to expect

Quiet and introspective, with moments of gentle lyricism. The blues melody carries an underlying melancholy that the rich harmonic support makes complex rather than simple; when the middle section arrives, the mood shifts to something more restless and active, then settles back into that original contemplative space. The overall arc feels less like a dramatic journey and more like the unfolding of a private reflection.

Who it's for

Concert bands at the intermediate level seeking high-quality repertoire with artistic substance. This arrangement works equally well for directors who want to program a recognized masterwork or for those teaching students how serious 20th-century American music sounds when orchestrated for the concert band medium.

How to get the most out of it

  • The melody in the A section needs space and air; avoid pushing the tempo even though the harmonic progression may feel like it wants to move forward. Let the accompaniment support rather than urge.
  • Balance the accompaniment texture carefully during the middle section (Con Moto) so the shift in mood registers clearly without the piece becoming heavy or congested.
  • Shape the return of the original theme with slight dynamic flexibility and rubato to reflect the contemplative, almost wearied quality of the ending.

How to use it

This works beautifully as a moment of repose in a concert, especially following a more energetic opener or lighter contemporary work. Its relatively modest duration makes it an ideal transition piece, or it can anchor a short program focused on American concert music or arranged masterworks.

Skills your students will build

  • Sustaining legit legato phrasing across longer melodic lines
  • Balancing melody and accompaniment in a harmonic-driven texture
  • Understanding how blues vocabulary functions within concert music form (ABA structure)
  • Responding to subtle dynamic and tempo shadings that convey mood and character

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