Second Prelude: Concert Band, Ensemble Works, Full Score

This arrangement brings one of Gershwin's most reflective pieces into the concert band repertoire at an approachable level without sacrificing the introspective character of the original. John Krance's orchestration preserves the plaintive blues melody and harmonic richness that makes the Second Prelude stand apart from typical Grade 3 fare, giving your ensemble a piece that sounds substantially more mature than its difficulty suggests. It fills a genuine programming need for directors seeking lyrical, contemplative concert music that doesn't rely on flashy technique.

Contemplative and introspective, with the unmistakable melancholy of a blues melody set against rich harmonic underpinnings. The piece unfolds with quiet dignity, building gently through its middle section before settling back into the reflective mood of its opening, leaving the listener in a state of quiet repose.

Grade 3 concert bands that have developed secure intonation and basic blend but are ready for repertoire with genuine musical substance. This arrangement works equally well for intermediate high school bands and strong middle school programs seeking material that teaches ensemble discipline through lyrical playing rather than technical display.

• Shape the opening blues melody with long, singing phrases rather than over-articulating. The plaintive quality depends on restraint and smooth tone production across the section carrying the theme.
• Balance the harmonic accompaniment so it supports rather than overwhelms the primary melody. Test orchestration balance early in rehearsal, especially during the developmental passages.
• Observe the shift to 'Con Moto' in the middle section as a genuine change in character, not simply a tempo adjustment. The contrast between the introspective A section and this more active middle section gives the ABA form its architectural strength.
• Approach the return of the original melody and the quiet closing with the same care you gave the opening. The 'repose' Gershwin wrote into this ending requires controlled release of sound, not a fade-out.

Program this as a concert centerpiece when you want to showcase your ensemble's musicality and emotional maturity. It pairs beautifully with either more energetic opening selections or lighter closing pieces, and works particularly well on concerts that explore American musical traditions or feature multiple Gershwin works at different levels.

• Sustaining lyrical phrases with consistent tone quality and intonation
• Balancing harmonic textures where melody and accompaniment share equal importance
• Interpreting ABA form through contrasts in character and phrasing
• Responding to subtle dynamic and tempo markings that shape musical mood