Fall is my favorite time of year. The cooler weather, the colorful leaves, the smell of decomposing leaves (seriously, I like that), and of course, pumpkin spiced everything (not a fan …)

Asa composer, Ottorino Respighi isn’t exactly a one-hit-wonder – instead, more of a three-hit-wonder. He wrote three orchestral suites, all based on Rome – The Pines of Rome, The Fountains of Rome, and Roman Festivals. One of the festivals that he paints with music is called “The Harvest of October.” In it you can hear horn calls, signaling a festive hunt; later, a mandolin plays a folk melody, painting peasants working to bring in the last harvest; the piece ends with the exhausted festival goers slipping off into a lovely, quiet sleep.

Nothing says TGIF like a fun, light piece by Leroy Anderson – makes me want to make a martini and do a white-man dance.

“Bugler’s Holiday” is a piece loved by trumpet players, for obvious reasons. The abundance of trumpet-players in high school and community bands means that this piece gets a lot of plays, and the better players get a chance to show off a bit. The piece’s title is a bit of a misnomer; the three solo parts need to be performed on a modern trumpet, not a bugle. A bugle is a very simple brass instrument – essentially just a coil of metal tubing with a mouthpiece on one end and a bell on the other. This means the only way to change pitch is by increasing the air pressure – to oversimplify, “blowing harder”. Other brass instruments control pitch both by air pressure and with aids that actually increase the length of the brass tubing. A trombone is the easy example – push the slide out, and the air is travelling an extra four feet of length, lowering the pitch. Valved instruments like a tuba or horn follow the same idea; instead of adding tubing by moving a slide, the player presses a valve which forces the airflow through little coils of extra tubing, cut to a specific length for precise pitch finding. Valved brass instruments are only about 150 years old (that’s quite young in the instrument world).

So how did valved instruments play in different keys before they had valves? A French horn without valves can realistically play about 10 usable notes covering 6 different pitches. Players fixed this shortcoming by carrying around boxes of “crooks” – lengths of tubing that they would attach to their instrument, one at a time, to change the key in which it would play. Then, using air pressure, they could nab whatever pitches were necessary. When the key changed, so did the crook. This was slow and clunky, but it worked; it must have been a great relief, however, when valves came onto the scene.

Too confusing? Head spinning? Time for a holiday.

I learned the term “homeroom quickie” from my high school Latin teacher. Whenever a large paper or project was due, inevitably among the carefully typed and prepared papers there was one which was hastily scribbled in pencil on line paper, ripped out of a 3-ring binder. The students who turned in these quickies usually did so either with their faces shamefully pointed to the floor, or with a carefree attitude of “yes, this IS my project I’ve been working on for weeks.” It was always easy to identify a homeroom quickie.

Imagine my surprise as an adult to find out that homeroom quickies typically grow up to become office quickies. Take, for example, the Samuel Barber‘s Violin Concerto. Barber was given a due date of Oct 1st, 1939, as the piece was supposed to be premiered in January 1940. Barber, however, failed to turn in the assignment on time; like any good quickie, though, there was a good excuse. He had begun the work in the summer, while he was in Switzerland – but the impending war caused a delay while he fled Europe. Nonetheless, by mid-October he had turned in two of the work’s three movements. With the clock ticking, the premiere approaching, and the violin soloist getting very nervous, the pressure was on to produce quickly. In late November, Barber whipped off a very short, very fast, very difficult finale to the concerto.

With just a little more than a month to learn and prepare this piece, the violinist rejected the work, gave a long list of criticisms and suggested edits, and ended up performing Dvorak‘s concerto instead. Barber stuck to his guns and didn’t edit his work, which was a good thing, because his concerto has since become a staple of the American Art Music repertoire.

So this “homeroom quickie” might have received an F from a teacher, but in the long run, A+. And, if ever a piece sounded like a desperate student trying to frantically write a twenty-page-paper in just three minutes, it’s this one.