Variations on a Korean Folk Song

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Variations on a Korean Folk Song is a musical piece written for concert band by John Barnes Chance in 1965. As the name implies, Variations consists of a set of variations on the Korean folk song Arirang, which the composer heard while in Korea with the U.S. Army in the late 1950s. ^[1]

The theme is based upon a concert A♭ major pentatonic scale. At the beginning of the song, the first part of the theme, resembling Arirang, is introduced quietly in the clarinets; the other instruments join in to play the second part. The song then consists of five variations on this theme.

The first variation, marked Vivace, turns the theme into a series of rapid sixteenth notes, played by the woodwinds and temple blocks at first and then the entire band. It ends with set of sixteenth notes played by the entire band in unison.
The second variation, marked Larghetto, is obviously much slower. The second part of the original theme is played in inversion—first by a solo oboe, then by the flutes and french horns, and finally by a solo trumpet.
The third variation, marked Allegro con brio, is a March in 6/8 time. The trumpets play a series of rapid eighth notes based on both parts of the theme; the woodwinds repeat this, and the march becomes more and more frenzied until it reaches its peak. At this point, the band plays a rapid descending whole tone scale starting in the highest voices and ending in the lowest.
The fourth variation, marked Sostenuto, is much slower and is in 3/2 time. The theme is played by the woodwinds, and then the brass join in with a series of chords.
The fifth and final variation, marked Con Islancio ("with impetuousness"), is faster and begins with a long solo in the percussion section. The piccolos and flutes join in, playing the second part of the theme, and then the brass enter playing the first part. This section is in 3/4 and is a hemiola; the brass play as if each measure were divided into two beats, while the woodwinds play three beats to a measure. For this reason, it is often conducted in one (i.e., the conductor only conducts the downbeat of each measure). The music grows louder and more excited and ends with a final quotation of the sixteenth note melody from the first variation.