Gustav Holst's Suite No. 1 in E flat is the cornerstone of twentieth century band repertoire. Written in 1909 for military band, it is the first significant composition to showcase the expressive range and capabilities of brass and woodwind bands. As a professional trombonist, Holst was appalled by the lack of repertoire for bands which then consisted of marches, unimaginative operatic potpourris and hackneyed arrangements of popular songs. His experience as a band musician gave Holst a distinct advantage over other composers in this medium. Instead of approaching such compositions from an orchestral perspective by simply writing pieces for an orchestra without strings, Holst's works were specifically created for wind band and offer a crispness of musical line that became the foundation of twentieth century band and drum corps style. The Suite No. 1 in E flat is considered the first meaningful step toward making the military band a serious concert medium. Often played by military-style bands in concert or competition, it is cleverly written to showcase the various musical colors and abilities of the wind band instruments.

The 3/4 time and stately introduction of the musical theme by the lower brasses give the Chaconne, the first of this composition's three movements, a dignified character appropriate to the Spanish dance that is its namesake. As this theme is echoed and embellished by the upper brasses and then by the woodwinds, it allows each section to show its virtuosity in turn; a requirement for military band competitions. The original theme is then overtaken by running scales in the woodwind line supported by short, percussive phrases in the brass and percussion parts. A further variation of this second theme is carried in a peaceful woodwind interlude which leads to a reintroduction of the original melody. Built from the lower brasses throughout the sections, the theme culminates with an exciting fanfare lead by the trumpet line and emphasized by the cannon-like strikes of the bass drum which are reminiscent of Tchaikovsky's "1812" Overture.

In the Intermezzo, Holst creates a sprightly opening melody with the woodwinds and tambourine. This theme eventually wraps itself around a variation of the folk song, "I Love my Love", which is skillfully handed back and forth between the clarinet and trumpet lines. Holst's penchant for using folk songs as themes for his compositions is evident in this movement and is very effective, even in this early band work.

The March is a stirring, if somewhat typical parade-style march reminiscent of the works of John Philip Sousa. Written to be performed at the traditional walking andante meter used by military bands on the competition field or parade grounds, the brass setting of the opening melody is well balanced and elegant. As the woodwinds weave snatches of folk song melodies together in smooth succession, the brass echoes and varies these lines. With an upward modulation in key, Holst reintroduces the opening march theme, led by the trumpet line, in an irruptive and glorious fanfare that brings this piece to a spirited conclusion.

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