Little Black Box by andyjarema

[

Little Black B ox

Composed by Andy Jarema

]

] [

Percussion 1 (Snare/B.D.) Percussion 2 (Slapstick/Toms) Percussion 4 (Timpani) Percussion 3 (Chimes/Triangle)

Instrumentation Flute Oboe Clarinet Bass Clarinet Bassoon

]

Alto Saxophone Tenor Saxophone Baritone Saxophone

[

Tuba Baritone Trombone French Horn Trumpet

] [

Notes I Unlike choral singers who can see all parts in their sheet music, instrumentalists constantly have to tangle with deciphering everyone else’s part in the ensemble. Multi-rests on the page essentially function as “black boxes,” keeping the musicians in the dark of the full picture of the music. Little Black Box is a piece that exploits this feature, deceiving the musicians with misinformation and guarded truths. It also raises ethical concerns over the hierarchical power structure of a traditional ensemble (the “master-to-puppet dynamics” of the “composed-conductor-orchestra-audience chain of communication,” as the composer Andrew Norman calls it), given that the score in the director’s hands contained the only pathway to the so called “truth.”

Notes II Unlike most band works, which present a final product in the form of a single stage performance, the real magic of this piece exists in the day-to-day rehearsal process in the classroom. Think of this piece more as a series of lesson plans, a living document that suggests a piece of music rather than presenting students with a steadfast version (or “truth”) of it. It is an experiment, one that will involve lots of mistakes, confusion, and misfires. Your most important weapon is to rethink your role within the ensemble: your role as the band conductor should be minimized in favor of your role as the band teacher, where asking insightful questions and prompting frequent student discussion will be encouraged above all else. This is not simply a piece to be “played” (although a stage performance is of course still a part of the process!), but a piece to be decoded. In the process, I hope students will unpack ideas about truth, misinformation, and their role as a cog in the vast machine of the wind ensemble.

III setoN The following is a list of hints for the “black box moments,” areas where the clarity of the music is obfuscated and student confusion might run rampant. As the band teacher, you have the option to view these or not. You also have the option to present this information to your students or not, either giving them guided questions at these locations or perhaps having them piece it together themselves. It might even be helpful to deliberately target these areas before you attempt to put the piece together as a whole. Any choices are valid, but these choices will affect the experience of the rehearsal process. The most important thing to keep in mind is you must actively unpack these choices by engaging your students in discussion and questioning. In case you feel down to the wire for an upcoming performance and must sort out the most important moments, I put the most vital ones to sort out in bold.

[Ms. 1] You have a choice from the beginning: Do you tell students to keep their guard up and watch out for these “black box moments,” or do you let them crash and burn and figure it out themselves? [Ms. 33] The black box officially “opens” and starts monkeying around with the piece. There are no black box moments before this. Is this something you tell the students, or do you let them struggle to create their own false positives and conspiracy theories even before something happens?

[

[Ms. 39] The flute and alto sax have different articulations. Which one is correct? Will one part have to rewrite their articulations? Or perhaps is the contrast supposed to be there? Which sounds better? [Ms. 41] The cues show everything happening a beat before it should. Cues are supposed to help us know where we are in the music, but this one deliberately throws us off. Should we trust any cues after this point? [Ms. 45] This measure seems out of place. Do you leave it in as a foreshadowing motive, or do you cut it out?

]

[Ms. 50] The cues here are wrong again. Will players be tripped up by this?

[Ms. 66] The tacet instruments will not know the time signature changes here. Perhaps start right at this measure and see if the students can figure it out? You could up the ante by not conducting and having them listen to see how the music fits together. [Ms. 108] Half the ensemble has p-f, while the other half has f-p. Which one is correct? Will one part have to rewrite their dynamics? Or perhaps is the contrast supposed to be there? Which sounds better? [Final Hint] There is one spot where the players will attempt to steal away control from you as a conductor. Are you going to allow them to do this? I will leave you in the dark on the measure number of this one.

Little Black Box ]

[ q = 132+       2 Flute  

ff Divisi

  Clarinet       ff  Bass Clarinet       ff  Divisi       Bassoon  Alto Saxophone  





 

    Tenor Saxophone   ff

 Baritone Saxophone       ff Divisi    Trumpet      

 French Horn       ff  Divisi      Trombone ff

 Divisi      Baritone ff

  

       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       



Don't Play- Percussion cues



Don't Play- Percussion cues

  



       



Don't Play- Percussion cues

 

Don't Play- Percussion cues

  Oboe     

Composed by Andy Jarema andyjarema@gmail.com

 

ff Divisi

                       

                       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       

Don't Play- Percussion cues

       

       











 mp









   mp









 mp

 

 mp







Don't Play- Percussion cues

               Tuba                mp ff (Rims)   Percussion 1                                       (Snare/B.D.) Center                                     of B.D.  Let B.D. ring ff p (subito)

Percussion 2                                    (Slapstick/Toms) Toms     (Rims) ff p (subito)

Percussion 3       (Chimes/Triangle) Chimes







Percussion 4                                       (Timpani)  Center  Let ring Paper sketches started 11-25-17 Sketches complete 2-6-18 Sibelius started 3-3-18 1st draft done 3-24-18 Formatting done 4-10-18 Edited 8-27-18

of Timp

ff p (subito)

(Rims)

 Fl. 



Ob. 



Cl. 



 



Rapidly repeat this box



B. Cl.  



 





 

Bsn.

  









 

mp Rapidly repeat this box

 

mp Rapidly repeat this box

 



A. Sax.  





 T. Sax. 









B. Sax. 





 



  







 mp

 Tpt.  





Hn.  





Tbn.



Rapidly repeat this box

 









 mp







 mp

Bar. Tba. 

  







 mp













Sn                                                                   BD

       

Slp                                  Tom mp TRI  Ch Timp 



                                 mp

        





       

Instruction to the players: Choose one box to play Repeat in tempo until conductor shows final note

III 20 Fl. 



Conductor's Note: Do not conduct, only show cues Tempo remains strict but timing of cues can be optionally free All players start as a section (i.e. no matter which box they choose, all alto saxes begin in m. 24)



Ob. 



Cl. 



B. Cl.  



 



Bsn.

   mf



  



A. Sax. 



 T. Sax. 



B. Sax. 





      



 



      





  



Hn.  



Tbn.

 

Bar.

  



 Tpt.  

Tba. 



  



       mf

  



  

   



Sn                                       BD

  





  





     

        

 

   



  

  

   

 



Slp                    Tom mf TRI  Ch Timp 



                   mf



    



 



 



4 29

 Fl. 



Ob. 



  

    31

   

 

 



    

 





   



 



   



       Center of B.D., mute quickly



   



    ff

    ff

   ff    

Hn. 

Tba. 









   

 



     Perc: Repeat box until conductor shows final note

Sn           BD

 



 Tpt. 

 





T. Sax. 

Bar.



    ff   

 

A. Sax. 

Tbn.



 

    B. Sax. 

(q = 110)

    

B. Cl.          



Cl.      

Bsn.

Slower

   

   

   

Slp      Tom

   

   TRI  Ch

    

   

 Timp     

   



ff Mute quickly

   

   

ff Center of Timp, mute quickly

37 Fl. 



    

Don't Play: Lows Cue 41

 

   

  

Ob. 



Don't Play: Lows./Sx./Fl. Cue

Cl. 



Don't Play: Lows/Sx./Fl. Cue







         

 

Play

     

      f (subito)

 



 

 Play 



f (subito)

B. Cl.               p Sneaky

Bsn.

 

             p Sneaky

A. Sax. 



T. Sax. 



 

   p



  













   



 

      



Don't Play: Lows Cue

 



B. Sax. 



Don't Play: Lows./Sx./Fl. Cue

 Tpt. 



Don't Play: Lows./Sx./Fl. Cue

Hn. 



Don't Play: Lows Cue

 



   

 



   

Don't Play: Lows Cue

 

 











  





Play



     

Play

f (subito)

   f (subito)  

    

f (subito)

Play

f (subito)

  



f (subito)

  



Play

   

f (subito)



          Bar.   



p Sneaky



p Sneaky

Tba. 





 Sn            BD p



 





 

      



 



 



Play

 







         



         



Don't Play: Lows./Sx./Fl. Cue



     

Slp  Tom



TRI  Ch







f (subito)

   f(subito)  









  





f (subito)



 Don't Play: Lows Cue









On shell









  

f (subito)

Play

 



 



   









 

 



Sneaky, close to the rim

Timp 

     

            

Tbn.



Play



f (subito)



 

   f (subito)     

Triangle (Play)







   

f (subito)

45 Fl. 







                 

 

  



mp (subito)



       





Don't Play: W.W. Cue



     



B. Sax. 



 Tpt. 







       

Don't Play: W.W.  Cue

  

 

       

Don't Play: W.W. Cue

 

 

  

 



Don't Play: W.W. Cue

Tbn.



Bar.









Slp   Tom mf

Slapstick

Timp 









 



Chimes





 f



   



Play



Don't Play: W.W. Cue

       



Play



Don't Play: W.W. Cue



Play



       

       

 







 

   

   

  

 



                  On shell

 

  



   

  

   f

     

  







 

          

   



   



Triangle





 







    Play





Play

       

Rims (sim)



Play



mp (subito)





Center of B.D.

Play



Hn. 

Gently mute w/hand Sn       BD    

   

        



Don't Play: W.W. Cue

T. Sax. 

TRI  Ch



A. Sax. 

Tba. 

                               



Cl.       

Bsn.

47 48   49      50      51                 

Ob. 

B. Cl. 

  p



   

53  Fl. 



Ob. 



A. Sax.  T. Sax.  B. Sax. 









    

  

 



 

 

 

 

 

 

   

  



 



 

 

   



     

 

  





  





 



   



          

          

 

Slp  Tom



TRI  Ch







 

 

       

     

  

      



   

  

    

   



  f



   

     



 



  

    

     

 



   

    

       



          f

 

  

Chimes 



  

 

  



 

      

                                                  

  Toms

Timp 

   

 











 

  

 

   

   

 



   

   

 

  

Sn   BD

Tba. 

     

    

     



 



    

Bar.







   



  











   



Hn.    





 Tpt.    

Tbn.





    

 



B. Cl. 





 p

Cl.    

Bsn.



On shell





 













 



 



 

61  Fl. 

  62  

 Ob. 

  

Cl.    B. Cl.  

 

             

     

      ff



T. Sax.  

  

      



  

     

 Hn.  

Tbn. Bar. Tba. 

    



     

 

  Sn          BD   Slp         Tom    TRI       Ch       Timp    





 

    

 Tpt.   



 



 A. Sax.  

      



     

  

B. Sax. 

  



          ff

 

Bsn.

      

 

       ff



  

       ff

      



 

   

      



 

     

 

   ff

    





 

 

    

     

   

     

    

 







       





 

 

  



  



 



         



       



        





         







         



  

         



  

        



 

 

 









   



      

  



  

                

      ff

     

 



Note: Tacet instruments have a hidden time signature change

    

      

 



  

Slapstick (if only one player on this part, omit previous tom part)

 





 





 







Mute quickly

() 69     Fl. 

   

Ob.  

       

Cl. 



B. Cl.  Bsn.







    



   

shhh







    

shhh



A. Sax.  



     

  mp

 

 









    

   



    

shhh



    

shhh





shhh

Slp  Tom TRI  Ch Timp 







 

 



 Close to rim

    p

Toms

    



 

  



  







   





   



   



 



 







  

   

   



Mute quickly



On shell



   







 





 



 



  



   ff     mf

Chimes



   



      



 





Triangle

   





 



     



  





p Lightly





Sn   BD



 

 



    



       



 



    







 Tpt. 

Tba. 



    





 



Bar.

B. Sax. 







shhh

Tbn.



 



    

Hn. 



  



T. Sax. 





   Mute quickly

   mf





 mf

I/O

77 Fl. 

Faster



....

(q = 120+) 79

   





Ob. 

Cl.         mp

B. Cl.  Bsn.



     

  

A. Sax.  T. Sax. 



B. Sax. 



 Tpt. 



 

    



 

  

 



      

       



   

   

  



   

    

   

  



   

  

   

  

     mf



            

 

 



sim.

 



   

opt 8vb





sim.

   

sim.



   



 

 

Hn. 



Tbn.





Bar.





Tba. 





Center of B.D., gently mute w/hand

Sn    BD 

       

Slapstick (if only one player on this part, omit previous tom part)

  

 

sim.

   

  



  



  

Slp   Tom f

 



TRI  Ch



Timp 



Mute on beat 1



84 Fl. 



    86



  87





Ob. 

  88



  89



  



sim.



Cl.                  



       



     





       

       

B. Cl.  

   

 



 

 

 

 

 



 



 

   

 



 

  

 

 

 



 



Bsn.



A. Sax. 





   

 



 

 

 

 

 



 



B. Sax.  

   

 



 

 

 

 

 



 



   



T. Sax. 

 Tpt.      

Hn.  Tbn. Bar. Tba. 

  

Sn    BD

 





   

sim.



      

  





       mp







  

 







     

TRI  Ch



Timp 

     



Slp  Tom





(mp)

       



       



       





      

Toms

  



Lightly mute each note



 



 





 



 

    

 



sim.





 

 



 



  91

90 Fl.  

     Ob. 

  92



  

  93



  

  94



  

  95



  

  



sim.

Cl.         

       

      

       

  

       

       

B. Cl.  

  



  



  



   

  

 

  



  



  



    

   

  

Bsn.

    A. Sax.   mp

T. Sax. 



B. Sax.  

     

Bar. Tba. 

 

      

 

Hn.   

    

sim.



 Tpt. 

Tbn.

    





     



 



 

    

       

    

     

 



    



 



   

      

 



   



  







        



Slp  Tom TRI   Ch



         

 





        





       















   

        

  



  



 



  



  

 mp



  





  



      

 

 

   

Sn     BD

Timp 

  

 



    

   

    

   

 f

  

Mute

  

   97 

96 Fl.  

mp (subito)

      Ob. 

    98 

     

    99 

     

   100 

     

mp (subito)

Cl.         



mp (subito)

B. Cl.  



mp (subito)

Rich and full

 

mp (subito)

T. Sax. 



mp (subito)

  



mp (subito)







   Tbn. mp (subito)

 

mp (subito)

    





 















sim.



    

 



 



 



 

 





   

















Timp 



  f





 

 



   

 



 

 



  mf



 





TRI  Ch



Booming, let ring





 

Rich and full



 

 

    

Rich and full



Slp   Tom

 

      

   

Rich and full

 

 





    

mp (subito)





Rich and full

Hn.  

Sn     BD

 

mp (subito)

Tba. 

       

  









 Tpt.  



      

Rich and full

B. Sax.  

Bar.



Rich and full

 

A. Sax.  

       

mp (subito)

Bsn.



 



mf On shell



 



    102 

101

 Fl.  

      Ob. 

Cl.       



      



  Bsn.



T. Sax. 



 B. Sax.  

    



 Tpt.  

Hn.  

 



 



 

   





     





  





      









 

  



 

  



 

  

 

  

 

  

 

  

 

  

  

  

  

  

 

  

 

  

 f





   





 

 



  



  



   



   



  



 

     f

  

  

   



 



  

 f

 f

 



 



 



Sn     BD  Slp   Tom

 



   

 





TRI  Ch Timp 





 







     

Tba. 





 



     

   

   Tbn.

Bar.

105     

B. Cl.  

A. Sax.  

   104 

    103 







        (Rim)

       



  







 

 



 f

 

  

 

15 Rattle keys

106   Fl. 

107   

108 109  110              



 

             

Ob.  

 

Cl.     B. Cl.     Bsn.

 

                

  

   

  

     f

Rattle keys

  

                

         

    Tbn.

Bar. Tba. 

    



  

Sn     BD

 

Slp   Tom





TRI     Ch

 

Timp 





  

  

  

 

Rattle keys

   



Rattle keys

              



Rattle keys

Lightly tap bell w/fingers

               f

(get ready for last note)











  



Rattle keys

          p



       



      Solo

   



Repeat box, get maniacally faster

   



  

Rattle keys

              

             p f       

 



  



   

 

                 p

   

 

Rattle keys

Hn.    



               

 T. Sax. 

  





             

 Tpt.   

  

  

114

Rattle keys

A. Sax.   

B. Sax.    

  

113

Rattle keys

  

112

Rattle keys

111

Mute abruptly



I, II, III 0I // + # ? () I/0 .... Δ 

Precipitating actions On switch Cut to a different world Increase Libra, astrological sign for scale. Libra = lb. lb scribbled quickly = #. Pounds. Weight. Heaviness.

Hidden Sparse, empty Divide by zero, a discontinuity

Four on the floor Change, something has shifted

End