Axe to Grind - Full Score

Commissioned by James Mobley and the Brownstown Middle School Band and N-BEAM consortium members

AXE TO GRIND For Symphonic Winds & iOS

DANIEL MONTOYA JR. Duration: ca. 3:35 Grade 2.5

INSTRUMENTATION Flute Oboe Bassoon Clarinet in Bb 1-2 Bass Clarinet Alto Saxophone 1-2 Tenor Saxophone Baritone Saxophone Trumpet in Bb 1-2 Horn Trombone 1-2 Euphonium Tuba Percussion 1 Kick Drum (mounted)

Percussion 2 Crash Cymbal Hi-Hat Percussion 3 China Cymbal Rock Tambourine Snare Drum Splash Cymbal Percussion 4 Ice/Zil-Bell iOS1 + Marimba (3.0)/Vibraphone iOS 2 iOS 3 iOS 4

M O N T O Y A

M U S I C

“Music played sitting down, standing up, & running across a football field.”

http://www.danielmontoyajr.com contact@danielmontoyajr.com

THE CONSORTIUM Commissioned by James Mobley and the Brownstown Middle School Band, with the participation of the following members of the N-BEAM consortium: • • • • •

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Brownstown Middle School, Brownstown, MI. James Mobley, Director. Consortium Lead School Athens High School, The Plains, OH. Aaron Backes, Director Bailey Middle School, Cornelius, NC. Ruth Petersen, Director Blue Valley Middle School, Stilwell, KS. Ben Strain, Director Bowling Green State University, Bowling Green, OH. Dr. Kenneth Thompson, Director. Consortium Sponsor Partner Boyd Arthurs Middle School, Trenton, MI. Peter Kopera, Director Discovery Middle School, Canton, MI. Marc Whitlock, Director Exeter-West Greenwich Jr/Sr High, West Greenwich, RI. Gregg Charest, Director Indio High School, Indio, CA. John Freeman, Director Liberty High School, Bedford, VA. Will Satterwhite, Director Miamisburg Middle School, Miamisburg, OH. Ryan Wintersheimer, Director Morris Community High School, Morris, IL. Brock Feece, Director Northbrook Junior High School, Northbrook, IL. Greg Scapillato, Director Patrick Henry Middle School, Woodhaven, MI. Bradley Faryniarz, Director. Consortium Charter Member Patrick Marsh Middle School, Sun Prairie, WI. Chris Gleason, Director Plymouth Christian Academy, Canton, MI. Michael Hejka, Director Plymouth Community Band, Plymouth, MI. Carl Battishill, Director Prairie Star Middle School, Leawood, KS. Paul Aubrey, Director Renton Junior High School, New Boston, MI. Brenda Bressler, Director San José State University, San José, CA. David Vickerman, Director Saudi Aramco Expatriate Schools, Dhahran, Saudi Arabia. Brian White, Director Shumate Middle School, Gibraltar, MI. David Brockington, Director. Consortium Charter Member Southgate Anderson High School, Southgate, MI. Brendan Walter, Director St. Charles East High School, St. Charles, IL. Jim Kull, Director St. Claire High School, St. Claire, MI. Micah Volz, Director Stoney Creek High School, Rochester Hills, MI. Lauren Staniszewski, Director Traughber Junior High School, Oswego, IL. Rachel Maxwell, Director Troy Middle School, Plainfield, IL. William Goetz and Jennifer Carlton, Directors University of Cincinnati Bearcat Bands, Cincinnati, OH. Christopher Nichter, Director University of Memphis, Memphis, TN. Armand Hall, Director University of Wisconsin-Madison, Madison, WI. Scott Teeple, Director Van Wert High School, Van Wert, OH. Robert Sloan, Director West High School, Columbus, OH. Scott Wedell, Director

The New Band Electro-Acoustic Music (N-BEAM) consortium was created in 2016, with the mission of fostering the creation and performance of new EA concert band literature for younger musicians. A trio of established composers - Benjamin Taylor, Daniel Montoya, Jr., and Alex Shapiro- were selected to bring their unique musical talents to this project. The N-BEAM consortium thanks the Bowling Green State University College of Musical Arts, Dr. Kenneth Thompson, Director, for its sponsorship support.

Performance Notes for Axe to Grind • Axe to Grind requires the use of four iOS devices and the GARAGE BAND application (updated). • Alchemy Synth is required and is available on iPhone 6 (or later), iPad (5 th gen or later), iPad Air 2, iPad Mini (4th gen or later), & iPad Pro. • Due to the use of guitar strums and other playing techniques close to the bottom of the screen, it is recommended that Control Center is turned off under Settings > Control Center > Access Within Apps. • For added ease, it is recommended that all devices set Auto-Lock to never under Settings > General > AutoLock > Never. • It is also advised to set the device into Airplane Mode to avoid texts, phone calls, and other notifications to sound through the speakers. • It is suggested that all devices are clamped to a stand. Peavy brand clamps come with adaptors for all iPad sizes and have 100% tile, swivel, and yawl control for proper adjustment. • All the iOS devices require amplification. This can be accomplished by using individual speakers for every device or by plugging all devices into a mixer board that leads into main speakers and subwoofers. Due to the use of electronic bass and sound effects, the use of subwoofers will achieve the optimum effect and result. o The iOS devices will require 1/8 input to dual RCA (red & white) cables. 1/8 inch to 1/4 inch TRS adapter cables can also be used. Use these cables to connect the iOS devices to the speaker or mixer board. 10 ft. length is highly recommended. o If available, plugging the device into a Direct Box (using the 1/4 inch adapter) and then leading to the mixer board (with XLR cable) allows for an easy way to reach beyond 10 feet. • In order to achieve proper balance between electronics and winds, speakers and/or mixer should be placed in the back of the ensemble. • If mixer board is being used, place mixer in percussion section in a centralized location so that all iOS devices have access to mixer. Speakers should be placed towards the back of the ensemble on the left and right sides. • It is important that all musicians and the conductor are able to hear the virtual instruments as they are played. Speakers should be turned slightly center towards the conductor. • If percussionists are unable to hear themselves through the main speakers, then the use of monitors placed in the percussion section are highly recommended. • Because the touch-screens on the iOS devices are not weight-controlled, dynamics must be controlled using volume control. Volume can be adjusted using the iOS device and/or the speaker or mixer board. • Be sure to balance electronics, acoustic percussion, and winds. While electronics should be heard (and felt!) throughout, pay mind to not let electronics dominate the ensemble!

Program Notes for Axe to Grind One of the things I really enjoy about live concerts is the energy of the crowd. At any rock concert or festival, you will see people dancing, smiling, screaming, and waving their hands in the air. The music moves them. They sing along to the lyrics. They stomp their feet and clap their hands. When you’re a part of that crowd, you see a side of people that is normally reserved for those closest to them. You see a part of their soul. When everyone’s guard is down, you don’t even have to try to connect with the people around you – the environment does it for you. As rock historian Robert Palmer observes in his book Rock & Roll: An Unruly History, “rock and roll listeners often seem to be behaving like entranced devotees, true believers.” I’ve always imagined that one of the best feelings in the world for an artist is to hear an entire stadium singing back their song. But based on the concerts I’ve attended, I can attest to the fact that it’s also a pretty cool feeling to be in the audience while it’s happening. “Concert” is probably the wrong term for a rock show because it implies a uni-directionality: the artist performs, the audience listens and watches. But in fact, a concert is an exchange more than a show. The event is a mutual cocreation between performers and fans. “My voice comes from the energy of the audience,” said Queen singer Freddie Mercury. “The better they are, the better I get.” The rapture is communicated both ways, which is why concerts are the areas for creating the incredibly strong bond between performer and fan that popular musicians are famous for. Axe to Grind is a love letter to rock music and the rock concert experience. “Axe” is a nickname for a guitar and the phrase “grab your axe(s)” has been used by musicians and directors to mean, “pick up your instrument(s).” This piece is inspired by three different decades of rock music; the classic rock of the 1970’s (Led Zeppelin, Queen), the Glam metal of the 1980’s (Bon Jovi, Van Halen), and the hard rock/heavy metal of the 1990’s (Guns N’ Roses, Metallica). The work utilizes four iOS devices and the Garage Band app. Thank you to James Mobley and the Brownstown Middle School Band with the participation of the members of the N-BEAM consortium. For those about to rock, we salute you!

Commissioned by James Mobley and the Brownstown Middle School Band and N-BEAM consortium members

Score

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Copyright © 2019 by Daniel Montoya Jr. & Underwater Theme Productions All rights reserved For all countries www.danielmontoyajr.com

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6

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6

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Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

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China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

iOS 1 Mar./Vib.

∑

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b &b

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iOS 3

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Ice/Zil-Bell (w/stick) Ride Cym. (w/stick)

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Perc. 3

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Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

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China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

iOS 1 Mar./Vib.

ã ã

∑

ƒ >Y

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Bell (w/stick shaft)

∑

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∑

∑

iOS 3

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China Cym. (w/stick)

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Keyboard: Alchemy Synth: Sound Effects: Colossal Uprising

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China Cym. (w/stick)

Perc. 3

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35

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34

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Tbn. 1

Tuba

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

w ∑

ã

∑

ã

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∑

iOS 3

? bb w

iOS 4

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China Cym. (w/stick)

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x > ƒ

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Œ

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∑

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w

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w

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Keyboard: Alchemy Synth: Leads: Classic 80s Epic Brass Db4

ffp

w â ffp

Œ

Db3

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∑

∑ >t

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China Cym. (w/stick)

X

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Splash Cym. (w/stick)

∑

∑

Œ

Crash Cym. (w/stick)

Ride Cym. Bell (w/stick)

Ice/Zil-Bell (w/stick)

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∑

∑ Œ

∑

&b

Œ

∑

ã

b

iOS 1 Mar./Vib.

Ó

ä œ.

div. wwä

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ä œ J

#

42

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˙

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44

43 Fl.

Ob.

Bsn.

&

bb

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ww

A. Sax. 1

&

# wä

A. Sax. 2

&

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T. Sax.

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w

B. Sax.

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B b Tpt. 1

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B b Tpt. 2

&

Tbn. 1

Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

iOS 1 Mar./Vib.

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w

ã

Ó

b &b

iOS 2

? bb

iOS 3

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iOS 4

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Ó

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Ó

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Ó

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Ó

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P

∑

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∑

ƒ

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ã

∑

ƒ

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Perc. 2

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Euph.

Perc. 1

Œ

ƒ

w

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Kick Dr (flat)

∑

ƒ

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Tbn. 2

Tuba

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ƒ ˘œ

w

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˘œ

&

Œ

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F

>t f

Œ Œ œ œ > ƒ +y +y +y +y +y +y +y +y

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ƒ

Œ

>t

Snare Dr.

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ƒ

Œ

Œ

œ

œ

+y +y +y +y +y +y +y +y

Œ

œ

‰

äœ

b äœ . f

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bœ. â f

∑

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∑ ä ‰ bœ.

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ä œ

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ä ‰ bœ.

äœ

ä œ

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f

f

ä ‰ œ.

ä œ

f b äœ . f

ä ‰ œ. f

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Œ

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Crash Cym. (w/stick)

Œ

Œ

œ

Œ

œ

Œ

+y +y +y +y +y +y +y +y Hi-Hat (w/stick)

Œ

œ

Œ

Œ

œ

Œ

œ

œ

Ice/Zil-Bell (w/stick)

∑

x > f

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œ

w &

Œ

Œ

Ó

Œ

œ

∑

œ œ œ œ œ œ œ œ Ó

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China Cym. (w/stick)

‰

ƒ

x >

Marimba/Vibraphone (w/hard mallets)

F4

w

œ

‰

œ

Œ

œ

Œ

+y +y +y +y +y +y +y +y

Splash Cym. (w/stick)

∑ w

49

∑

w

B. Cl.

48

∑

w

&

47

Ó

ƒ ˘œ

B b Cl. 2

46

Œ

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45

a2

b w

B b Cl. 1

Hn.

˘œ

7

(ca. q. = 160-168)

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bœ J

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w

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Ó

Ab2

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G R I N D

Œ

∑

Œ

Œ

Snare Dr.

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œ

∑

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œ

Œ

Œ

Ó

œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

w

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F4

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∑ ∑

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w

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52

51

53

54

55

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b

∑

∑

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j œ œ

j bœ œ

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j bœ œ

j œ œ

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b

∑

∑

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j bœ œ

j œ œ

j bœ œ

j > œ b˙

œ

j bœ œ

j œ œ

j bœ œ

? b b

∑

B b Cl. 1

&

∑

B b Cl. 2

&

∑

B. Cl.

&

∑

A. Sax. 1

&

A. Sax. 2

&

T. Sax.

&

B. Sax.

&

B b Tpt. 1

&

∑

B b Tpt. 2

&

∑

&b

∑

Tbn. 1

? bb

∑

‰

Tbn. 2

? bb

∑

Euph.

? bb

∑

Tuba

? bb

∑

Bsn.

Hn.

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

#

‰

äœ

b äœ . f

‰

Œ

œ

China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

iOS 1 Mar./Vib.

Œ

Œ

b

b &b w

iOS 3

? bb

iOS 4

b &b w

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j œ œ

j bœ œ

j bœ œ

j œ œ

j bœ œ

j œ b˙ >

œ

j bœ œ

j œ œ

j bœ œ

j œ ˙ > j œ ˙ >

œ

j bœ œ

j œ œ

œ

j bœ œ

j œ œ

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∑

∑

∑

∑

∑

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∑

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∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

ä œ

∑

∑

∑

∑

∑

äœ

äœ

∑

∑

∑

∑

∑

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ä œ

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äœ

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∑

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∑

∑

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ä œ

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ä ‰ bœ.

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ä œ

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œ

∑

∑

ä œ

ä œ

f b äœ . f

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Œ

>y

Crash Cym. (w/stick)

Œ

Œ

>x

>x .

‰

ƒ

x > œ

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Œ

Ó

Œ

Ó

Œ

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Œ

œ >

∑

j œ œ

∑

ä ‰ bœ.

∑

j bœ œ

∑

œ ∑

œ

∑

œ

∑

ä ‰ œ. f

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iOS 2

j œ b˙ >

∑

j œ œ

∑

∑

ä ‰ œ.

∑

ã &b

œ

j bœ œ

∑

j bœ œ

∑

j œ œ

∑

œ

∑

Splash Cym. (w/stick)

ã

j œ ˙ >

∑

j bœ œ

œ â

China Cym. (w/stick)

Perc. 3

∑

j œ ˙ >

∑

f

+y +y +y +y +y +y +y yo

ã

œ f œ â

bœ. â f

f

∑

œ

œ f

∑

∑

∑

ã

äœ

∑

∑

#

f

∑

∑

#

f

56

Œ

Ó

+y +y +y +y +y +y +y +y Hi-Hat (w/stick)

P

+y +y +y +y +y +y +y +y

+y +y +y +y +y +y +y +y

∑

∑

∑

∑

œ

Œ

>T

Bell (w/stick shaft)

Ó

Ó

∑

F

œ

Œ

Ó

œ

Œ

>T

Ó

Ó

∑

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9 57 Fl.

Ob.

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58

60

59

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&

A. Sax. 2

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T. Sax.

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B. Sax.

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B b Tpt. 1

B b Tpt. 2

Hn.

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

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&

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T O

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b >˙

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Bsn.

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b œœ œœ J

b &b œ

j bœ œ

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Tuba

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

iOS 1 Mar./Vib.

iOS 2

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bœ. f

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68

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bœ.

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11 71 Fl.

Ob.

Bsn.

˙˙

œ bœ J

>œ J

b &b ˙

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> œ J

&

bb

a2

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&

B b Cl. 2

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B. Cl.

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A. Sax. 1

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A. Sax. 2

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T. Sax.

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w

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B b Tpt. 1

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B b Tpt. 2

&

Hn.

Tbn. 1

Tuba

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

#

w ˙

∑

iOS 2

b &b Ó

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iOS 3

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iOS 4

b &b Ó

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b >œ J

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x > ƒ

Œ

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Ride Cym. + Bell (w/stick)

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x ‰ ‰ x

Marimba/Vibraphone (w/hard mallets)

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f

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w

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76

j œ œ

˙w

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Ó

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y y >t

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Œ

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∑ y y >t

Œ

Hi-Hat (w/stick)

b &b

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Y

ã ã

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w

ã ã

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n äœ .

div.

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w

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79

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b

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b

∑

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&

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B b Cl. 2

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A. Sax. 2

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T. Sax.

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B b Tpt. 2

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82

83

84

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b >œ ‰ ‰ >œ

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Tbn. 1

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∑

Tbn. 2

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Euph.

? bb

Tuba

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Hn.

Perc. 1 Kick Dr (flat)

Perc. 2 Cr. Cym. Hi-Hat

Perc. 3 China Cym. Rock Tamb. Sn. Dr. Slash Cym.

Perc. 4 Ice/Zil-Bell Ride Cym.

# #

#

ã

ã

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b

iOS 2

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b œ-

Œ

œ-