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SECOND PRIZE WINNER T H E 3 r d I N T E R N AT I O N A L F R A N K T I C H E L I C O M P O S I T I O N C O N T E S T

CAMERON’S DREAM C O N C E R T

B A N D

JONI GREENE

RAISING THE STANDARDS OF THE AMERICAN CONCERT BAND AND BANDS ALL OVER THE WORLD

M A N H A T T A N

B E A C H

M U S I C


CAMERON’S DREAM INTERLUDES FOR CONCERT BAND

JONI GREENE I N S T R U M E N T A T I O N

Flute 1  Flute 2 

Timpani  

Oboe

Percussion 1 

Bb Clarinet 1 

Glockenspiel

Bb Clarinet 2 

Chimes

Bb Clarinet 3 

Percussion 2 

Bb Bass Clarinet 

Suspended Cymbal 

Bassoon

Finger Cymbals 

Eb Alto Saxophone 1 

Bass Drum 

Eb Alto Saxophone 2  Bb Tenor Saxophone 

Chimes  

Eb Baritone Saxophone 

Percussion 3 

Bb Trumpet 1 

Vibraphone

Bb Trumpet 2 

Percussion 4 

F Horn  

Tambourine

Trombone 1  Trombone 2  B.C Euphonium  Tuba 

Duration = ca 3 minutes  Suggested Grade 3 

Suspended Cymbal 


CAMERON’S DREAM is the SECOND PRIZE WINNER of the THIRD INTERNATIONAL FRANK TICHELI COMPOSITION CONTEST Category One


CAMERON’S DREAM Interludes for Concert Band Sailing to Dreamland Gypsies vs. Pirates Man Overboard Heroic Measures Teddy’s Lullaby


FORM MEASURE 1 – 25 26 – 68 69 – 88 89 – 110 111 - 147

SECTION Sailing to Dreamland: introduction of main motives Gypsies vs. Pirates: Imitation, progression of first motive Man Overboard: tempo change, development Heroic Measures: climax Teddy’s Lullaby: Return to faster tempo, restatement of motives, resolution

TONAL CENTERS c…d g…d…c…g g g/Bb…Eb…F Eb… (Db)… (C)… (Ab) … d…Bb ( ) brief tonal center

REHEARSAL NOTES Program Notes Cameron’s Dream is a work encompassing multiple moods and styles in a short time frame appropriate for younger players. The goal of this work is to expose players to diverse musical expressivity within technical demands found in grade 3 literature. Cameron’s Dream was inspired from the practice of intermedi or interludes of the late 16th century. Intermedi were musical excerpts of various themes and styles presented between acts of a play. They were considered the forerunner to opera and were often brief spectacles incorporating dance. They frequently told a story often with moral or political undertones. Using this template, Cameron’s Dream introduces a whimsical fantasy for young players to express brief scenes in an overarching story. The interlude themes include: Sailing to Dreamland, Gypsies vs. Pirates, Man Overboard, Heroic Measures, and Teddy’s Lullaby. This work is dedicated to my young son, Cameron. Musical Excerpts & Composer Analysis

Sailing to Dreamland (mm. 1-25) Characterized by:  Soft and slow c-minor harmony alluding to a “sweet” and “child-like” mood  Thin texture emphasizing gentle glockenspiel  Descending eighth note motive (m. 6)  First presentation of main “gypsy vs. pirates” (m. 10) dance motive Main motive introduction:

Sailing to Dreamland begins with the image of a child drifting off to sleep. The gentle stepwise motion between the flute and clarinets creates a rocking motion indicative of not only falling


asleep but “sailing” into an ocean of dreams. Paired with the tonal c-minor harmony, the work suggests the innocence of child-hood. This section then hints at the motives waiting to evolve in the dream, specifically the eighth note descent (m. 6), rising and descending “dance-like” eighth notes found in m. 10 (clarinets), and ascending stepwise movement (m. 10 & 13, Tbn 1).

Gypsies vs. Pirates (mm. 26-68) Characterized by:  Development of rising and falling eighth note motive (m. 26)  Tambourine, Bass Drum, and Glockenspiel  Emphasis on downbeats  Open 5th drones

Full presentation of main theme:

Now sailing on open waters, the work’s programmatic story continues, introducing the Gypsies vs. Pirates section (m. 26). Characterized by ascending and descending eighth notes (first presented in m. 10 in cl. 1), I imagined a jousting dance with careful footwork and sword attacks between the pirates and gypsies. The encounter with gypsies is further alluded to with the introduction of tambourine and open fifth drones. A sense of dialogue between the pirates and gypsies is mimicked musically through an instrumental conversation between the saxophones and trumpets (mm. 40-43); flutes, clarinets and oboes (mm. 44-47); woodwinds beginning in m. 56; and finally brass in m. 63.


Man Overboard (mm. 69-88) Characterized by:  Dirge mood: repetitive, slow, and lamenting brass in g-minor (m. 69)  Alternation of chimes and vibraphone alluding to a ship’s bell  Development of pirate/gypsy theme (m. 72, flute) Dirge harmony:

Dirge melody:

A shift in mood creates the basis for the Man Overboard section. A tiered presentation of the g-minor harmony in brass underlies a reinterpreted version of the original pirate/gypsy theme (m. 10/26). This melodic version (m. 72, flutes, oboe and cl. 1) continues the eighth notes ascent and descent, but now with longer dotted quarter-note durations that emphasize a falling stepwise figure. Programmatically, the story now presents one of the pirates walking the plank as his comrades stand by, heads bowed lamenting his fate.

Heroic Measures (mm. 89-110) Characterized by:  Peak range (m. 89, fl. 1) and percussive intensity (mm. 90-96)  Accented, tiered harmonic entrances (m. 86 forward, brass)  Restatement of main theme (m. 94, woodwinds)  Conversational winding down using motivic fragments of main melody (mm. 101-110)


The accented entrances in clarinet 2 at m. 85 followed by trumpet and saxophone in m. 86, marks a transition into Heroic Measures. (Note: accented entrances should have a clear and distinct left edge note entrance followed by an immediate sustain at indicated dynamic level.) A building of tension through harmonic layering, staggered entrances, and ascending range, prepares the climax. The final climax at m. 93 programmatically celebrates the rescue of the pirate previously forced overboard. The work then continues with a sense of falling from the climax (mm. 93-110), incorporating melodic and motivic repetition and fragmentation.

Teddy’s Lullaby (mm. 111-147) Characterized by:  Long terraced harmonies  Return to faster tempo (m. 6)  Softer, gentle presentation of earlier themes and motives

Reinterpretation of main theme:

Cameron’s Dream concludes with a gentler presentation of the main pirate and gypsy theme. This time alluding to previous melodic events through fragmentation and instrumental conversation. Harmonically, this is the lushest section of the work, moving through several tonal centers in an expansive pyramid presentation. A final winding down of the work is achieved through dwindling melodic movement and a harmonic sense of settling in Bb. The child’s dream concludes in a peaceful and reflective mood. This is achieved primarily through careful and expansive harmonic pacing that is highlighted by a music box backdrop in the glockenspiel and vibraphone.

ADDITIONAL NOTES Oboe part is optional. All oboe music is either doubled or cued; In order to preserve ensemble balance, the vibraphone and marimba should blend evenly; All percussion instruments l.v. (let vibrate) unless dampen is indicated; Cymbal scrape: player should quickly scrape cymbal from top outward using a triangle beater;


If finger cymbals are not available, small triangle may be substituted; If multiple chime instruments are not available, one instrument may be shared between percussion part one and two. However, the chimes must be positioned immediately beside the glockenspiel in order to allow percussionist 1 time to play the instrument transition at measure 90; Conductor may choose which instrument plays cues in instances of multiple cross cues. Example: m. 6 clarinet solo cross cued into alto sax 1 and trumpet 1; If possible, the tuba part should play divisi at measure 123. If multiple tubas are not available, the lowest part should be played; Decresendo markings are used frequently throughout the work as an expressive device. When end dynamic markings are not given, please ask players to end as softly as possible while still retaining a good sound and playing in tune. -JONI GREENE


for Cameron

CAMERON'S DREAM

Transposed Score

INTERLUDES FOR CONCERT BAND

Sailing to Dreamland Sweet, then playful q. = 60

Flute

2

      1  

Flute 2

   

Oboe

  

Bb Clarinet 1



p

rit.

3

4

 

mp

 

p

mf





 

mp



p

mp

 



Bb Clarinet 2

   

Bb Clarinet 3

  

Bb Bass Clarinet

  

Bassoon

   

Eb Alto Saxophone 2

Bb Tenor Saxophone

Eb Baritone Saxophone

  

p

  Eb Alto Saxophone 1  

(q. = 44) q. = 104

5

   

p

 

solo

mp

p



 mp

7

8

          mp



   

   



   

mp

    

 

p

Tutti p

 

  



  

 



mp



tutti

p



 

mp

 mp

    

   

p



 

 

  

  

  

Bb Trumpet 2

F Horn

Trombone 1

Trombone 2





mp



mp

solo mf

   

     



   

mp

      

 

F Hn. p









  

 

 

  

Tuba

   





  

Percussion 1

Percussion 2

Percussion 3

Percussion 4

    

     

Glockenspiel

 

Gently p

  

  

  

         

always l.v.

  

Sus. Cymbal scrape l.v.

f

 

 

 

Vibraphone

p

  



Finger Cymbals

   

mf



always l.v.



p

  p

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

 



p

Euphonium

Timpani



  Bb Trumpet 1  

Cl. 1

p

         



tutti

  



Cl. 1

Solo mf

11

solo

mf

JONI GREENE

10

9

         

mp

  mp



6

 

  

 


Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

12   





13

mp





            

p







mp



  

  



   

Tpt. 2

F Hn.

 

p



p



 

mp

 

 

 p

Cl. 1 p



     









p

mf







mf

 

 

mp

           







mf

mf

           



mp

     

           





mp



mf

mp

  





mf

 

 

  

p

  

  mp 





mf



mp

  









p

p

 p

 p



mp

 

 

mf



p



p

p



p







 

 

F Hn. p

 



p



        

mp



(vibes)

 

mp

mf

mp



p

(finger cymbals)

mp

(glock)



p

mp



p

mp

p





p

        

  

p



mp





p



mp

p



mf

 

          

 

         

mf

 



F Hn.



         

mf

 



mf

Tuba





mf

         

p

mp

Perc. 4





Perc. 3



21

Perc. 2

Euph.

  

20

Perc. 1





Timp.

mp



19

Tbn. 2



F Hn.

Tbn. 1





mp

18



17



 

mp

          



16



mp

15

   

14

 

 

mp

 







mp

p

 p  mp

 

 

 

mp

2

  mf

 

mf


   22

Fl. 1

Fl. 2

Ob.



Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

    



  

  

  

p sub.

  

p sub.

  

p sub.

B. Sax.

         

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2



Perc. 1

Perc.

Perc. 3

Perc. 4

   

 

















p

  



  





   

p

  

p

  

   

 

  

(glock)

 (vibes)

    mp

  

       



p

p

         

         

 

 

 





mf



p

 

mf

         

 

         

         

 

mf

Bsn. mf





Bass Cl. mf

mf



 



mf





mf









3



          

p









   

 



    

Th. roll

 



 

p

 p



p



p



  

mp

mp



p

p

  

Bass Drum







p



 p

mf



 



mf







mp









mf







mf



mf



open







p

f

         

Tambourine



mf no ped.

      

 

mf

  

f



         

mf

f

p

         

           

  

 

 32

         

f

31

      

         





 

mf

mf



F Hn. p

  

30

mf

  

29

mf

Tuba

mf

 

Euph.



Timp.



  

  

  

28

mf

  



p

T. Sax.

27

                     

25

                   



p

A. Sax. 2

24

    

p sub.

Cl. 1

26 Gypsies vs. Pirates 23

 

  




Fl. 1

Fl. 2



Ob.



Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

   

    

mf

                  mf

T. Sax.

B. Sax.

Tpt. 1

 

  

Tpt. 2

F Hn.

Tbn. 1

Euph.

Tuba

 

 





    

                                   









 

Perc. 1

Perc. 2

     



Perc. 4

  

  

  

  

  

  

      

  

   

  

   







mf

  

  

p



mf



mf

(glock)

           mp no ped.

  mp

 











   





mp



  



mf

  

mp

   

   

cup mute

         



mf

   

    



  

p

   

(vibes)

Perc. 3

      mf      

   

mf F Hn. mf

mf

 

   

p

mf

Timp.

       mf       mf

          

43

42

  

mf

mf

mf

Tbn. 2

            



41

mf

mf

A. Sax. 2

40

39

38

37

mf

mf

A. Sax. 1

mf

mf

34

36

35 Ob.

  33

  

   

    

  





    

 

4

p





   

 

 

 



 p

p



    







mf



   

 

  

  

 

mf



 



  mp







p



 

 



 

  



p

p







   



p

mf

  

p

    





   







 





p











 

Th. roll




44

Fl. 1

    

Fl. 2

 

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

 

   

  

p



mf

 

p





p

Perc. 3

Perc. 4

47



p







  

 

mf

49         

48

p

p





  

 

p

p

mf

Ob. p

mf

 

    

51 

       

    

   

     

   

    

p open

p

    

p

  

 p

 

 mp

         

pp

 

  

f

pp

 

p

 mp

 

mp

 

   

   

   

    

   

p



 





    

mf





 



    

 

 

p

  

           

 





mf mf

mp

mp

 Bass Cl. p







   

 

  

 

 

 



mf

 

               

   

 

 

 

mf

  

  

mf

mf

 mf



 











mf

mf

   

mf

5

      

 

Sus. Cymbal

55

   

   

p

  

54

     

p

     

p

53

         

p

     

 

      

Bass Cl. p

(vibes)

    

p

  





  

   p

  

      

  

p

p

52

p





p





50

(glock)

Perc. 2

 mf

mp

Perc. 1



mf

 



mf

p





46

p





 

T. Sax.

Tpt. 1



   

A. Sax. 2

B. Sax.



45

p

   mp


    56

Fl. 1

1 only

mp

Fl. 2

Ob.





Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

 

 

mp

 

 

       

   

tutti

p sub.

  

60

61

 

62

 

          mf

         

     

    



    

 

mp

p

mf

    

    

tutti



mp

  

 

 

  

  

p

mf





  

      p

  

  

p

mf

  

  

p

mf









     

mp

p

Timp.

Tuba

F Hn.

Euph.

mp

p

         

         

mf

mp



 





p

mf

 

p

        

  



mf

 

p

p

 

rit.

67 68           

66

mf

         



tutti

p

65

Tbn. 2

64

Tpt. 2

Tbn. 1

63

  1only    

59

   

58

1 only

Cl. 1

         

57





mp

     

mp





     

   

   

    

    

     

mp

mp

      mp



pp



Perc. 2

Perc. 3



Perc. 1

Perc. 4



 

(vibes)

p





  





6

 mp 





 





 


Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

69 Man Overboard Solemnly q. = 82 70    

71



72

mf



 

73

   

 

   

 

   

            

74

75

76

77

p

            

78

79





80



mp







 

   

  

  

  

mf



mf



mf

 

   

p

             p

            p

   

   

mp

   

mp

   

mp

           

mp

   

mp





p





p



          



         



         

           



T. Sax.

B. Sax.

 

  

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

  

          

mp

mp



     mp

Euph.

mp

Tuba

    mp

Timp.

Perc. 1



     

  





Perc. 3

Perc. 4

    

    



     





 

p

p

    

p

    

p



p





     





   











   

    



    









   

     

 

  







    



   

      

  



     



  

 

 

 

   

   

    







     



   





  (glock)  

  

 (vibes)



f

   





f

Bass Drum

p



 

 





  

p





 

 

7





 

   

p

 

 

 

 

 

p



        







 

 mp







    





 

    

Chimes

Perc. 2

   

Bsn. mp





 


81

Fl. 1

  

Fl. 2

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

A. Sax. 1

Tpt. 2

 

 





 

mp



 

p

mp



p

 

  

 







 

 





mp

p

mp





F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

  

Perc. 2

Perc. 3

Perc. 4



mp

p



mp

p



mp

p

mp





 Timp.   Perc. 1

p

  

  (glock)     

(vibes)

 

 

mf













 

 









  

mf



 







mf















mf









mf









mf

f

  

 

mf

p

 



p

fp

 

fp

p

p

p

mp

 

f

  

 



8

























fp

f

fp

f





fp











 

 





 





fp

f





f





  

 

f



 

  fp 



 



f

 



f

fp

fp





  

          f mp   







 



 



  



 







































   



Chimes



ff

 













 



 

Sus. Cymbal





f













 



f













f



f



fp





 

fp





f

 



f

f





f



















f

 





f





p







92







fp

f





 



fp





mf

 

p

f

fp

fp

 

mp





fp

Bass Drum

 

fp





fp

p



p



 

 

mp

mf

 



mf

 

mp

mp



 

mf

mp





 

 





fp



fp







p



mf



 

mp

 





mf



 

open





 

89 Heroic Measures 90 91       

88



 



 

fp

mf

mp



p





mf





 



mp



mf



p





p

mp





 

p

mp

mp

87

mp

p

86



85

mp



84



p

 

83

 



  



  

T. Sax.

Tpt. 1



  

A. Sax. 2

B. Sax.

   



Ob.

Bsn.

   

82

p



  

Glockenspiel

  

p

 



p

f



 




93

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

   



  



 

 







95 96                

mf

f

mf

f

                 f

mf

                

mf

f

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

  

      



 

 

  

mp

 





mp



 mf





mp

   



 



mf



 

p

   

   







p





 

mp

     f







  



f

 

 

(sus. cym.)

f

l.v.









mf

 

p









mf



mp



   

mf

p

 



mp

mp

 

mp

 

solo

 



f

    mp

 

 mp

  

     

   

mp



     

    

mp

 

tutti

mf

 



 

 





 



mp



    

solo

mp

mp

  

mp

  mf

mp

mp



mp



 



mf

f

mp

(b. drum)



 



f



104

 

mf



103

f









mp



   

mp

102

mp

mf

mp

101

mf



100

mp

mp

(glock)

 

f

         

   

mp

 

   

   

   

f

 

mp



99

 



 

98

    

   

 

97

                

mp

Bsn.



94

 

mp

   

solo

mp

mp

 

9

p


  

 

 

105

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

106

 

Bass Cl.

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

  

    

 





   









    



A. Sax. 1



108

mf

Cl. 3

Bsn.

107

     

mf



110

mf



p

 





p



mf

   



 





mf













tutti

mp

mp



mp







 



  





 

 

 

  

   

 

















mf

mf

 tutti



mf

 



 

mp

 

 







mp



mp



mf

mp

 

 





p





 

mp





































p



 

p













 





Sus. Cymbal scrape

Perc. 2

Perc. 3

Perc. 4

 



(vibes)

  

f

 

10

 

mp

 

     



mf





p

p





p

p





         

 





mp







p



 

 



p

 







p

mp

mp

p

  



mp

         

mp



  

mp sub.



mf

   

116

     

  

         

115



mf

   

114

  







113

(glock)



Teddy's Lullaby q. = 104 112  

 



109

111



    p

 


  

 

117

Fl. 1

Fl. 2

Ob.

   p

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1







p

p

        









mf

mf

 mf



mf

  p

 

 

 



 

 



















 



 



mf

  









121











Perc. 4



  

  







p

  

  

 

mf

mf

 





p

 









 

mf

mf

mf







mp







mp





  



 







p

mp

 







p

















mf

 





p



p

























p



mf

p

 

  





  

  



Perc. 3

  



(vibes)

  

  

(sus. cym.)

 



p





Perc. 2



mf

 

mf





  

127



Perc. 1

  

 

mf

126

 

   

   

Timp.

 

 

125



p



p





  

p sub.

p





 

 

 







  

 

Tuba

p sub.





    



124



   



p sub.



F Hn.

Euph.



p

123

Tbn. 2



Tpt. 2

Tbn. 1



      

mf



 

     

mf





  







122

mf



p



 





  

p

 





120

mf

 





119



 

118







p

 

mp

 

11

  

top voice optional







 

  

  

mf



 

  

 

 mp

  

  

 

 

mf

mf

mp

 













 


   128

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

129

 

 

      

 

130

mp

mp

 

mp

 

   

131

 

      

mp

      

132

133



      





     

p

 

134

   

 

    mp

 

mf

 

mf

mf



 

p





  

      



mp



mp

     

Bb Cls. p





 

 

 



 

mf

p

mp







 

135

136

 



 





 





mf

 



 



mf



  mf

 

mf

 

      

      







 

       

 mp



mp

     

cup mute

mf cup mute

mf

p









p

  

mf

mf

Euph.

   

Tuba

   

  (glock)  

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

   

  

(vibes)





mp

  p

12

 

 

p

 



  











mp



  

 


    137

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

138



mp

  







140



141



1 only mp



rit.



142

143

144

145

146

q. = 44 

147

 



 



 



mp

   

139

mp

 mp







p





1 only







p









mp

mp





p

 



 

tutti

p



p



   

  

 

 

 

 

 

Tpt. 2

 

F Hn.



 



Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

   

T. Sax.

B. Sax.



Tpt. 1

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

 



mp





p



 

p

 



 



  



   

  (glock)  

  

     (vibes)





 

    



    





p

 



  

mp

 

13





 



  



    p

 



  

 

p



 

 

mf

Perc. 4



p



p



p

     pp  

     

(5 beats)

  

 

pp

 

 

Cameron's Dream by Joni Greene