Do You Hear How Many You Are? for Concert Band

Keane Southard

“Do You Hear How Many You Are?” For

Concert Band

(2012) (Duration: c. 3 mins.)

Program notes: “Do You Hear How Many You Are?” for Concert Band was originally written in April and May of 2010 for SATB choir. I made this concert band arrangement in 2012. The origins of this piece and text come from a very interesting experience I had in December of 2009. I have been learning a lot in the past few years about the state of our world and the many huge problems and crises we are faced with in the near future, and this discovery has been so daunting and overwhelming to me. So much change needs to happen in order for the near and long-term future of our world to be just and stable that I have felt a lot of guilt over my choice of profession. Why have I chosen to be a composer and musician when I could make more of an impact on solving these problems if I were a scientist or policy maker etc.? I have been struggling to find a solution to this dilemma for a while now and I just happened to be thinking about it, while filled with lots of stress and worries, one night as I was falling asleep in December of 2009. At the moment when I was in that state halfway between sleep and consciousness, I suddenly heard the line “Do you hear how many you are?” in my head, yet I felt as though I didn't come up with the line but that it was said TO me. I was instantly comforted, as if a load fell off my shoulders, and then I began to hear it being sung, which I knew was the beginning of a choral piece. I woke up, wrote down the music I was hearing (about the first six measures of the work) and then wrote down this entire poem. I truly feel that this message came to me for a reason, and that I need to share it through the music I create. Those of us who want to change the world for the better are not alone; we are many and we will make our voices hear in order to heal the world.

Keane Southard 2012 Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com

Instrumentation: Flute Oboe 2 Clarinets in Bb Bass Clarinet in Bb Bassoon Alto Saxophone Tenor Saxophone Baritone Saxophone 2 Trumpets in Bb Horn in F Trombone Euphonium Tuba Glockenspiel 3 Triangles (all of different sizes) 3 Suspended Cymbals (all of different sizes)

Transposed Score

Performance instructions: 1. Tenuto marks (-) over notes indicate more weight/stress on the note and does not indicate space to be placed in between that note and the next (unless the tenuto is combined with a staccato).

Text (of the original choral version): Do you hear how many you are?

You are multitudes, Breathing glory.

The most precious hands of God made you.

Certain of your perfectness, Weaving in your holiness, Knowing in your frayed distress You will find a way, Through garlands you lay.

Do you hear how many you are?

You are countless, Dreaming of peace.

The sweetest gift of love you bring Throughout the sunken earth, Believing in its worth, Delight in the rebirth of all you are I am never far.

Do you hear how many you are?

You are wonders, Splendidly wayward, Come home and find yourselves in me.

White lilies on the wing, The comfort of nothing, You know this as you sing A petal kisses dew I am with you.

-Keane Southard

Do You Hear How Many You Are?



Transposed Score

for Concert Band

q = 72 

  Flute    Oboe

Clarinet in Bb 1

Clarinet in Bb 2

Bass Clarinet in Bb

Bassoon

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

   

 

p







p



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  



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







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

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   

   

   

mp



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 

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

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 Tuba   

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    

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mp



mp

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   

 



mp

 

         

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 p



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   

   

 l.v.

 

 p







 

  

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f

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   

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

   

mp



 

 

     



      

 

(stay p )



  





f

f

 f

 f



  

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mp



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   





       





 f

     with yarn mallets

  p

    











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mp





   

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

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



 

   



Keane Southard

A    



 



     



  



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p

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  

q = 40 





  





mf



 

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p

p

    pp

    pp

       p

pp

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pp

 p

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mp

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 Ossia:

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pp

       p

pp

q = 58 molto rit. q = 40                       

Più mosso

p

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p



(e = 66)

         p

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



q = 58 molto rit. q = 40                p

Più mosso

q = 40 

(e = 66)

rit.

  

  

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   

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   

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mp

   



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

q = 72 

 

3 Suspended Cymbals

mp

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









3 Triangles

   

  

mp



Glockenspiel

mp

 

Trumpet in Bb 2

Euphonium

 

Trumpet in Bb 1

Trombone





 

Horn in F



   

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  

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    pp

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©2012

B

2

q = 72             Fl.  



     

   



     

    

20

p

Ob.

 

p

Cl. 1

p

Cl. 2

      p

B. Cl.





   



 





    

 



   

    

   

Bsn.

Alto Sax.

Ten. Sax.



   

  

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

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

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

    

   



 

   

p





 



mf

 



q = 72        p

Tpt. 2

    

   

p

Hn.

  

   

p

Tbn.

Euph.

Tba.

    

  



 



  



  

     

   

p











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3 Tri.

3 Susp. Cym.

 





        p

 

   







rit.

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

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   

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     

(Ossia:)

 

   

p

            

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

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

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mf

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          

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p

       

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p

    

              







       p









 

       



 



p

























    p

        p

  



p





 







 

p





 



p

mf



mf

  

q = 50         





   

 



  





 



  





 



p

p



 







 





  





 



  



 













 

 

    

        

 mf

p



mf

        



mf

        



mf

 

 

 

 

pp

p

    



pp



         mf

 



mf

pp



p



pp

 

mf



pp

pp

p

  



pp

 

  







p

p

pp

pp

pp

  



p



pp

  pp



 

 

p

pp















mf

  



 

 

















 















mf





 

p

mf



    

p



  





  

    

pp



mf

    

   





 

mf

mp



 

 



p





mf



pp

p

          

mp

p









  

    

mf

mp

 

mp







 

p

          

mp

   

mf

 

mf

mp

p



        

mp

p

p

mp

 

mp



mf







rit.



mp

   

mp

  





p

  

        

 

mp

               

 

  



 

p

C

 

mf











p

mp

   

mp

q = 50       

               

mp



 

mp

   

 

mf

p

 



mf

   

p





  

mf

 

 



 

    



C  

  

mf





   

   

p

  Glock.   

 

   



 





 

B

Tpt. 1







mf

 



 

   

   



p

  p

Bari. Sax.





   

mf

p

  

 





D q = 72 

36

Fl.

 

p

  



Ob.

   

p

     

Cl. 1

p

      

Cl. 2

p

     

B. Cl.



Bsn.

   

       

p

   

  

   

p

Alto Sax.

      

   

   

   

p

Ten. Sax.

p

Bari. Sax.



     p

   

   

  mp

       



 

  

   



 

   

   





  

   



   



mp

mp

 

mp



  

   



   



mp

     mp

Tpt. 1

Tpt. 2









Hn.



Tbn.





Euph.

Tba.

 









    

   



mp

3 Tri.

3 Susp. Cym.



   



            p





 



 



f



f



 



 





 



 



f



  

   





mp

   



   

   



mp

  

   







 



 





 



  

 



 



 



 

 

   

   



          



 



 



f



f

  

 

mp



mp





mp

  



 







mp







  

 





 









 

   

   



 

   

   

p

  



  p











p















 



p











 













 











mp



mp

  





  





  





  



  





  



mf



  



mp

  

    

 

mf

  

q = 58           

Più mosso

mf



      





        



  



mf





     



     

 

mf

p



rit.





pp



pp





pp













pp



pp

 







pp



pp



  

pp

  



  



  



p

p

q = 40







pp







pp







  



  





    





p

  

mf

p

p

mf



p

p

mf

mf





p

  

mp

   

  



  



mp





        

 





p

  

       

  

  

  

       

mp

p





 

  

mf



q = 40  pp

p

mf

      





p

  





mp





      

   

mp





mp









  

  

mf

 rit.  

p



mp

mp









q = 40 

mf

mf



 

p

  

mp







           

mp



p

rit.





mp

p





  





 



      

mp

p

E  



             



p



 

 



mf

   

p

f





mp

mp



f







          

   



p

mp

 



     



q = 58               Più mosso

p

mp

f





q = 40        

p

f

mp

rit.

mp

f

Glock.

E

 

f

  



 

   



 

f

   

 

f

mp



    



D

q = 72    

 

f





 

f

   





mp

mp



   

 



 

 





pp



pp



pp

p

p









pp

   

 



















  

   

  

 



















 



 

















  f

f

f



p

f

3