Page 1

Short Stories First Prize Winner The Frank Ticheli Composition Contest

c o n c e r t

b a n d

Leonard Mark Lewis M anhat tan Beach Music


Recording Credits for Short Stories: Performance by the Winthrop/Carolinas Wind Orchestra, William F. Malambri, conductor

This virtual conductor score and recording are designated “private,� and any publication or distribution beyond the web sites of Manhattan Beach Music is prohibited


SHORT STORIES 足F O R

C O N C E R T

B A N D

L EONA R D M A R K L E W I S I N S T R U M E N T A T I O N 1 Full Score

3 Bb Trumpet 3

4 Flute 1

2 F Horn 1

4 Flute 2

2 F Horn 2

1 Oboe

3 Trombone 1

4 Bb Clarinet 1

3 Trombone 2

4 Bb Clarinet 2

3 Euphonium B.C.

4 Bb Clarinet 3

2 Euphonium T.C.

2 Bb Bass Clarinet

4 Tuba

1 Bassoon

2 Mallets

3 Eb Alto Saxophone 1

Vibraphone, Glockenspiel, Chimes

3 Eb Alto Saxophone 2

1 Timpani

2 Bb Tenor Saxophone

2 Percussion 1

1 Eb Baritone Saxophone

Snare Drum, Bass Drum

3 Bb Trumpet 1

2 Percussion 2 Large Tom Tom, Triangle, Suspended Cymbal

3 Bb Trumpet 2

P R I N T E D O N A RC H I VA L PA P E R

Gg Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137

M A N H AT TA N B E A C H M U S I C


S H O R T S T O R I E S is the F I R S T P R I Z E W I N N E R of the S E C O N 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 Category One: Concert band music for younger players


P R O G R A M

N O T E

I

’ve always been fascinated with the writing of Milan Kundera, particularly his essays and short stories. His innate ability to write collections of seemingly disparate short stories while keeping a central theme is, to me, what sets his works apart from his contemporaries. It was my goal to achieve something similar in a musical context. While there are common motivic threads throughout this piece, the work is meant to be a collection of short sections, each with its own story and character development. S hort S tories is made up of an introduction (prologue), six short stories based on elaborations of the introduction, and a coda (epilogue). The Introduction/Prologue (meas. 1–18) presents a short two-note motive of E-D. This is the main character of the work. Story One (meas. 19–32) is an elaboration on the opening motive in the saxophones, trumpets, trombones and glockenspiel. This is the main theme which will continue to be molded throughout the piece. This section introduces a syncopated accompaniment figure. Story Two (meas. 33–50) is a continuation of the main theme elaboration and syncopated accompaniment figure. The oboes present a countermelody to the main theme in the flutes. The section also contains the sigh motive first presented in the horns. Story Three (meas. 51–65) is another expansion of the two-note motive. Here, the character changes quite a bit. This section also introduces the two-note figure as a suspension, beginning in measure 61. Story Four (meas. 65–79) begins with an elision in the flutes over the previous section. The two-note expansion is altered into a six-note, falling line in the clarinets, alto sax and first trumpet. The original two-note motive is found throughout this section and takes over in measures 76–79. Story Five (meas. 80–93) is a slightly truncated version of the previous main theme elaborations. Here, the flutes, clarinets and trumpet solo move into the two-note motive which builds and dissipates into story six. Story Six (meas. 94–119) is the climax of the work. It begins with the main theme in the glockenspiel. and counterpoint in the timpani. Each of these two lines in gradually doubled by the woodwinds and low brass. The rest of the brass fills in the harmony. The climax of the piece is in measures 116–119, where there is tutti main theme elaboration. Coda/Epilogue (meas. 120 to end) uses the final version of the main theme elaboration as canonic material in the woodwinds. Measure 131 to the end is a reiteration of the two-note motive, the main theme in its “purest state.” This closes out the piece as though the stage lights are fading on our main character. S hort S tories was commissioned by the Wilkes Central High School Band under the direction of Andrew Craft. It was premiered in March of 2008 in Wilkesborow, North Carolina. LEONARD MARK LEWIS


commissioned by Wilkes Central High School Band, Andrew Craft, director

SHORT STORIES FOR CONCERT BAND Lyrical and sustained 2

Flutes

3

LEONARD MARK LEWIS

= 108 4

5

6

7

8

9

1 2

Oboe

1 B Clarinets 2 3

B Bass Clarinet

Bassoon

E Alto Saxophones

1 2

B Tenor Saxophone E Baritone Saxophone

1 B Trumpets 2 3

F Horns

1 2

Trombones

1 2

Euphonium

Tuba

Vibes

l.v.

l.v.

Mallets secco

Timpani

Snare Drum 1 Percussion

Large Tomtom 2

Copyright © 2010 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-130-7 (complete set) ISBN 1-59913-131-5 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com

10

11


19 poco meno mosso ( = 96)

12

13

14

15

16

17

18

20

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Vibes.)

Glock.

Mallets l.v.

secco

Timp.

(S.D.) 1 Perc.

Bass Drum Triangle

(L. Tom.) 2

2


25 21

22

23

24

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp. (S.D.) 1 (B.D.) Perc. 2

3

26


27

28

29

30

unis.

31

32

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 unis. F Hns.

1 2

Tbns.

1 2

unis.

Euph.

Tuba

Mallets damp. Timp. damp. (S.D.) 1 (B.D.) Perc. Susp. Cym. — mallets 2

4

damp.


34

33

unis.

35

36

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

Vibes. Mallets

Timp.

1 Perc.

Tri. 2

5

37


40 38

41

39

42

1 2

Fls.

Ob.

1 B Cls.

unis. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Vibes.)

Glock.

Mallets

Timp.

1 Perc. 2

6


43

with increasing intensity 44

45

46

47

48

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp. l.v.

(S.D.) 1 (B.D.) Perc.

Susp. Cym. 2

7

l.v.


49

51 Intimate

52

53

54 3

50

1 2

Fls.

Ob.

1 3

B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

Mallets

Timp.

1 Perc. 2

8

55 56


57

58

59

60

61

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

Mallets

Timp.

1 Perc. 2

9

62

63

64


70

66

68

67

65

= 108 (subito)

unis. 69

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

1. E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

unis. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp.

1 Perc.

Tri. 2

10


72

71

73

74

75

76

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

tutti E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

unis.

unis.

unis.

unis.

2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp.

1 Perc. 2

11


77

78

80

79

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

81

solo

Euph.

Tuba

Mallets

Timp.

1 Perc. 2

12

82


83

84

85

tutti

86 87

88

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

unis. E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

solo

tutti

1 B Tpts. 2 3 unis. F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

Mallets

Timp. (S.D.) 1 Perc.

Susp. Cym. 2

13

89


90

91

92

94 growing in intensity

93

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets piu

Timp.

(S.D.) 1 (B.D.) Perc.

(Susp. Cym.) l.v. 2

14


95

96

97

98

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp. damp. (S.D.) 1 (B.D.) Perc. (Susp. Cym.)

scrape with coin until m.114

2

15

99

100


101

102

103

104

105

1 2

Fls.

Ob.

1 B Cls.

unis. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

unis. F Hns.

1 2

Tbns.

1 2

1.

2.

Euph.

Tuba

(Glock.) Mallets

Timp.

(S.D.) 1 (B.D.) Perc.

(Susp. Cym.) 2

16

106


107

108

109

110

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Glock.) Mallets

Timp.

(S.D.) 1 (B.D.) Perc.

(Susp. Cym.) 2

17

111

112


113

114

115

116

117

118

1 2

Fls.

Ob.

1 B Cls. 2 3

B Bass Cl.

Bsn.

E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

1. 2. unis.

Euph.

Tuba

Chimes

(Glock.) Mallets

Timp.

(S.D.) 1 (B.D.)

l.v.

Perc. (Susp. Cym.)

mallets

2

18


120 Intimate

119

122 121

125 123

124

solo

1 2

Fls.

Ob. solo 1 B Cls. 2 3

B Bass Cl.

Bsn.

unis. E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Chimes) Mallets

Timp. (S.D.) 1 (B.D.) (Susp. Cym.)

Perc.

damp.

2

19


133 127

126

128

129

130

131

132

tutti

1 2

Fls.

Ob.

tutti 1 2. solo

B Cls.

tutti 2 3

B Bass Cl.

Bsn.

unis. E Alto Saxs.

1 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

F Hns.

1 2

Tbns.

1 2

Euph.

Tuba

(Chimes)

bring out

Mallets

Timp.

1 Perc.

(Susp. Cym.) 2

20

134


PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S

Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future. It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984). The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.

Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO, 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)

BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS P R I N T I N G : C H E R N AY P R I N T I N G , I N C .


.


Short Stories F I R S T

P R I Z E

W I N N E R

THE FRANK TICHELI COMPOSITION CONTEST To hear a complete recording please visit www.ManhattanBeachMusic.com

Short Stories for concert band by Leonard Mark Lewis  

The complete conductor score of Short Stories for concert band by Leonard Mark Lewis, Winner, First Prize, The 2nd International Frank Tiche...

Read more
Read more
Similar to
Popular now
Just for you