Chunk

Newman

CHUNK wind orchestra

OK

FEEL

GOOD

MUSIC

about CHUNK Funk is all around us. It has permeated every aspect of popular music and culture. What was born as a 70's counter-culture movement has grown to become the heart of any music with a beat. Sit in a coffee shop, listen to top-40's radio, shop in a department store -- it doesn't matter if it's a hip 90's club tune, or a contemporary concert music work -- you can't escape the funk. Chunk owes major favors to George Clinton and the Parliament Funkadelic, Stevie Wonder, James Brown, Prince, and Beck, just to name a few. We steal, because we love.

about THE COMPOSER Jonathan Newman composes music rich with rhythmic drive and intricate sophistication. A recipient of the Charles Ives Scholarship from the American Academy of Arts and Letters, Newman creates broadly colored musical works, often incorporating styles of pop, blues, jazz, folk, and funk into otherwise classical models.

Upcoming projects include These Inflected Tentacles, a chamber work commissioned by the New York City-based Avian Orchestra, and a new work for orchestra commissioned by the Chicago Youth Symphony Orchestras. Recent commissions include Vivid Geography for women's chorus and chamber orchestra on a text by poet Marcella Durand, written for the 2011 Japan Wind Ensemble Conductors Conference and the University of Houston, Stereo Action, written for a consortium of percussion ensembles, and Sowing Useful Truths, commissioned by the Boston University Tanglewood Institute. Other recent works include Symphony No. 1, My Hands Are a City—a wind ensemble consortium commission based on themes of mid-century American Beat Culture, De Profundis for massed winds, Milori Blue for euphonium and piano, Concertino for flute solo, chamber winds, and piano, and his chamber sextet The Vinyl Six, recorded by Avian Orchestra on Fantastic Music for a Fabulous Time (Avian Music). His arrangements of electronica for Acoustica: Alarm Will Sound Performs Aphex Twin (Cantaloupe) premiered at the 2005 Lincoln Center Festival, and as a MacDowell Colony Fellow, he began work on an opera based on the 1962 cult horror film Carnival of Souls, in collaboration with playwright Gary Winter.

Born in 1972, Newman holds degrees from Boston University's School for the Arts (MusB), where he studied composition with Richard Cornell and Charles Fussell and conducting with Lukas Foss, and The Juilliard School (MusM), where he studied with composers John Corigliano and David Del Tredici and conducting with Miguel Harth-Bedoya. At Juilliard, his collaborative works for dance enjoyed multiple performances at The Juilliard Theater, Alice Tully Hall, P.S. 122, and Dance Theater Workshop. Early training includes Boston University Tanglewood Institute and the Aspen Music Festival where he studied with composers George Tsontakis and Bernard Rands.

Newman’s catalog for wind ensembles includes My Hands Are a City, recorded by the University of Georgia Wind Ensemble (Naxos), As the scent of spring rain…, recorded by Tokyo’s TAD Wind Symphony (Basic Video Arts) and the University of New Mexico (Summit), Climbing Parnassus, commissioned and recorded by the 2008 Japan Wind Ensemble Conductors Conference (Brain Music), Avenue X, recorded by the Gotham Wind Symphony (ArtistShare), and Moon by Night, 2003 winner of the bi-annual NBA/Merrill Jones Composition Award. His work with the University of Nevada Las Vegas Wind Orchestra includes Chunk, a 2003 commission and title track of their 2004 CD release (Mark Custom Records), and OK Feel Good, a 1999 commission recorded on 3 Steps Forward (Klavier). The Rutgers Wind Ensemble has recorded three of his ensemble works on three CDs (Mark Custom Records), including Moon by Night, Uncle Sid, and The Rivers of Bowery.

Newman is a founding member of the composer-consortium BCM International: four stylistically diverse composers from across the country, dedicated to enriching the repertoire with exciting works for mediums often mired in static formulas. BCM has recorded two CDs: BCM Saves the World (2002, Mark Custom Records) and BCM Men of Industry (2004, BCM Records). He resides with his wife Melissa Schlachtmeyer, a costume designer, and their daughter Amelia, in New York City.

[June 2011]

INSTRUMENTATION Piccolo Flute 1/2 Oboe 1/2 Bassoon 1/2 B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 B-flat Bass Clarinet Alto Saxophone 1/2 Tenor Saxophone Baritone Saxophone B-flat Trumpet 1 B-flat Trumpet 2/3 Flugelhorn Horn in F 1/2 Horn in F 3/4 Trombone 1/2 Bass Trombone Euphonium Tuba 1/2 Electric Bass Guitar Electric Keyboard Player Player Player Player Player Player

1 2 3 4 5 6

Xylophone Marimba, Triangle (share with Player 4) Vibraphone, Glockenspiel 2 Bongos, Triangle (share with Player 2), Guiro Large Shaker, Suspended Cymbal, Police Whistle Drum Set DRUM SET KEY

PERFORMANCE NOTES • If at all possible, the flute solo at m.19 should be amplified. This helps balance the flute over the rest of the band, as well as approximate a more “Jethro Tull”-type sound. Also, consider having a sax player who can double on flute play the solo (cued in the alto sax part), for the same stylistic reasons.

• The bass guitar should tune the 4th string up to an F. • If necessary and possible, double piccolo/xylophone at m.111-123 with a harmon-muted trumpet solo, but only if there are enough trumpet 1 players to sufficiently cover the main line as well as the optional solo.

• The keyboard patch should be as close as possible to the sound of a Hammond B-3 organ. B-3 patches are common on all modern keyboards, but they aren’t necessarily named “B-3”. Look for a drawbar jazz organ sound with some heavy vibrato/wave to it (replicating the Leslie Speakers), and with a strong percussive attack. Jazz organ patches on a Clavinova also work well. If more than one good patch is available, have the keyboardist change samples once or twice, as stylistically necessary (m. 52 is a good place to switch sounds — so is m. 87).

DURATION ca. 6:30 Performance materials available for hire from OK Feel Good Music rental@jonathannewman.com www.jonathannewman.com

Commissioned by the University of Nevada Las Vegas Wind Orchestra Dedicated with friendship to Thomas G. Leslie, conductor

CHUNK

Groovy moderato (q = ca. 92)

Piccolo

ff

Flute 1/2

ff

Oboe 1/2

ff

Clarinet in Bb 1

ff

Clarinet in Bb 2

ff

ff

Clarinet in Bb 3

Bass Clarinet in Bb

Bassoon 1/2

Alto Saxophone 1/2

Trumpet in Bb 1

mf

mf

mf

mf

Euphonium

Tuba 1/2

Bass Guitar

Keyboard (Jazz Organ)

Xylophone

Marimba Triangle

mp

mp

mp

mp

sfzp

sfzp

sfzp

mf

mp

mp

Groovy moderato (q = ca. 92)

f

2 Bongos Triangle Guiro

2nd Ed. 6/03

mp

Drum Set

Vibraphone Glockenspiel

Large Shaker Susp. Cymbal Police Whistle

mp

Bass Trombone

Trombone 1-2

ff

ff

Horn in F 3/4

ff

Horn in F 1/2

ff

Flugelhorn

ff

ff

ff

Trumpet in Bb 2/3

ff

JONATHAN NEWMAN

Tenor Saxophone

Baritone Saxophone

f

mp

f

f

Copyright Š 2003 by Jonathan Newman, OK Feel Good Music, ASCAP For all countries All rights reserved www.jonathannewman.com

side-stick

p

bell hi-hat

ride

2

6

Picc.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

T.Sax.

B.Sax.

Tpt.1

ff

ff

ff

Hn.3/4

Euph.

Mar.

Bongos

Shkr.

mp

mp

1.

+ 2.

mp mf

mp

f

dry

mf

f

f

sim.

1.

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kick

mp

mp

mp

mf

mp

mp

mp

f

1.

mp

f

mp

mf

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Dr.

A

ff

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Xyl.

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ff

Kbd.

ff

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mp

ff

mp

Flug.

ff

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ff

mp

mp

ff

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A

3

10

Picc.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

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Tpt.1

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Hn.3/4

B. Tbn.

B.Gtr.

Kbd.

Xyl.

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Vib.

1.

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mp

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f

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B

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4

14

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mf

ff

ff

ff

f

mf

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5

18

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f

Solo, "funk"

f

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mp

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6

21

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D

f

7

24

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3

3

f

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3

8

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9

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f

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10

33

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11

36

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12

40

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ss.

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gliss.

mp

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mf

13

44

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H

f

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14

48

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15

51

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mf

mf

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mf

16

56

Picc.

Fl.

Ob.

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Cl.2

Cl.3

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Tpt.1

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

Hn.3/4

mf

mf

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gliss.

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Euph.

cresc. poco a poco

mf

cresc. poco a poco

J

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mf cresc. poco a poco

sporadic light toms, ad lib.

mf

+ 2.

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gliss.

mf

+ 2.

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mf

cresc. poco a poco

mf

f

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J

17

Picc.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

60

B.Cl.

Bsn.

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T.Sax.

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Flug.

Hn.1/2

Hn.3/4

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B. Tbn.

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B.Gtr.

fp

fp

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Mar.

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Sus. Cym.

Dr.

f

f

fp

f

fp

+ hi-hat, pedal

mf

p

f "funk"

f "funk"

f

f

"funk"

"funk"

f "funk"

f

"funk"

f

K

f "funk"

"funk"

f

f

"funk"

Tpt.2/3

Tpt.1

K

to Triangle

to Shaker

18

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

63

Picc.

Bsn.

A.Sax.

shake

shake

T.Sax.

B.Sax.

Tpt.1

shake

shake

shake

Tpt.2/3

shake

Flug.

Hn.1/2

Hn.3/4

shake

B. Tbn.

Euph.

Tba.

B.Gtr.

Kbd.

Mar.

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Bongos

Shkr.

Dr.

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shake

Tbn.1/2

19

Picc.

Fl.

Ob.

66 L

f

f

f

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Cl.2

Cl.3

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B.Sax.

Tpt.1

f

f

f

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Hn.1/2

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f

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Bongos

Shkr.

f

f

gliss.

f

f

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L

f

Mar.

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B.Gtr.

B. Tbn.

f

Hn.3/4

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Tpt.2/3

f

f

B.Cl.

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ad lib.

20

69

Picc.

Fl.

Ob.

Cl.1

Cl.3

B.Cl.

Bsn.

A.Sax.

T.Sax.

B.Sax.

Tpt.1

Tbn.1/2

Euph.

ff

sfzp

ff

gliss. ff

Bongos

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f

M

ad lib.

f

ff

ff

f

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f

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f

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Hn.3/4

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ff

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M

ff

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to Guiro

p

21 73

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gliss.

mp

3

liss.

g

79 B.Gtr.

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mp

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long scrape mp

gliss.

3

83

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mp

mp

mp

mp

mp

gliss.

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3

22

Cl.1

87 N

B.Cl.

cresc. poco a poco

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cresc. poco a poco

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cresc. poco a poco

mp cresc. poco a poco

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mp cresc. poco a poco

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mp cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

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cresc. poco a poco

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gliss.

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Cl.2

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91

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mp cresc. poco a poco

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gliss.

3

23

95

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mp 1.

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Cl.2

Cl.3

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Tpt.1

mf

Tpt.2/3

mf

mf

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mf

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Shkr.

Vib.

Dr.

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

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cresc. poco a poco

B. Tbn.

Xyl.

Tbn.1/2

Kbd.

cresc. poco a poco

mf

B.Gtr.

Hn.3/4

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mf

mf

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mf

mf

mp cresc. poco a poco

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mp cresc. poco a poco 2.

T.Sax.

B.Sax.

mf

2.

mp

1.

cresc. poco a poco

cresc. poco a poco

gliss.

mf

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

3

24

99

Picc.

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1.

2.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

1.

Bsn.

A.Sax.

T.Sax.

B.Sax.

Tpt.1

mf cresc. poco a poco

Hn.1/2

Hn.3/4

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1.

Xyl.

O

Tri.

Vib.

Guir.

Shkr.

Dr.

mf cresc. poco a poco

gliss.

mf

gliss.

3

gliss.

mf cresc. poco a poco

B.Gtr.

Tba.

Flug.

Euph.

B. Tbn.

mf cresc. poco a poco

Tpt.2/3

Tbn.1/2

2.

25

103

Picc.

Fl.

1.

Ob.

1.

Cl.2

Cl.3

Bsn.

A.Sax.

Tpt.1

Tpt.2/3

Flug.

Hn.1/2

Hn.3/4

B. Tbn.

Xyl.

Shkr.

Dr.

Guir.

f

f

f

gliss.

f

f

f

f

f

f

gliss.

f

f

f

f

f

sfp

f

sfp

gliss.

f

f

f

f

Vib.

Tri.

Euph.

Tbn.1/2

Kbd.

f

B.Gtr.

f

Tba.

T.Sax.

B.Sax.

mf

mf 2.

Cl.1

B.Cl.

2.

3

26

107

Picc.

Fl.

Ob.

cresc. poco a poco a2

Cl.2

Cl.3

B.Cl.

A.Sax.

cresc. poco a poco

B.Sax.

Tpt.1

Tpt.2/3

Flug.

Hn.1/2

Tbn.1/2

B. Tbn.

Euph.

Tba.

B.Gtr.

Kbd.

Xyl.

cresc. poco a poco

Vib.

Dr.

cresc. poco a poco

Shkr.

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

Tri.

Guir.

cresc. poco a poco

cresc. poco a poco

Hn.3/4

cresc. poco a poco

cresc. poco a poco

T.Sax.

cresc. poco a poco

cresc. poco a poco

gliss.

gliss.

cresc. poco a poco

f

f

gliss.

3

sfp

sfp

f

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

Bsn.

cresc. poco a poco

Cl.1

a2

to Bongos

27

Picc.

111 P

f cresc. poco a poco

Fl.

3

f cresc. poco a poco

f cresc. poco a poco

3

Ob.

3

3

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

Tpt. solo ossia

B. Tbn.

P

f

Vib.

f

3

3

Dr.

Tri.

Shkr.

Euph.

Tbn.1/2

(open)

3

3

3

gliss.

gliss.

3

3

3

f

sfp

sfp

Hn.3/4

Bongos

f cresc. poco a poco

Hn.1/2

Xyl.

Flug.

Kbd.

Solo w/ harmon doubles Picc./Xyl. if necc.

Tpt.2/3

B.Gtr.

Tpt.1

Tba.

T.Sax.

B.Sax.

f

3

gliss.

ff

3

3

to Glock

28

115

Picc.

ff

Fl.

ff

Cl.2

Cl.3

Bsn.

A.Sax.

ff

T.Sax.

B.Sax.

Tpt. solo ossia

Tpt.1

Flug.

ff

B. Tbn.

Tba.

B.Gtr.

Kbd.

ff

Xyl.

Mar.

Bongos

Shkr.

ff

3

to Marimba

f

cresc. poco a poco

cresc. poco a poco

3

cresc. poco a poco

gliss.

cresc. poco a poco

cresc. poco a poco

3

cresc. poco a poco

3

3

gliss.

3

f

cresc. poco a poco

gliss.

cresc. poco a poco

cresc. poco a poco

3

3

f

sfp

cresc. poco a poco

cresc. poco a poco

sfp

cresc. poco a poco

3

cresc. poco a poco

cresc. poco a poco

ff

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

3

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

3

ff

Dr.

Glock.

ff

ff

ff

ff

ff

Euph.

ff

ff

Tbn.1/2

ff

ff

Hn.3/4

Tpt.2/3

Hn.1/2

ff

ff

Cl.1

ff

B.Cl.

3

Ob.

ff

3

29

119

Picc.

3

3

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

Tpt. solo ossia

3

Flug.

Hn.1/2

Tpt.1

Tpt.2/3

f

Hn.3/4

Tbn.1/2

B. Tbn.

B.Gtr.

Kbd.

Xyl.

Mar.

Glock.

Shkr.

hi-hat, pedal

3

3

gliss.

sfp

gliss.

3

fff

fff

3

3

fff

fff

sfp

fff

3

fff

fff

fff

Bongos

Dr.

Euph.

Tba.

T.Sax.

B.Sax.

Fl.

ad lib.

3

30

122

Picc.

Fl.

Ob.

Cl.2

Cl.3

A.Sax.

B.Sax. Tpt. solo ossia

Shkr.

Dr.

ff

fff

fff

fff

f

ff

f

ff

ff

ff

ff

to Vibes

Police whistle

Q

f

ff

ff

ff

ff

ff

f

ff

ff

ff

sfzp

3

ff

ff

ff

ff

f

sfzp

ff

f

ff

sfzp

fff

fff

sfzp

fff

fff

a2

fff

fff

ff

ff

fff

Euph.

Bongos

B. Tbn.

Glock.

Tbn.1/2

Mar.

Hn.3/4

Xyl.

Hn.1/2

Kbd.

fff

Q

fff

Flug.

B.Gtr.

Tpt.2/3

Tba.

Tpt.1

T.Sax.

B.Cl.

Cl.1

Bsn.

f

fill, toms only

ff

ride bell

31

Picc.

Fl.

125

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

Tpt.1

T.Sax.

B.Sax.

Hn.3/4

Tbn.1/2

B. Tbn.

Euph.

Tba.

B.Gtr.

Kbd.

Glock / Vib.

Bongos

Mar.

Shkr.

Dr.

f

f

f

f

f

R

f

Xyl.

Hn.1/2

Flug.

Tpt.2/3

R

f

f

f

hi-hat pedal

32

Picc.

Fl.

129

Ob.

B.Cl.

Hn.1/2

Tbn.1/2

B. Tbn.

B.Gtr.

Xyl.

Mar.

Vib.

Bongos

Shkr.

Dr.

a2

fff

fff

fff

ad lib.

Kbd.

Tba.

Flug.

Euph.

Tpt.2/3

Hn.3/4

T.Sax.

Tpt.1

Cl.3

B.Sax.

A.Sax.

Cl.2

Cl.1

Bsn.

to Glock

Picc.

132 S

Fl.

Ob.

Cl.3

B.Cl.

T.Sax.

B.Sax.

Tpt.1

piĂš f

piĂš f

piĂš f

piĂš f

piĂš f

B. Tbn.

piĂš f

Euph.

piĂš f

piĂš f

piĂš f

S

ff

Shkr.

to Triangle

gliss.

f

ad lib.

fff

fff

fff

ff

hi-hat, pedal

piĂš f

Bongos

piĂš f

Dr.

piĂš f

piĂš f

piĂš f

Tbn.1/2

Glock.

Hn.3/4

Mar.

piĂš f

piĂš f

Xyl.

Hn.1/2

Kbd.

Flug.

B.Gtr.

Tpt.2/3

Tba.

piĂš f

piĂš f

Cl.2

A.Sax.

Cl.1

Bsn.

33

34

T

136

Picc.

fff

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

Tpt.1

fff

fff

fff

fff

fff

Tbn.1/2

B. Tbn.

Euph.

Xyl.

Mar.

Glock / Vib.

Tri. Whistle Csba.

Dr.

fff

fff

piĂš f

piĂš f

piĂš f

sfp

sfp

sfp

gliss.

gliss.

ff

1.

fff

ff

fff

T

fff

2.

fff

ff

fff

ff

sfp

fff

bells up

Hn.3/4

sfp

sfp

Hn.1/2

Kbd.

bells up

B.Gtr.

fff

Flug.

Tba.

Tpt.2/3

fff

T.Sax.

B.Sax.

dry

ad lib.

35

139

Picc.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

T.Sax.

B.Sax.

Tpt.1

2.

Flug.

ff

Hn.3/4

B. Tbn.

Euph.

Tba.

B.Gtr.

Kbd.

Xyl.

Mar.

Glock / Vib.

Tri.

Shkr.

Dr.

a2

3

3

3

fp

cresc.

3

fp

3

3

3

3

fp

3

3

3

fp

fp

3

2.

3

fff

fff

3

3

fff

Tbn.1/2

Hn.1/2

ff

ff

Tpt.2/3

1.

gliss.

36

142

Picc.

Fl.

1.

Ob.

Cl.2

Cl.3

B.Cl.

Cl.1

Bsn.

A.Sax.

Tpt.1

3

3

Tpt.2/3

3

Flug.

Hn.1/2

Hn.3/4

Tbn.1/2

B. Tbn.

3

3

3

3

3

Tba.

fp

fp

Kbd.

Xyl.

Mar.

Glock / Vib.

Tri. Shkr.

Dr.

3

3

3

3

3

3

3

3

3

3

f possibile

f possibile

f possibile

3

3

3

3

3

3

3

3

3

3

3

3

fp

fp cresc.

fp cresc.

U

ff

ff

ff

ff

cresc.

f possibile

f possibile

3

f possibile

f possibile

f possibile

f possibile

f possibile

f possibile

fp cresc.

f possibile

fp

f possibile

fp

fp

3

f possibile

3

U

f possibile

3

3

3

3

3

cresc.

fp B.Gtr.

3

fp

Euph.

2.

T.Sax.

B.Sax.

ff

to Sus. cym.

fp cresc.

37

145

Picc.

Fl.

Ob.

Cl.1

Cl.2

Cl.3

B.Cl.

Bsn.

A.Sax.

B.Sax.

Tpt.1

Tpt.2/3

Flug.

B. Tbn.

Dr.

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

to Glock

3

3

f possibile

f possibile III

gliss.

ff

to Bongos

crash

slap

fff

fff

f possibile

3

sfzp

3 3

3

sfzp

3

3

f possibile

3

3

3

3

3

3

Sus. Cym.

Tba.

Tri. Bongos

3

Euph.

Glock / Vib.

Mar.

Tbn.1/2

Xyl.

Hn.3/4

Kbd.

3

3

3

Hn.1/2

B.Gtr.

T.Sax.

f possibile