Entrance of the Queen of Sheba

Page 1

G.F. Handel

Entrance of the Queen of Sheba Act III Symphonia from Solomon

arranged for mallet ensemble and two flutes by Brian Slawson

Entrance of the Queen of Sheba. by G.F. Handel, arranged by Brian Slawson Š 2009 Tapspace Publications LLC (ASCAP), Portland, Oregon. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com

Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright act and are punishable by law.

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Performance Notes HISTORY Born in Germany in 1685 (the same year as J.S. Bach), George Friderick Handel later settled in England where, in addition to writing glorious instrumental music (including The Royal Fireworks & Water Music) he composed forty operas. In the 1730s, however, the popularity of opera declined in England. As a result, Handel switched to writing oratorios, lengthy choral works without operatic staging or scenery, his most famous being Messiah. Another such work, Solomon, brings us the Queen of Sheba. PERCUSSION

Queen of Sheba is recommended for performance with at least 4 marimba players on at least two marimbas. If four marimbas are available, use them. There are a few spots in the Marimba 1 part where the use of divisi (divided parts) help bring the piece to life. If a fifth marimbist is available, s/he may double the Marimba 1 part (while playing the lower divisi parts) on marimba 3. If the fifth marimbist isn’t available, Marimba 1 should play the top parts any time a divisi line is encountered. The lowest mallet part (Marimba 4) requires a bass marimba or a 5-octave instrument. Players 1 & 3 can share one marimba, players 2 & 4, the 5-octave. If necessary, one or all of the treble clef marimba parts may be played on vibraphone(s). FLUTES The flute parts (originally scored for oboe) will be most effective when imitating the charming “quacking” style so often demonstrated in Baroque music. A “punchy” tongue, shortened note values, and rhythmic accuracy will best serve to create a unified ensemble with their quirky, attack instrument counterparts. ENSEMBLE The upper voices will flow effortlessly by emphasizing and connecting the linear nature of the phrases while avoiding tempting, yet disruptive, attacks and accents. The lower parts need not be too round or robust. As is always the case when performing in a group setting, balance is essential. If the overall character is kept light and playful, one might be reminded of a large (but fun to watch!) music box. -Brian Slawson


Instrument/Parts list Written to be accompanied with two flutes, Entrance of the Queen of Sheba can be played with six or seven percussionists. If using 7 players, the extra performer should play the lower ‘divisi’ parts and double the rest of the Marimba 1 part. The following instrumentation is required: • • • • •

Two flutes Two glockenspiels Two small marimbas (4-octave)* One 4.3 octave marimba (low-A)* One 5-octave marimba (low C)*

*NOTE: If four marimbas aren’t available, these parts can be performed by sharing two marimbas (one low-A, and one low-C).

Suggested Setup


About Brian Slawson Since his scholarship studies at The Juilliard School, Brian Slawson has continued to pioneer innovative paths in percussion. Grammy-nominated as ‘Best New Classical Artist,’ Brian has appeared on NBC’s Tonight Show, Entertainment Tonight, The CBS Morning News and NPR’s “All Things Considered.” Mr. Slawson has an extensive discography, including solo releases on the Sony/CBS and Belltone labels. His smash debut, Bach On Wood hit Billboard’s Top 10 and remains one of the world’s premier vehicles for exposing new audiences to classical music. Brian has shared the stage with classical luminaries Leonard Bernstein and Aaron Copland, recorded with pop icons from Stevie Ray Vaughan to Marie Osmond and punctuated jokes for comedians Bill Maher, Eddie Murphy, and Jerry Seinfeld. He is the voice of “Gusto the Bulldog” in Warner Bros. Music Expressions and a featured artist in McGraw-Hill’s Spotlight on Music. In addition to serving as Principal Timpanist of the Brevard Symphony Orchestra, Brian’s multi-media company, Slawsongs, has created award-winning custom music for feature films, television and radio. Mr. Slawson proudly endorses Ludwig-Musser, Zildjian, Vic Firth, Remo, Grover Pro Percussion, Rhythm Tech, Alternate Mode and Sibelius. His teachers have included Saul Goodman, Buster Bailey, Alexander Lepak, David Smith and Drew Grouse. Legendary vibraphonist, Lionel Hampton, described Brian Slawson as “one of the finest percussionists to come along in many years.” Modern Drummer magazine calls Brian “a visionary, be it performer, producer or composer.”


Level: Medium Approximate playing time: 2’30”

Entrance of the Queen of Sheba

G.F. Handel arranged by Brian Slawson

Act III Symphonia from Solomon

  Flute 1   

   

Allegro q = 108

Flute 2

    Glockenspiel 1   



f

Glockenspiel 2

 



  

 

  



 

       

    

                                                              f

          

Marimba 2

           f

Marimba 3

f

Marimba 4

              

  

      f

Marimba 1

   

f

          





       

 



   





    

    G1  



5

G2

M1

M2

M3

M4







  

     

       

       

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       

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       

                                                

         

       

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                

cresc.

© 2009 Tapspace Publications LLC (ASCAP), Portland, Oregon. All rights reserved. International copyright secured. Printed in USA.


Entrance of the Queen of Sheba - arr. Slawson

2 9           G1 

           

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G2

          

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

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        



                                 M1      divisi (if extra player is available)

mf

M2

M3

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             mp

          mf

       

          mf

M4

   

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       

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mp

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   

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 

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  Fl. 1  



13

Fl. 2

G1

G2

M1

M2

M3

M4



                                 

    

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                   

TSPCE-26

               

f

 

         f

        

mf

         f

 

 

mf

  

f

 

 

                                                           

   

    

mf

      

A


Entrance of the Queen of Sheba - arr. Slawson

              18

Fl. 1

Fl. 2

G1

G2

                     





                   

                   



mf



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            

 

M3

 

       

M4

  

M2

mf

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       



  

M1



    

mf

 

    

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 23                                    Fl. 1  

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Fl. 2



                                

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

                                

  M1  

 

 

  

M2

M3

M4

div.                               mf

               

mf

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   

    

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4

     28

Fl. 1

B

mp

Fl. 2

     mp

G1

     mp

G2

     mp

M1

    mp

M2

Entrance of the Queen of Sheba - arr. Slawson

   

                    mp

M4

     mp

   

           

       

mp

M3

   

   

   

            

 

   

   

 

      

cresc.

       



cresc.

       

cresc.

     

 

    

cresc.

        

   



        

     

cresc.

cresc.

cresc.

    



   

   

                

             

   

     

cresc.

       Fl. 1   33

Fl. 2

G1

G2

M3

M4

    

       

mf

      

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 

 

             

      

  M1     M2

             

    

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 

 

                          mf

      

                mf               

    

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mf

mf

 

       

       

               

f

f

          

f

               

f

f

f

                


Entrance of the Queen of Sheba - arr. Slawson

  Fl. 1  

  

38

Fl. 2

G1

G2

M1

M2

M3

         

                         

                           

mf

           

                            

mf

         

                         

mf

                                

mf

mf

    

   

  Fl. 1   

   

M4

5

 43

C

mp

Fl. 2

mp

G1

        mp

G2

   

mp

M1

   

          mp

M3

           mp

M4

cresc.

cresc.

    

 

   

    

mf

mf

 

                                                               mp

M2

    

   

mp



cresc.

        cresc.

       

       



cresc.

       

                mf

mf

cresc.

mf



mf



 TSPCE-26


6

Entrance of the Queen of Sheba - arr. Slawson

        

   Fl. 1   47

       

mp

Fl. 2

    mp

G1

   

    M1  

mp

M3

cresc.

              cresc.

              cresc.

     



        

cresc.

             

      

         

      

         

      

               

         

               

                          mp cresc.                                           mp

M4

             

       

mp

M2

cresc.

       

    mp

G2

             

   

mp

cresc.

cresc.

 

       Fl. 1   52

D

       

       

f

Fl. 2

        f

G1

       f

G2

       

mf

       

       

               

f

f

                                             M1        M2

f

mf

f

mf

        f

M3

       f

M4

     f

TSPCE-26

               

mf

mf

mf

               

f

    

       

f

f

f


Entrance of the Queen of Sheba - arr. Slawson 56           G1  

G2

   

mf

mf

    

7



f



f

                           M1   div.

mf

M2

M3

M4

  



  

   

  

mf



mf

f

 

 

 

f

 

 

f

f

mf

59         G1  

  

                      

  

rit.

G2

                                                           M1   M2

M3

M4

         

       

            

         

       

            

   

               TSPCE-26


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