MOONSCAPE AWAKENING J O N I C
O
N
T H I R D T H E
F R A N K
G R E E N E C
E
R
T
P R I Z E
T I C H E L I
M A N H A T T A N
B
A
N
D
W I N N E R
C O M P O S I T I O N
C O N T E S T
B E A C H
M U S I C
Recording Credits for Moonscape Awakening: Performance by Joni Greene Master’s Recital Ad. Hoc. Indiana University Band, Paul W. Popiel, Conductor
MOONSCA PE A W A K E N I N G F O R
C O N C E R T
B A N D
JONI GREENE I N S T R U M E N T A T I O N 1 Full Score
4 Bb Trumpet 1
1 Piccolo
4 Bb Trumpet 2
4 Flute 1
2 F Horn 1
4 Flute 2
2 F Horn 2
2 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
2 Bassoon
1 Timpani
2 Eb Alto Saxophone 1
2 Percussion 1 (1 or 2 players)
2 Eb Alto Saxophone 2 1 Bb Tenor Saxophone 1 Eb Baritone Saxophone
Glockenspiel, Suspended Cymbal, Bass Drum
2 Percussion 2 Tubular Bells, Vibraphone, Suspended Cymbal
1 Piano (optional)
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
M O O N S C A P E A WA K E N I N G is the T H I R D P R I Z E W I N N E R ( T I E ) 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 Two: Concert band music for more experienced players
M
oonscape Awakening came to life
not long ago during the Oregon Bach Festival. During the festival. I was approached by band
director, James Geiger, who was looking to commission a work for his band at West Laurens High School in Dublin, Georgia. Mr. Geiger specifically asked for a work in the spirit of my choral piece, Autumn Reflections, which focuses on warm colors and scenic imagery. Thus the inspiration for Moonscape Awakening begins with the presentation of color and texture within the choirs of the wind ensemble. The title is descriptive of a shimmering moon that slowly rises and bursts into an awakening of full presence and intensity. The process of progression to the moon’s zenith is presented musically as a slow building of melody, texture, note duration, and range. The culmination of these elements reaches an apex about halfway through the work. An arch form is then revealed as the music slowly dissipates in texture and rhythmic intensity, signifying a weakening of the moon’s presence. Moonscape Awakening comprises several layered melodic strands. The work’s motivic fragments are derived from a solo in the bass clarinet. The full presentation of this main theme is embedded at several points in the work and serves as a melodic echo throughout. Along with the theme’s motivic fragments, rising flourishes of sixteenth-notes add to the progression of intensity and arrival. After the apex, a journey of releasing tension begins through a spinning out of melodic ideas in the brass and woodwind choirs. The work comes to a close after a final resonating chord with the return of the solo flute. Moonscape Awakening received its premiere on May 6, 2008 by the West Laurens Wind Ensemble, conducted by James Geiger. JONI GREENE
F O R M I N T R O D U C T I O N (mm. 1 – 16)
Section Goals: Presentation of color by instrument section with slow building of texture; start of moon’s ascent. mm. 1– 7 Flute solo with warm horn backdrop and percussion “sparkles” Motivic fragment (P5, M2) from main theme (bass clarinet m. 34) 8 – 16
Woodwind harmonic clusters with overlapping entrances Brass harmonic “stings” (see special instructions) Dynamic color fades
P R E S E N T A T I O N O F T H E M E A N D S O L O S (mm. 17 – 49)
Section Goals: Build texture through layering of instruments with faster moving notes; continue imagery of moon’s ascent. 17 – 31 Woodwinds begin eighth-note ascent motive through layering and grouping by tessitura. Brass create contrast in texture through succession of “stings” with dynamic fades. 32 – 35
Alto Saxophone 1, Oboe, and Bass Clarinet solos Main theme presented in Bass Clarinet solo at m. 34
36 – 41
Contrast in texture Brass featured Beginning of sixteenth-note ascent
42 – 49
Transition to first climax build
F I R S T A N D S E C O N D C L I M A X (mm. 50 – 79)
Section Goals: Continue to build texture through layering of instruments with faster moving notes; arrive at moon’s zenith at second climax. 50 – 53
Start of continuous sixteenth-note build
54 – 56
Brass and high woodwind harmonies featured
57 – 60
Brass feature: horns, euphonium, trumpet
60 – 66 Woodwind feature, contrast in color through overlapping textures Exposed, independent lines
67 – 74
Final stretch to moon’s ascent Thick texture with dynamic build P5, M2 motive imbedded in texture Main theme presented in piano and euphonium at m. 72
75 – 76
Climax — brilliant and precise Moon “awakes” upon arriving at zenith
76 – 79
Brass chorale — warm and full Woodwind tapering T R A N S I T I O N (mm. 80 – 92)
Section Goals: Release of tension from climax. Development of P5, M2 motive; moon’s sparkle at zenith and transition to descent of arch form. 80 – 83
Key change to 1 flat collection (harmony not strictly F major) Brass chorale continues
84 – 92
Woodwind feature Development of P5, M2 motive Exposed, independent lines C L O S I N G S T A T E M E N T (mm. 93 – 120)
Section Goals: Final presentation of instrument section colors. Contrast between delicate and full textures; dimming of moonlight — descent of arch form. 93 – 97
Flute solo — development of initial flute solo Harmonic clusters (derived from m. 8)
98 – 106 Brass “stings” Feature of brass harmonies — warm and luscious 107 – 112 Final harmonic arrival in full texture Harmonic clusters in middle and low woodwinds Brass motive derived from main theme 113 – 120 Closing melodic statement in flute solo Clarinet shimmer with piano pulses
S P E C I A L
I N S T R U C T I O N S
S pecific A reas to F ocus on in R ehearsal
While there are many areas of importance to focus on in rehearsal of Moonscape Awakening, the most crucial to the heart of the piece include: good intonation, expressivity, dynamic balance, clarity of independent lines, and precision of entrances. In order to successfully achieve these goals, careful consideration to tuning and individual player confidence should be addressed. While Moonscape Awakening is not technically difficult, it does contain specific challenges in regards to tonal and instrumental balance. Careful attention to delicate crescendos and decrescendos will help maintain the intended balance of color and texture. Notes which enter at a soft dynamic yet contain an accented articulation should be played with a “sting,” creating a precise attack to the front of the note followed immediately by a soft sustain. In order to keep momentum towards the climax, it is essential that the tempo not drag. A slight flexibility of tempo at beginning, end, and rit. sections is appropriate. I N S T RU M E N TAT I O N
If oboe is not available, a flutist may play oboe part with exception to mm. 32 – 35 and mm. 110 – 112 which are cued in clarinet 1. In m. 75 in percussion 1, an extra percussionist is needed to play glockenspiel. If an additional player is not available this part may be omitted. The piano part is optional for the work; however, its presence greatly enhances the harmonies and provides a special musical color to the piece. The addition of the piano essentially allows for a different version of the work, creating an enriched option for bands with the available personnel. A harp transcription of the piano part is available for bands that do not have a pianist. Please visit Manhattan Beach Music’s website to download the part. (Please note that piano is preferred over harp.)
commissioned by James Geiger and the West Laurens High School Wind Ensemble
MOONSCAPE AWAKENING FOR CONCERT BAND Legato cantabile
JONI GREENE
= 72
2
3
4
5
6
solo
7
8 (end solo)
Picc. solo 1 Fls. 2
Ob. tutti
solo 1
B Cls.
2
3
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 solo 1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. Glockenspiel 1 Perc.
* Tubular Bells
to Vibraphone
2
Piano
* Ties at the ends of notes indicate a sustain (keep pedal down unless indicated otherwise.) ** Always leave pedal down until sound decays or next pedal is indicated.
**
Copyright © 2010 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-128-5 (complete set) ISBN 1-59913-129-3 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com
Vibraphone
9
10
12
11
14
13
15
16
Picc. sub.
1 sub.
Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax. str. mute solo
tutti
1 B Tpts. 2 tutti 1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. (Glock.) 1 Perc.
(Vib.) 2
8
Piano
2
17
19
18
20
21
22
23
Picc. tutti
1 Fls. 2
Ob. sub.
1
B Cls.
2
3
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
open 1 B Tpts.
open 2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. (Glock.)
to Suspended Cymbal
1 Perc.
(Vib.) 2
8
Piano
3
28
24
25
26
27
29
31
30
Picc.
1 Fls. 2
Ob.
1 sub.
B Cls.
2 sub.
3 sub.
B Bass Cl.
Bsn.
1 E Alto Saxs. 2 B Tenor Sax.
E Bar. Sax. str. mute
sub.
sub.
sub.
1 sub.
B Tpts.
str. mute 2 sub.
str. mute 1
sub.
F Hns.
str. mute 2 sub.
str. mute Tbns.
1 2 sub.
str. mute Euph.
Tuba sub.
sub.
Timp. (Susp. Cym.)
Suspended Cymbal
to Glock.
Glock.
1 (Vib.)
Perc. 2
sub.
8
Piano
4
36
32
33
34
37
38
39
40
35
Picc.
1 Fls. 2 solo
(end solo)
Ob. Ob. solo 1
B Cls.
2
3 solo
(end solo)
B Bass Cl.
Bsn. solo (end solo) 1 E Alto Saxs. 2
B Tenor Sax. B. Cl. solo
E Bar. Sax.
open 1 B Tpts.
open 2 open 1
F Hns.
open 2 open
Tbns.
1 2 open
Euph. sub.
Tuba
Timp. (Glock.) 1 Perc.
(Vib.) 2
Piano
5
41
42
44
43
45
46
Picc.
1 Fls. 2
Ob.
1 sub.
B Cls.
2 sub.
3 sub.
tutti B Bass Cl.
Bsn. tutti 1 sub.
E Alto Saxs.
tutti 2 sub. (bis.)
B Tenor Sax. sub.
E Bar. Sax.
1 B Tpts. 2
1 F Hns. 2
Tbns.
1 2 sub.
Euph.
Tuba
Timp. (Glock.) 1 Perc.
(Vib.) 2
8
Piano
6
3
3
3
3
3
3
3
3
50
47
48
49
51
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp.
1 Perc.
(Vib.)
to Susp. Cym.
2
Piano
7
54 52
56
53
55
Picc.
1 Fls. 2
Ob.
1 sub.
B Cls.
2 sub.
3 sub.
B Bass Cl.
Bsn.
1 E Alto Saxs. 2 sub.
B Tenor Sax.
E Bar. Sax. sub.
1 sub.
B Tpts. 2
sub.
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp.
1 Perc.
Susp. Cym. 2
Piano
8
57
58
59
60
61
62
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl. Bsn.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 soli
(end soli)
soli
(end soli)
1 F Hns. 2 soli Tbns.
1 2 soli
(end soli)
Euph. sub.
Tuba
Timp.
1 Perc. 2
Piano
9
63
64
65
67
66
68
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
Bsn.
solo
(end solo)
1 E Alto Saxs. 2 Bsn. B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 solo 1 F Hns. 2
Tbns.
1 2 Bsn. (only in absence of Ten. Sax.)
Euph.
Tuba
Timp. (Glock.)
to Bass Drum
1 Perc. 2
Piano
10
tutti
70
69
71
73
72
Picc.
1 Fls. 2
Ob.
1 sub.
B Cls.
2
3
B Bass Cl. sub.
Bsn. sub.
1 sub.
E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 sub.
B Tpts. 2 tutti 1 F Hns. 2
Tbns.
1 2
sub.
Euph. sub.
Tuba
Timp. Bass Drum 1 Perc.
(Susp. Cym.) 2
8
Piano
8ba
11
75 74
77
76
78
79
Picc.
1 Fls. 2
Ob. sub.
1 sub.
B Cls.
2 sub.
3
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis.
2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. Optional Glock. part *
(B.D.)
to Glock.
(Susp. Cym.)
to Tubular Bells
1 Perc. 2
8
Piano
8
sub.
sub.
8ba
* Play if extra percussionist is available.
12
80
85 81
82
83
84
Picc.
1 Fls. 2 non dim.
Ob. sub.
1
B Cls.
2
3
B Bass Cl. sub.
Bsn. sub.
1 E Alto Saxs. 2
B Tenor Sax. sub.
E Bar. Sax. sub.
1 B Tpts. 2
1 F Hns. 2 a2 Tbns.
1 2
Euph.
Tuba
Timp.
1 Perc. 2
Piano
13
86
93 a tempo
poco rit. 87
88
91
90
89
92
94
Picc. solo
1 sub.
Fls. 2
sub.
sub.
sub.
Ob. sub.
1 sub.
sub.
B Cls.
2 sub.
3
B Bass Cl.
Bsn.
solo 1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. Glock. 1 Perc. 2 solo
Piano
14
95
96
97
98
99
100
101
102
103
Picc.
tutti 1 Fls. 2 solo
(end solo)
Ob.
1
B Cls.
2 sub. 3
B Bass Cl.
Bsn.
solo
(end solo) 1
*
E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
open
str. mute 1 B Tpts.
str. mute
sub.
2 sub.
1 F Hns. 2
Tbns.
1 2 sub.
Euph.
Tuba
Timp.
1 Perc. 2
8
Piano
* Gradually accelerate to a 32nd note pace within the time of a quarter note.
15
rit. 104
105
106
108
= 66 107
solo
rit.
(end solo)
= 46
109 110
solo
111
112
Picc.
1 sub.
Fls. 2 solo
Ob. non dim.
Clarinet 1 solo
Ob. solo *
1 B Cls. 2
3
B Bass Cl.
Bsn. (end solo)
1 E Alto Saxs.
sub.
2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
open
2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp. (Glock.)
to Susp. Cym.
Susp. Cym.
to Glock.
1 Perc. Tubular Bells
2
Piano
8ba
* If no Oboe, Player 1 takes Oboe cue and Player 2 plays solo.
16
Glock. solo
113
= 56
rit. 114
115
116
117
118
119
Picc. solo 1 Fls. 2
Ob.
Solo sub.
sub.
1 B Cls.
sub.
2 sub.
3 sub.
B Bass Cl.
Bsn.
1 E Alto Saxs. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 F Hns. 2
Tbns.
1 2
Euph.
Tuba
Timp.
1 Perc. 2
Piano
17
120
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 .
.
M O O N S C A P E
A W A K E N I N G
TO HEAR A COMPLETE RECORDING PLEASE VISIT www.Manhatt anBeac hMusic.com
M A N H A T T A N
B E A C H
M U S I C