Fires, Nocturne Concerto for Two Percussion Soloists, Large Wind Band, and Various Other Monsters

Page 1

Score is in C: with Piccolos, Piccolo Trumpet, and Celesta sounding one octave higher, and Contrabassoon and Contrabass (lower staff) sounding one octave lower than written (Contrabass harmonics are, however, notated at sounding pitch)

~ Fires ~

N.B - It's always better to overemphasize rather than underemphasize, as in the case of accents: Generally better to err on the side of too much rather than not enough.

nocturne concerto for two percussion soloists, large wind band, and various other monsters (2008)

q»¡™º

The idea that it could ever really be finished just seems somewhat preposterous; AGGRESSIVE! Piccolo I

Piccolo II

Flute(s) III

&c

Flute(s) IV

Alto Flute Solo (Fl V)

&c

Oboe I (Solo)

&c

Oboe(s) II

&c

English Horn(s) (Quasi Solo)

Eb Clarinet(s)

Bb Clarinet I (Solo I)

Bb Clarinet II (Solo II)

Bb Clarinets III

Bb Clarinets IV

Bb Clarinets V Clarinet VI and Bass Clarinet III are also available as ossia parts for Alto Sax II and Bassoon III. Bass Clarinet(s) I

Bass Clarinet(s) II

Bassoon(s) I

Bassoon(s) II

Bass Clarinet III

Bassoon(s) III

Contrabassoon(s)

Soprano Saxophone

Alto Saxophone I (Solo)

Alto Saxophone II

Tenor Saxophone

Baritone Saxophone

Bass Saxophone Solo

Trumpet in C III

Trumpet in C IV

Piccolo Trumpet (Trumpet in C V)

Trumpet in C VI

Trumpet in C VII

Trumpet in C VIII

Tenor Trombone I

Tenor Trombone II

Tenor Trombone III

Tenor Trombone IV

Tenor Trombone V

ƒ sub

Bass Trombone(s)

Euphonium I

Euphonium II

Tuba(s) I

Tuba(s) II

Timpani

Percussion I (Concerto Soloist I): Giant Symphonic Bass Drum

Percussion II (Concerto Soloist II): Snare Drum

œ

n äw

ƒ sub n wä

Percussion IV

Electric Guitar with a pick sempre

Harp

Piano

** Celesta If at all possible, please use ELECTRIC, AMPLIFIED, OR SYNTH celesta only.

œ

˘œ J ‰Œ Ó

j œ ‰Œ Ó fl

˘ œ ‰Œ Ó J j‰ Œ Ó œ fl

j œ- ˙ .

˙ ..

˘œ J ‰Œ Ó

j‰ Œ Ó bœ fl n ˘œ J ‰Œ Ó

˙. w

œ Œ

œ- œ b œ ˙

 œ-

˙

Œ

‰ 

˙-

œ

˙-

˙-

Œ

œ- œ ‰ J œ ˙.

œ.

# ˙-

 Œ

b ˙

œ b˙

˙p

œ- ˙ ‰J

œ bœ œ

Œ b˙. 

˘œ J ‰Œ Ó

? c nw â ƒ sub ?c nw â ƒ sub ? c n wä

j œ ‰Œ Ó fl

˘œ J ‰Œ Ó

? c nw â ƒ sub ?c nw â ƒ sub ? c Ó.

j œ ‰Œ Ó fl

ƒ sub

&c Ó

j‰ Œ Ó œ fl n œ-

 sub n >œ œ # äœ .

ƒ sub

&c

˙ œ ˘œ J ‰Œ Ó

 Œ

Ó 

 j œ- . œ ˙ â

œ

Œ

˙- . p

Ó

œ â 

˙-

˙

Œ

œ

b ˙- . 

Ó

3

˙

˙

˙

Œ

˙- .

˙

˙-

 3

˙ ˙-

˙-

˙

—> f/ƒ

˙

Œ

Ó

Œ

œ-

Œ

˙

äœ

w

œ

˙- . ˙.

œ â äœ

w

œ

˙- .

ä œ

˙.

Œ b˙

Ó

Œ

œ

œ-

˙- .

˙-

˙

3

˙-

Ó

ord

œ-

˙

Œ

Ó

Œ

˙

˙

˙-

 

Ó.

˙. P

‰ œj œ P

˙

œ Œ

˙-

˙

Ó

3

˙-

 ˙

˙-

˙

˙.

œ f

œ Œ Ó F

Œ

Ó

˙

œ œ â

w

œ

Œ

Ó

œ âœ

Œ

Ó

˙.

˙- .

ƒ sub

& c n˙. â ƒ sub &c . n˙ ƒ sub â b ˙ä ?c ƒ sub ä ? c n˙ ƒ sub ? c n ˙ä ƒ sub

œ >

œ >

ä˙ ä˙

get METAL STRAIGHT MUTE

 j‰ Œ Ó œ fl ˘œ get METAL STRAIGHT MUTE J ‰Œ Ó 

¿ æ

?c

&c

?c

?c

F œ

w

Œ

œ f

˙ ˙ ˙  poss

˙ F

 poss ˙ ˙ ˙

F ˙

3

?

˙ ˙ ˙

˙

˙

3

˙

˙ F

˙

j œ ‰Œ Ó fl

3

˙ ˙ ˙  poss

˙

j‰ Œ Ó œ fl

to Tom

>¿ Œ Ó

(l.v. sempre, unless otherwise noted with a staccato)

ƒ

f

F

 ¿ ¿ æ æ

(with the Bass Drum) (stopped, with finger depressing string close to the coil)

n b ww w+  > â ° PLEASE TAKE PEDAL MARKINGS LITERALLY n w>   f o n ˙- .

molto vib asp

f

œ

senza vib ord

 poss

P

b ˙˙ .... >+

 

w

 œ.Œ J P ¿ æ

¿ ¿ æ æ

 

œ ‰ ‰. œ Œ Œ J R

 œ . ‰. œ ‰. œ Œ J R R

œ

œ

˙-

œ

œ œ ‰ œ œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œj œ J

˙ ˙-

Ó.

 ¿ ¿ ¿ æ æ æ

 ¿ æ

 ¿ ¿ ¿ æ æ æ

¿ æ

¿ ¿ æ æ F

 ¿ æ

 ¿ æ

¿ ¿ æ æ

¿ æ

˙ â

w

œ œ â

w

3

˙ F

F 

¿ æ

3

˙ ˙ ˙  poss

œ

w â

Œ

œ

˙

¿ ¿ ¿ ¿ æ æ æ æ

f

Ó

3

3

3

3

˙ >

b˙ >

w>

Ó

Ó

œ > Ó

&

Ó

&

Ó

&

Ó

¿ ¿ ¿ ¿ ¿ æ æ æ æ æ  f   ¿ Œ Ó  f Tam Tam

œ

bw bw F

œ b˙ œ b˙ f

(with volume knob)

ord

ƒ

w> °

Ó

n œä. äœ œ äœ J ƒ œä. äœ œ äœ J ƒ j nœ. œ œ œ â â â ƒ œ fl

˙ ƒ

œ fl

Œ

Ó

Œ

Ó

&

œ >

>œ

œ >

bœ >

j œ. œ œ œ â â â ƒ

˙. ƒ â

Ó

>œ

˙ >

>œ

>˙

w> b˙ >

˙ >

3

˙ >

œ > ƒ

˙. â

3

bœ >

œ >

FLZ

‰ b œj sÏ z

snarling, contronting, abusive

snarling, contronting, abusive

with METAL STRAIGHT MUTE snarling, contronting, abusive

with METAL STRAIGHT MUTE snarling, contronting, abusive

äœ J

ϊ.

äœ J

œ. â

j œ â

¿ æ

˙ æ

˙æ

œ

>œ J

>œ J

b ˘œ

˘ œ

>œ J

˘ œ

äœ

äœ

ϊ.

äœ J

œ

äœ

œ. â

j œ â

œ

œ â

˘œ

˙æ

j œ â

œ

œ â äœ

j œ â

œ

œ â

äœ J

œ

 œ

>œ

>œ œ œ >œ 3

>œ

>œ

œ œ >œ >œ 3

 

3

3

let grow into feedback ad-lib, but so it adds to the color of the mass as a whole, NOT so that it becomes the single point of focus

 œ >œ >œ

œ >œ >œ

ƒ

œ >œ >œ

 œ >œ >œ

œ >œ >œ

© 2008 Christopher Jon Honett

>œ œ œ >œ >œ >œ

[Initial gesture, followed by a re-collecting]

j œ >

(this staff sempre: standard notation, sounding one octave lower than written)

>œ J

œ >œ >œ

> œ J

>œ

œ œ œ œ œ >œ >œ >œ >œ >œ ° >œ w> b # n ww ww ww Ï ƒ

>œ J

bœ fl

æ w â

>œ

F sub

œ

œ. â

>œ

bw w >

>œ J

äœ J

œ â

Œ œ

œ ¿œ ˙ œ ¿œ ˙ > ƒ 

˘œ

ϊ.

œ

>œ Œ

Ó

>œ J

äœ

b ˘œ

˙ æ ˙ æ

j œ â

Ó

>¿ Œ

>œ J

äœ æ

œæ â

j œ >

˘œ

˙ æ

œ â

j œ >

˘œ

˙ æ

j œ >

˙ æ ˙ æ

> œ J

œ fl ˘œ

˙ æ

œ >

bœ fl

˙ æ

œ. â œä.

Œ

ƒ

3

œ >

œ fl

˙æ

œ â äœ

œ

>œ

œæ â

œ

>œ >œ

to Tom

j bœ sÏz

FLZ

j œ â

>œ >œ

ƒ

sÏz

œ

äœ J

œ. â

nœ J

œ

snarling, contronting, abusive

œ. â œä.

sÏ z

FLZ

œ >

˘ bœ

 œ œ

j nœ

sÏ z

˙. â

œ >

ä bœ œ J æ sÏ z FLZ snarling, contronting, abusive j æ ‰ nœ œ sÏz â ‰

snarling, contronting, abusive

ƒ

n >œ

w > wä

æ æ œ w â

œ >

ä˙

œ

˙ >

3

ϊ.

Ó

œ >

œ >

>œ

# >œ

˙

>˙

j œ. œ œ œ ƒâ â â œä. äœ œ äœ J ƒ

3

Ó.

œ Œ fl

sÏ z

>œ œ >œ œ >œ œ >œ œ œ >œ œ œ >œ >œ >œ >œ >œ >œ >œ >œ

Ó

Ó

˙ ƒ

Ó

Œ ˙.

Œ

sÏ z

œ œ œ œ œ œ œ œ œ œ œ >œ œ >œ œ œ >œ œ œ œ œ œ J 3 3 3 3 3 f

Ó

˘œ

j j œ œ

to Tam Tam

¿ æ

˙-

Œ

Ó

¿ æ

œ

  ¿ ¿ ¿ æ æ æ

˙-

(senza sordina)

j œ- ˙

œ

bœ >

w>

œ Œ fl sÏz ˘œ Œ

sÏ z

˙ ƒ

Œ.

3

˙ F

Œ

>œ

ä˙

œ ˙. > â ƒ

with METAL STRAIGHT MUTE

j‰ Œ Ó œ fl

Œ Ó

œ >

w > wä

ƒ

œ

œ >

˙ æ

˙ ˙ ˙  poss

3

œ >

œ >

b >œ

>œ

ƒ

3

j œ- ˙

œ > 

n œ äœ J æ sÏ z with METAL STRAIGHT MUTE snarling, contronting, abusive ä     Ó ‰ n œJ æœ sÏ z with METAL STRAIGHT MUTE snarling, contronting, abusive ä b œ     Ó ‰ J æœ sÏ z with METAL STRAIGHT MUTE snarling, contronting, abusive ä     Ó ‰ n Jœ œ æ sÏz with METAL STRAIGHT MUTE äœ snarling, contronting, abusive n œ     Ó ‰ J æ sÏz gloriously pure and ugly; an overwhleming, with METAL STRAIGHT MUTE confronting, interjecting mass; the wall of the storm snarling, contronting, abusive ä     Ó ‰ b œJ œ æ sÏ z with METAL STRAIGHT MUTE snarling, contronting, abusive ä     Ó ‰ nœ œ J æ sÏ z with METAL STRAIGHT MUTE snarling, contronting, abusive ä     Ó ‰ nœ œ J æ

?

3

Œ.

bœ >

˙æ

F

3

Œ

œ >

œæ â

 poss

Œ Ó

3

>œ

w Ï> wä

ƒ ˙

3

˙

œ

b˙ ˙ > > Ï

˙

Ï

˙ ƒ

3

(with the Horns)

bœ >

w>

>œ >˙ Ï w>

Ó

[** N.B. - A questionable musician might try to replace this Celesta with Crotales or a Glock]

œ

f

(this staff sempre: harmincs, at sounding pitch sempre)

w

  ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ æ æ æ æ æ æ æ æ æ æ (dynamics quasi ad lib sempre, within one degree plus or minus the given dynamic marking) l.v. until a bit after feedback starts, P then turn volume knob slowly down until off, sempre unless otherwise noted Ó     n n œœ ¿¿ ¿¿ œœ ƒ n >œ ¿ ¿ >œ F sub w> > (loco) nœ  Œ Ó Ó.    œ > ƒ f  F  Œ ‰ j Œ   Œ b˙ nœ œ ˙. ˙ (loco) >  n # n www>      

Ó

œ

Large Brake Drum with Hard Mallets or Snare Sticks sempre

?c

Ó

Œ

w

>œ Œ Ó

¿ æ

Œ

w> Ï

  with Hands or Large Soft Beaters (deep sound) Thundersheet ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ã c  Distortion sempre pæ æ æ æ æ æ æ æ (tube amp ONLY, NOT solid state); &c

Ó

œ

with Snare Sticks sempre sharp, punctual, aggressive, commanding

with Large Soft Beaters sempre

Œ

Large Tom or Wood or another other-timbred drum

ã c ¿ ¿ æ æ F ã c

w

Œ Œ. j Œ Ó Œ. Œ Ó Œ. j‰ Œ ‰ j j j œ œ œ ˙ œ œ- ˙ œ œ- ˙ œ œ- ˙ â fl -sub cresc poco a poco over time, with the entire mass, as a single force, with the chief   Œ  Œ  j‰ Œ Ó œ œ ˙- œ ƒ sub n ˙â  sub â˙ fl cresc poco a poco over time, with the entire mass, as a single force, with the chief (standard Timp mallets) ?c  Œ Ó       n œ (staccato indicates a dead stroke or somehow less resnonat sound) fl ß c œ Œ Œ œ Œ  œ. Ó Œ œ ‰ œ Œ Œ Œ œ ‰œ Œ ‰ œ Œ ‰. œ >œ œ Œ Œ ãa variety   J J J J R of strong beaters may be used, depending on balance, please use your best 3 p sub discretion; likely with Hard Wood Beaters P cresc gradually, but independently from the Mass and Large Bass Drum Beaters

œ â äœ

˘œ J ‰Œ Ó

˘ œ ‰Œ Ó J

Ó

˘œ J ‰Œ Ó

j‰ Œ Ó œ fl

n˙. â ƒ sub

Tam Tam

ƒ sub n w â ?c Ó

ã c

n˙ ˙ â â ƒ sub ?c n˙ ˙ â â ƒ sub ? c Œ n ä˙ . ƒ sub

ã c

j œ ‰Œ Ó fl

?c

?c

˘ œ ‰Œ Ó J

? c n˙ ˙ â â ƒ sub get METAL STRAIGHT MUTE ?c 

?c Œ

œ Œ

> œ

get METAL STRAIGHT MUTE

get METAL STRAIGHT MUTE

ä˙

w

˙

3

˙ â

>w

˘œ get METAL STRAIGHT MUTE J ‰Œ Ó 

œ â

>œ

ä˙

äw

>œ

Ó

Ï

>œ n >œ

3

3

œ Œ

Ï ä˙

3

œ

w

˙ â

w

3

 Ó.

>œ # >œ

Ó

˙

œ > ƒ

œ

äœ

‰Œ Ó

3

˙

3

3

>w

ƒ

3

>œ # >œ n >œ b >œ n >œ > >œ # >œ n >œ b >œ n >œ > œ œ

3

äw

ƒ w>

˙ â

˙.

äw

3

>œ # >œ n >œ b >œ n >œ > >œ # >œ n >œ b >œ n >œ > œ œ

ƒ

˙ â

œ

b äœ

3

&c

˙ â ƒ

˙.

3

˙. â

œ

3

˘ get METAL STRAIGHT MUTE œ ‰Œ Ó  J

Ó

äœ

3

>œ

œ Œ

ƒ

œ ˙. ƒâ â b ä˙ .

3

>œ # >œ n >œ b >œ n >œ >œ # >œ n >œ b >œ n >œ >œ # >œ n >œ b >œ n >œ >œ

˘œ get METAL STRAIGHT MUTE  J ‰Œ Ó

Ó

3 3 3 3 3 3 3 ƒ 3 n >œ >œ # >œ n >œ b >œ n >œ >œ # >œ n >œ b >œ n >œ >œ # >œ n >œ b >œ n >œ

>œ

Ó

ƒ

äw

>œ b >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ

˘œ get METAL STRAIGHT MUTE  J ‰Œ Ó

Œ

œ Œ

äw

ƒ

>œ

ƒ wä

œ

œ â

œ â

f

ƒ sub

Ó

œ Œ

n ˙ä. &c ƒ sub b ˙ä. &c ƒ sub ä & c n˙. ƒ sub n ˙ä. &c ƒ sub ä & c b˙.

œ Œ

œ Œ

get METAL STRAIGHT MUTE

Ó

w

˘œ J

œ Œ

w

œ

w

ä œ œ

n ˙ä.

Ó

œ äœ

?c

&c

Œ

œ

˙

˙.

˙-

Ó

˙-

Ó.

3

Œ

w

 Œ

œ

F

much gentler, more subtle, at first

˙

Ó

œ œ â

˙-

œ-

Ó

Œ

w

˙.

Œ

˙

œ

3

œ-

Œ

b œ äœ

˙

Œ b ˙-

Ó

w

˙

Œ

äœ

˙

˙-

œ

w

>œ b >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ >œ b >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ œ > >œ >œ >œ

w

b ˙-

A

wä æ

œ â

˙.

w-

?

œ Œ b ˙-

˙-

Œ Ó

on or as close as possible to each given fundamental; sempre noisy & unstable - sempre quasi ad lib --

œ-

 3

Screaming, Crazy, Unstable, Fun &spewing from the subterranea!

Œ b ˙- .

 œ

3

˙.

˙- .

˙

˙

Œ

?c

Multiphonics Solo: Please choose one fairly full-band multiphonic

b œ- œ ‰J 

cresc poco a poco over time, with the entire mass, as a single force, with the chief

˙

˙- .

œ-

œ

w

Œ

cresc poco a poco over time, with the entire mass, as a single force, with the chief

˙

b ˙

Ó

œ-

j — —æ —æ — —æ â â ƒ sub Ï

Œ

Œ b ˙- .

j n—

Œ

Œ b ˙- .

?c Œ

Ó

cresc poco a poco over time, with the entire mass, as a single force, with the chief

Ó

˙

œ â

w

œ

&c

?c

˙-

Ó

 Ó

3

˙- .

Ó

cresc poco a poco over time, with the entire mass, as a single force, with the chief

Œ

˙

cresc poco a poco over time, with the entire mass, as a single force, with the chief

Œ

cresc poco a poco over time, with the entire mass, as a single force, with the chief

Ó.

 Œ

˙

Ó

äœ

œJ P

, . ˙

œ

j‰ Œ Ó œ fl

œ

Œ b˙.

˙

˙.

˙-

cresc poco a poco over time, with the entire mass, as a single force, with the chief

˙- . p

w

œ

Ó

˙

w-

Œ

˙.

äœ

Ó..

˙-

ƒ sub

Œ

œ

&c

œ# œ-

Ó

w

˘œ J ‰Œ Ó

w

˙ ‰ b Jœ œ ‰ œ- œ ˙ . Œ ‰ ˙- .. J  cresc poco a poco over time, with the entire mass, as a single force, with the chief

Ó

œ- œ ‰J

œ-

ƒ sub n wä

, ˙

Œ

˙

äœ

Œ

˙- .

Œ

˙-

˙

,

˙- .

˙.

cresc poco a poco over time, with the entire mass, as a single force, with the chief

œ

˙- ..

œ

˙. n œ # ˙- . J‰

œ œ- œ b w

cresc poco a poco over time, with the entire mass, as a single force, with the chief

œ-

b œ- ˙ Œ ‰J 

, œ ˙- .

, w

w

&c Amplified Contrabass

&c Given the space and balance, onsider using an ELECTRIC, AMPLIFIED, OR SYNTH Piano.

(or faster!)

˙

j œ ‰Œ Ó fl

&c If possible, please use ELECTRIC, AMPLIFIED, OR SYNTH Harp.

œ ˙- . J‰

Ó.

with medium to medium hard beaters or mallets sempre

Percussion III

œ- . œ ˙ J

Œ Ó

 sub cresc poco a poco over time, with the entire mass, as a single force, with the chief , ˘œ œ- œ œ . œ- ˙ œ œ- œ œ œ œ . ‰ ‰ Jœ œ ˙ . ‰ Jœ J ‰Œ ‰ J J  sub cresc poco a poco over time, with the entire mass, as a single force, with the chief ˘œ J ‰Œ Ó    

(senza sord sempre)

Tenor Trombone VI

w-

˘œ J ‰Œ Ó

3

nw â ƒ sub & c nw â ƒ sub ? c n äw

&c

Trumpet in C II

œ œ

œ # ä˙

&c

Horn(s) in F II

Horn in F IV

ƒ sub n ˙ä

äœ

& c bw ƒ subâ b wä &c ƒ sub ä & c nw ƒ sub

&c

Trumpet in C I

ƒ sub n >˙

œ œ œ æ æ

ƒ sub ä & c bw ƒ sub

Horn(s) in F I

Horn in F III

n ä˙

&c ƒ sub n wä &c

Oboe(s) III

Bb Clarinet VI

&c

Christopher Jon Honett

for my dear friend Eric Hewitt and the Boston Conservatory Wind Ensemble

œ >œ >œ

[Onslaught of the first part of the storm, first wall of the flood]


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.
Fires, Nocturne Concerto for Two Percussion Soloists, Large Wind Band, and Various Other Monsters by Christopher Honett - Issuu