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
,œ
˙. 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
˙-
˙
˙-
˙
bœ
˙.
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
b˙
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
wä
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]