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]


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