...in fragile bark, o'er a tempestuous sea, the common … harbor
Lee Hartman Copyright © 2016 Ragnarok Press
...in fragile bark, o'er a tempestuous sea, the common harbor for vibraphone and concert band duration approx 8 minutes
Commissioned by M. David Wallace and the Charlotte Pride Band Premiere November 12, 2016 Meredith Butterworth, soloist; M. David Wallace, conductor; Charlotte Pride Band
Instrumentation Piccolo Flute 1 and 2 Oboe 1 and 2 Bassoon 1 and 2 Contrabassoon (optional) Clarinet in B-flat 1, 2, and 3 Bass Clarinet in B-flat Contra-alto Clarinet in E-flat (optional) Contrabass Clarinet in B-flat (optional) Alto Saxophone in E-flat 1 and 2 Tenor Saxophone in B-flat Baritone Saxophone in E-flat Solo Vibraphone Trumpet 1, 2, and 3 Horn in F 1, 2, 3, and 4 Trombone 1, 2, and 3 Euphonium Tuba Percussion (Four player minimum) Timpani (2 drum minimum, 4 pitches) Percussion 1 - Suspended Cymbal, Bass Drum Percussion 2 - Sizzle Cymbal, Rainstick, Hi-Hat Cymbals, Snare Drum, Sleigh Bells Percussion 3 - Tam-tam, Vibraslap, Anvil, Low Tom-tom (with inverted suspended cymbal)
in fragile bark, o’er a tempestuous sea, the common harbor is an instrumental requiem for vibraphone and concert band dedicated to those 49 lives lost during the the shooting at Pulse Nightclub in Orlando, Florida on June 12, 2016. I, along with countless others, wept for those beautiful LGBTQ+ and allied lives cut so senselessly short. Throughout the work there are frequent references to 7 repeated 7 times (thus equalling 49) the most noticeable of which is the climactic section of 7x7 hits which progress from a complex dissonance to a single pitch. The vibraphone serves as commentator, guide, and shepherd for the souls of those senselessly gone and those still living. The title—a quote from Longfellow’s “Old Age”—came after the piece was complete; it matched the structure of the piece perfectly, but more importantly, the tragic irony that those 49 would never reach an old age.
Stanley Almodovar III, 23 years old Amanda Alvear, 25 years old Oscar A Aracena-Montero, 26 years old Rodolfo Ayala-Ayala, 33 years old Antonio Davon Brown, 29 years old Darryl Roman Burt II, 29 years old Angel L. Candelario-Padro, 28 years old Juan Chevez-Martinez, 25 years old Luis Daniel Conde, 39 years old Cory James Connell, 21 years old Tevin Eugene Crosby, 25 years old Deonka Deidra Drayton, 32 years old Simon Adrian Carrillo Fernandez, 31 years old Leroy Valentin Fernandez, 25 years old Mercedez Marisol Flores, 26 years old Peter O. Gonzalez-Cruz, 22 years old Juan Ramon Guerrero, 22 years old Paul Terrell Henry, 41 years old Frank Hernandez, 27 years old Miguel Angel Honorato, 30 years old Javier Jorge-Reyes, 40 years old Jason Benjamin Josaphat, 19 years old Eddie Jamoldroy Justice, 30 years old Anthony Luis Laureanodisla, 25 years old Christopher Andrew Leinonen, 32 years old Alejandro Barrios Martinez, 21 years old Brenda Lee Marquez McCool, 49 years old Gilberto Ramon Silva Menendez, 25 years old Kimberly Morris, 37 years old Akyra Monet Murray, 18 years old Luis Omar Ocasio-Capo, 20 years old Geraldo A. Ortiz-Jimenez, 25 years old Eric Ivan Ortiz-Rivera, 36 years old Joel Rayon Paniagua, 32 years old Jean Carlos Mendez Perez, 35 years old Enrique L. Rios, Jr., 25 years old Jean C. Nives Rodriguez, 27 years old Xavier Emmanuel Serrano Rosado, 35 years old Christopher Joseph Sanfeliz, 24 years old Yilmary Rodriguez Solivan, 24 years old Edward Sotomayor Jr., 34 years old Shane Evan Tomlinson, 33 years old Martin Benitez Torres, 33 years old Jonathan Antonio Camuy Vega, 24 years old Juan P. Rivera Velazquez, 37 years old Luis S. Vielma, 22 years old Franky Jimmy Dejesus Velazquez, 50 years old Luis Daniel Wilson-Leon, 37 years old Jerald Arthur Wright, 31 years old
Commissioned by M. David Wallace and the Charlotte Pride Band
Transposed Score
...in fragile bark, o'er a tempestuous sea, the common harbor... Piccolo
Largo, q = 52
Flute 1
Flute 2
Oboe 1
Oboe 2
Bassoon 1
Bassoon 2
Contrabassoon (optional)
Clarinet in Bb 1
Bass Clarinet in Bb
Contra Alto Clarinet in Eb (optional)
Contrabass Clarinet in Bb (optional)
Alto Saxophone 1
Alto Saxophone 2
Tenor Saxophone
Baritone Saxophone
Motor off.
Solo Vibraphone
p
Trumpet in Bb 1
Trumpet in Bb 2
Largo, q = 52
Trumpet in Bb 3
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
Trombone 1
Trombone 2
Trombone 3
Euphonium
Tuba
Timpani
Suspended Cymbal
Sizzle Cymbal
Tam-tam
sub. pp
mf
Composite harmony from pedal. Do not reattack.
ppp
Stemless noteheads are unmetered, free from the conductor, and uncoordinated with the section. Notated rhythms are merely suggestions. 7 connected attacks. Sustain all notes.
Stemless noteheads are unmetered, free from the conductor, and uncoordinated with the section. Notated rhythms are merely suggestions. 7 connected attacks. Sustain all notes.
ppp
Clarinet in Bb 3
Stemless noteheads are unmetered, free from the conductor, and uncoordinated with the section. Notated rhythms are merely suggestions. 7 connected attacks. Sustain all notes.
ppp
Clarinet in Bb 2
Lee Hartman b. 1979 Kansas City, MO 2016
Copyright © 2016 Ragnarok Press
14
2
Picc.
molto accel.
solo
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bsn. 1
Bsn. 2
Cbsn.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
C. A. Cl.
Cb. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
p
solo
14
p
mp cresc.
molto accel.
solo
Vib.
Tpt. 1
p
solo
p
p
p
p
p
solo
Tpt. 2
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
p
p
solo
p
p
Tbn. 2
Tbn. 3
Euph.
p cresc.
p cresc.
p cresc.
Tba.
p cresc.
Timp.
Sus. Cym.
Siz. Cym.
soft beater (l.v. all)
T.-t.
p
soft mallet (l.v. all)
pp
mallet (l.v. all) soft
pp
p cresc.
Tbn. 1
3
Picc.
28 Allegro maestoso,
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bsn. 1
Bsn. 2
Cbsn.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
C. A. Cl.
Cb. Cl.
23
q = 120
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
Vib. ff
Tpt. 1
molto rit.
ff
28 Allegro maestoso,
q = 120
molto rit.
Tpt. 2
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
p cresc.
ff
Tbn. 3
Euph.
Tba.
Timp.
Sus. Cym.
Siz. Cym.
T.-t.
p cresc.
ff
ff
ff
mf To Rs.
mf To Vslap.
mf
p cresc.
p cresc.
f
p cresc.
ff
p
Tbn. 2
ff
ff
ff
ff
ff
(no roll)
dim.
dim.
dim.
dim.
dim.
f
4
Picc.
34 Largo, q = 52
molto rit.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bsn. 1
Bsn. 2
Cbsn.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
C. A. Cl.
Cb. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
Vib.
mp dolce
34 Largo, q = 52 Tpt. 1
3
3
p
pp
ppp
mp
molto rit.
Tpt. 2
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
p
Tbn. 2
Tbn. 3
ppp
p
ppp
p
Euph.
ppp
p
Tba.
ppp
p
ppp
Timp.
Sus. Cym.
Siz. Cym.
T.-t.
Rainstick
pp
5
Picc.
42 Allegro furioso, q = 120
Fl. 1
Fl. 2
pp tutti
pp
Ob. 2
Bsn. 1
ff
fp
ff
ff
ffp
ff
Cbsn.
Cl. 1
ff
Bsn. 2
fp
pp
Ob. 1
ff
ff tutti
ffp
ffp
ff
ff
tutti
pp
ff
ffp
ff
fp
ff
ffp
ff
ffp
fp
ff
ffp
ff
ffp
ff
Cl. 2
Cl. 3
B. Cl.
C. A. Cl.
Cb. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
Vib.
42 Allegro furioso, Tpt. 1
q = 120
ff
p
ff
p
Tpt. 2
Tpt. 3
tutti 1/2 step ff 1/2 step ff 1/2 step ff 1/2 step
1/2 step pp ff 1/2 step pp ff 1/2 step pp ff 1/2 step
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tba.
Timp.
Sus. Cym.
Rs.
T.-t.
ff
choke
pp
To H-h. Cym.
f
Vibraslap f
pp
choke To B. D.
Hi-hat Cymbals
mp
ff
pp
f
f
To T.-t.
mp
pp
6
ff ff
51
Fl. 2
Ob. 1
Ob. 2
Bsn. 1
Bsn. 2
Cbsn.
50
Picc.
Fl. 1
ff
ff
Cl. 3
B. Cl.
C. A. Cl.
Cb. Cl.
ff ff
ff
T. Sax.
Bari. Sax.
ff ff
ff
51
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
ff
Tpt. 2
Tba.
Timp. Sus. Cym.
H-h. Cym.
Vslap.
tutti
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff S. D. To
Bass Drum heavy beater
ff Tam-tam
f
mp
ff
Snare Drum
on rim w/ both mallets. alternately on woodblock w/butt end
ff
glissandi are optional but preferred
glissandi are optional but preferred glissandi are optional but preferred ff
ff
ff
ff
ff
fff
Tpt. 1
(play) ff (play)
ff
A. Sax. 1
ff
ff
Cl. 2
Vib.
A. Sax. 2
ff
ff
Cl. 1
mp
Picc. Fl. 1 Fl. 2 58
Cl. 1
Ob. 2
Bsn. 1
Bsn. 2
Cbsn.
Cl. 2
Cl. 3
B. Cl.
C. A. Cl.
A. Sax. 1 A. Sax. 2 Cb. Cl.
T. Sax.
Bari. Sax.
Vib.
Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
Tbn. 2
Euph.
Tba.
Timp.
B. D.
mp
T.-t.
Tbn. 3
S. D.
Ob. 1
mp
7
8 64
Picc.
Fl. 1
Fl. 2
Ob. 1
Bsn. 2
Cl. 1
Bari. Sax.
Vib.
fff wild
cresc.
cresc.
cresc. cresc.
fff
fff
cresc.
Tba.
cresc.
fff brassy
B. D.
S. D.
cresc.
cresc.
cresc.
cresc.
cresc.
fff
cresc.
cresc.
p
fff
fp
T.-t.
cresc.
fff
Timp.
cresc.
cresc.
Hn. 1
Euph.
cresc. cresc.
Tbn. 3
cresc.
cresc.
Tpt. 3
cresc.
Tbn. 2
cresc.
Tbn. 1
cresc. cresc.
Tpt. 2
cresc.
65
Tpt. 1
Hn. 4
cresc.
cresc.
Hn. 3
fff wild
Hn. 2
cresc.
T. Sax.
cresc. cresc. fff wild
Cl. 3 B. Cl. C. A. Cl. Cb. Cl.
fff wild
A. Sax. 2
Cl. 2
A. Sax. 1
fff wild
Bsn. 1
(opt. flutter tongue until 71)
Ob. 2
Cbsn.
65 (opt. flutter tongue until 71) fff wild (opt. flutter tongue until 71)
To Anv.
ff
cresc.
71
9
Largo, q = 52
Picc.
ffff
Fl. 1
Fl. 2
ffff
ffff
Ob. 1
ffff
Bsn. 1
Bsn. 2
pp
pp
pp
pp
Cl. 3
ffff
ffff
pp
ffff
pp
C. A. Cl.
ffff
ffff
ffff
A. Sax. 1
pp
pp
ffff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
ff
pp
Vib.
Largo, q = 52
71 Tpt. 1
Tpt. 3
ffff
ffff
pp
ffff
pp
ffff
Tbn. 1
ffff
ffff
Euph.
ffff on the head
pp
ff
ff
pp
ff
pp
ff
pp
ff
pp
ff
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
pp
pp
pp
pp
pp
pp
ff
pp
pp ff
ppp
ff
ff
pp
ff
pp
ff
pp
ff
pp
ff
ff
ff
pp
ff
ff
ff
ff
ff
ppp
ff
pp
ff
ff
pp
ff
ff
pp
pp
ff
ff
pp
ff
pp
pp
ff
pp
ff
pp
pp
ff
ff
pp
ff
ff
pp
ff
pp
ff
pp
ff
sub. ff
ff
ff
ff
pp
ff
pp
ff
pp
ff
pp
ff
ff
p 3
ff
pp
pp
pp ff
pp
ff
pp
ff
ff
ff
ff
ff
pp
ff
ff
ff
pp
ff
ff
ff
pp
ff
ff
ff
ff
pp
ff
ff
ppp
ff
ffff
ff
ffff Anvil
T.-t.
rimshot
S. D.
pp
ffff
pp
ffff
pp
ff
ffff pp (play 8va if unable to control pitch at all dynamics)
pp
ff
ff
pp
Tbn. 3
pp
ffff
B. D.
pp
Tbn. 2
Timp.
ffff pp
Hn. 4
pp
ffff
pp
3
pp
pp
Hn. 3
Tba.
Hn. 2
pp
pp
ff
ppp (barely audible)
pp
Hn. 1
pp
3
ffff pp Tpt. 2
pp pp ff If using a motor, start at slowest possible speed gradually increasing speed during the rests until max at 99.
pp
ff
ff
ff
pp
ff
ff
ff
ff
ff
ff
ffff
pp
ff
pp
pp
T. Sax.
pp
ff
ffff
ff
A. Sax. 2
ff
ff
pp
ff
ffff pp
pp
ffff
ffff
Cl. 2
Bari. Sax.
B. Cl.
pp
ffff
Cb. Cl.
Ob. 2
Cl. 1
ffff
Cbsn.
pp
ff
ff
10 84
Cl. 2
Cl. 3
B. Cl.
Ob. 1
Ob. 2
Bsn. 1
Fl. 2
Fl. 1
87
Picc.
pp
pp
pp
Bsn. 2
pp
Cbsn.
pp
Cl. 1
C. A. Cl.
Cb. Cl. A. Sax. 1
A. Sax. 2
T. Sax.
pp
pp
pp
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
mp
ff
pp
ff
pp
pp ff
pp
ff
ff
ppp
ff
ff
pp
ff
pp
ff
ff
mf
ff
pp
pp
ff
ff
pp
pp
ff
pp
ff
pp
ff
pp
pp
3
f
3
pp ff
ff
pp
pp
ff
pp
ff
pp
pp
pp
ff
pp
ff
pp
ff
ff
pp
pp
ff
pp
pp
ff
ff
pp
ff
pp
pp
ff
ff
pp
ff
pp
ppp
ff
pp
ppp
pp
ff
ff
pp
ff
ff
ff
pp
ff
pp
pp
ff
pp
ff
pp
ff
pp
ff
pp
pp
ff
pp
ff
ff
pp
ff
ff
ff
ff
pp
pp
ff
87
pp
pp
ff
pp
ff
pp
ff
pp
ff
pp
pp
ff
ff
pp
Anv.
ff
pp
S. D.
pp
B. D.
pp
Timp.
ff
pp
ff
pp
pp
ff
pp
ff
Tba.
pp
Euph.
ff
Tbn. 3
pp
Tbn. 2
ff
ff
Tbn. 1
pp
pp
ff
3
Tpt. 2
ff
pp
Tpt. 1
pp
Vib.
pp
Bari. Sax.
ff
ff
pp
Stemless noteheads are unmetered, free from the conductor, and uncoordinated with the section. Notated rhythms are merely suggestions. 7 connected attacks. Sustain all notes.
95
Picc.
ff
Fl. 1
Fl. 2
ff
ff
Ob. 1
pp
pp
ff
Bsn. 1
Ob. 2
ff
99
pp
ff
pp
ff
pp
ff
pp
Bsn. 2
Cbsn. Cl. 1
ff
Cl. 2
Cb. Cl.
ff
A. Sax. 1
A. Sax. 2
pp
Vib.
ff
Tpt. 3
Hn. 1
Hn. 2
Tpt. 1
ff
ff
ff
ff
ff
ppp
ppp
ppp
ppp
ff
pp
pp
ff
ff
ff
ff
pp
pp
pp
pp
pp
pp
pp
pp
ff
ff
ff
ff
ff
pp
pp
ff
ppp
ff
pp
ff
ff
ff
ff
pp
ff
pp
pp
ff
ff
ppp
pp
pp
ff
ppp
pp
ppp
ff
ppp
pp
ppp
ppp
ff
ff
pp
ppp
ppp
pp
ppp
pp
ff
Anv.
ff
S. D.
ff
B. D.
ff
Timp.
ff
3
ff
Tba.
ff
Euph.
ff
Tbn. 3
ff
ff
Tbn. 2
ff
ff
Tbn. 1
ppp
pp
pp
ff
Hn. 4
ff
pp
ff
Hn. 3
ff
ppp
Tpt. 2
pp
ff
ff
ff
Bari. Sax.
pp
pp
ppp
ff
ff
T. Sax.
ff
pp
ff
pp
ff
ppp
pp
ff
C. A. Cl.
ff
B. Cl.
ppp
pp
ff
ff
11
ff
Cl. 3
ff
pp
pp
pp
pp
pp
mf
mf
mf
pp
pp
pp
106
12
103
Cadenza con rubato
Bsn. 2
Cbsn.
Cl. 1
Cl. 2
B. Cl.
C. A. Cl.
Cb. Cl.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Bsn. 1
Cl. 3
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
only Fs should be ringing gradually turn motor off
Vib.
3 3 p
Tpt. 1
mp 106 Cadenza con rubato
Tpt. 2
Tpt. 3
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tbn. 1
1/2 lift
sub. pp
Tbn. 2
Tbn. 3
Euph.
Tba.
Timp.
To Sus. Cym.
B. D.
S. D.
To Rs.
p
p
pp
pp
To Tom.
Anv.
p
pp
Rainstick
To S.Bells
pp
13
From 119 until the downbeat of 131, performers who can whistle quietly should start on their lowest possible note and slowly slide upward—feeling free to sustain a pitch if desired— independently of all other pitches, rhythms, and performers on one complete air stream. Repeat the process as needed until the downbeat of 131. All slides should be upward. Aim for the downbeat of 131 to be the highest (though still quiet) possible note. Those who cannot whistle or cannot do so quietly should hum, as soft as possible, a C (in the timpani). Those with notated parts should enter at the given time and return to whistling or humming upon completion.
Largo, q = 52
119 Bsn. 1
solo
pp
solo
A. Sax. 2
T. Sax.
pp
3
Largo, q = 52
ppp
Suspended Cymbal
ppp
Sleigh Bells
ppp
ppp
solo
solo
pp
pp
pp
125
Picc.
Fl. 1
Fl. 2
Ob. 1
Cl. 1
A. Sax. 1
3
3
Sus. Cym.
T-t.
pppp 131
3
3
131
Timp.
S.Bells
3
pp
solo
pp
solo
pp
solo
solo
pp
Vib.
Low Tom-tom w/ inverted suspended cymbal Play on suspended cymbal edge
T-t.
119 Timp.
S.Bells
3
mf dim. al fine
Sus. Cym.
pp
solo
solo
Play pattern out of time repeating pitches as necessary til next F flourish. Pattern can start and end on any of the pitches and may repeat pitches within the pattern as desired but must be played in order. Strive for a thinner texture each time.
Vib.
B. Cl. A. Sax. 1
Cl. 1
l.v.
l.v.