Scott Tobias

AN OVERVIEW OF

JAMES M. DAVID’S URBAN LIGHT

BY SCOTT TOBIAS

Urban Light by James M. David was commissioned by the National Band Association in honor of the 60th anniversary of the founding of the organization. The work received its premiere at the 2021 Midwest Clinic by the United

States Army Field Band. According to the composer, “Urban Light is a brilliant display of colors, forward momentum, and intertwining rhythmic layers that is inspired by the iconic Los Angeles landmark of the same name.”

At just under six minutes in length, the work makes for an exciting opener to a concert program. A standard wind band instrumentation is used with optional parts for contrabassoon, contrabass clarinet, and double bass. All three clarinet parts are written divisi at times requiring at least six players, and although four horn parts are written, the collective section never plays more than three separate parts at any time other than in the first measure. Additionally, straight mutes are required for trumpets, horns, and trombones. Parts for piano and electric guitar are listed as “optional, but strongly recommended.” The addition of the electric guitar timbre to the ensemble greatly enhances the effect created by the use of barre chords in the work which the composer says, “reveal a classic rock/metal influence that reaches its zenith with a heavy percussion backbeat.” An expansive percussion section is also employed requiring six players to cover the parts. In addition to standard instruments such as snare drum, bass drum, bells and vibraphone, the work calls for a variety of cymbals (ride, China, suspended, crash, hi-hat) and tamtams. Other instruments include timbales, slapstick, brake drum, ice bell, crotales, triangles, floor tom, chimes, bongos, woodblock, and tambourine.

The work is centered around the key of G major, although the composer opts for the use of accidentals in place of a traditional key signature. All parts fall within ranges that should be comfortable for strong high school players. For example, flutes remain below G6, clarinets remain below Eb6, and the highest note for trumpet is B5 (which only occurs twice).

In terms of technical demands, the greatest challenges within the piece are related to rhythm and meter. Layered patterns are presented which require a strong sense of pulse and confident independence from the players. As an example, measure 29 features straight eighth notes and sixteenth notes in the percussion section with a syncopated pattern in the brass. On top of this is a clarinet part which is written in a grouping that feels very much like 3 + 3 + 2 in 8/8 while at the same time the accents in the flute part create a 3 + 2 + 3 grouping. The combination of these parts creates an exciting groove which drives the piece forward; however, that groove is dependent on the accurate interlocking of the various rhythmic patterns. Other sections of the piece feature similar layering effects but through the use of duple and triple subdivisions. In measure

Scott C. Tobias currently holds the position of Director of Bands and Associate Professor of Music at West Virginia University where his responsibilities include conducting the WVU Wind Symphony, teaching undergraduate and graduate courses in conducting, and providing administrative leadership for the WVU Bands program. Prior to his appointment at West Virginia University, Dr. Tobias served on the faculties of the University of Central Florida and Appalachian State University. A native of South Carolina, Dr. Tobias earned the Bachelor of Music degree in Music Education from Furman University, the Master of Music Education degree from the University of Georgia, and the Doctor of Musical Arts degree in Conducting from the University of Georgia. Dr. Tobias presently serves as Immediate Past President of the National Band Association and Past President of the Big 12 Band Directors Association.

102, for example, the Clarinet 1 part contains quarter note triplets while Clarinet 2 features straight eighth notes. Below this is a Clarinet 3 part playing eighth-note triplets.

Also of importance to the overall groove and feel of the piece is stylistic articulation. Players should pay close attention to the variety of articulation markings indicated, especially on rhythmic patterns played on the same repeating pitch. The indicated tempo of quarter equals 144 allows players to use a comfortable single tongue technique which should be conducive to achieving clarity of these varying articulation styles.

Adding to the rhythmic interest of the piece are numerous meter changes from start to finish. The majority of which move between simple meters, i.e. 4/4 to 3/4 to 5/4. The only exception to this is a brief three measure switch to 6/8 just before the midpoint of the piece. While the meter changes are straightforward throughout, the placement of accents mentioned above combined with varying articulations create interesting rhythmic patterns that at times might make one feel a meter different than the one indicated.

The more rapid runs found throughout the woodwind parts lay well on the instruments and generally follow scalar patterns with chromatic elements of the blues included. Overlapping short segments are used to create a fabric of continuous motion while making the individual parts more playable. quarter and eighth notes on single pitches in the woodwinds, piano, and vibraphone which are quickly joined by a rhythmic pattern in the trumpets that for a moment is reminiscent of John Adams’ Short Ride in a Fast Machine. Rather than continuing in a minimalistic ostinato pattern, though, a tutti statement of two eighth notes interrupts the pattern before another entrance begins two measures later. As before, the rhythmic pattern continues for a few measures before once again being interrupted by two punctuated eighth notes. This time, however, the composer adds two measures of chords in the low brass/reeds based on guitar barre chords before the next rhythmic pattern starts. The appearance of these chords also marks the first entrance by the optional electric guitar part. This alternating of rhythmic patterns and interruptions continues in a similar fashion through measure 57 but with the addition of bluesinspired riffs in the clarinets and saxophone. The composer states that the rhythmic patterns used were derived from the Morse code spelling of California, the location of the artwork that was the inspiration for the piece. Upon closer examination, and with a little bit of research into Morse code, one can clearly see the hidden tribute.

Using “dahs” and “dits” for the dashes and dots of Morse code, the spelling of California is:

C (dah dit dah dit) A (dit dah) L (dit dah dit dit) I (dit dit) F (dit dit dah dit) O (dah dah dah) R (dit dah dit) N (dah dit) I (dit dit)

NBA 60th Anniversary Commission, Scott Tobias, cont.

A (dit dah)

When compared to the music, one sees:

NBA 60th Anniversary Commission, Scott Tobias, cont.

These patterns continue to be the basis of rhythmic figures throughout the remainder of the piece. Starting at measure 59, the horns and alto saxophones present a more melodic version of these rhythm patterns as opposed to the repetitive block-chord format found at the beginning. This melody continues to be accompanied by articulated ostinati in the upper woodwinds while being supported underneath by the same barre chords first heard in measure 17, although lengthened in this section. The trumpets join the melodic line in measure 65 followed by the trombones joining in measure 71. Adding to this expanding instrumentation on the melody is an increase in the speed of the woodwind ostinato patterns which change from repeating eighth notes to sixteenth note scalar patterns. As before, this build is interrupted with a punctuated two eighth note figure in measure 79 reinforced by rim shots on the snare drum.

Measures 79 through 85 feature a creative metric juxtaposition that serves to slow the overall tempo of the piece moving into the next section. The first three measures feature the clarinets playing repeated eighth notes accompanied by the piano, vibraphone, and wind gong playing quarter notes all in 4/4 time. Keeping the eighth note pulse steady, the meter changes to 6/8 at measure 82 with the clarinets continuing their articulated eighth notes but with accents on every other note creating the feel of 3/4. This is reinforced by three quarter notes being played by the piano and vibraphone. In measure 83, the accents in the clarinets and wind gong move to the first and fourth notes transitioning to a more traditional 6/8 feel; however, in the same measure the bassoons, bass trombone, and tubas begin a bass line written in duple eighth notes. Two measures later, the meter changes to 4/4 with the previous dotted quarter pulse becoming the quarter note pulse. The clarinets continue their articulated triplets at the same tempo, and the low voice bass line that was previously notated as duple eighth notes in 6/8 now continues as straight eighth notes in 4/4. The result is a 4/4 section starting at measure 85 where the quarter notes are exactly one eighth note longer than the quarter notes in the 4/4 section four measures earlier.

Moving into this slower section, elements from earlier in the work are still present such as the trumpets and trombones playing the rhythm patterns from the beginning spelling California in Morse code. In this statement, though, the pattern omits the CALI and instead begins on the F. Impact notes in the timpani and chimes help punctuate these patterns. Layered polyrhythms are present with upper woodwinds playing eighth note triplets against the quarter note triplets in the vibraphone while the triangle and brass continue with straight quarter and eighth note patterns. New timbres are also present in this section as straight mutes are indicated for all trumpets, horns, and trombones for a brief period. A bluesy alto saxophone solo is featured prominently at measure 98 with brass interjections at the end of each phrase. As the solo ends, a three measure accelerando helps transition back to the original tempo at measure 115 where musical material from the beginning returns in a modified version.

The push to the end begins in measure 133 with a series

James M. David currently serves as professor of music composition at Colorado State University. His symphonic works for winds have been performed by some of the nation’s most prominent professional and university ensembles including the United States Air Force Band, the United States Army Field Band, the Dallas Winds, the Des Moines Symphony, the Showa Wind Symphony (Japan), and the North Texas Wind Symphony among many others. His compositions have been presented at more than fifty national and international conferences throughout North and South America, Asia, Europe, and Australia. Among the distinctions David has earned as a composer are an ASCAP Morton Gould Award, the National Band Association Merrill Jones Award, national first-place winner in the MTNA Young Artists Composition Competition, two Global Music Awards, and national first-place winner in the National Association of Composers (USA) Young Composers Competition.

A native of southern Georgia, Dr. David graduated with honors from the University of Georgia and completed his doctorate in composition at Florida State University under Guggenheim and Pulitzer recipients Ladislav Kubik and Ellen Taaffe Zwilich.

More information about Dr. David may be found at www.jamesmdavid.com.

of layered entrances featuring new voices every five measures. The sequence starts with tubas, bass trombone, and low reeds accompanied by the piano, timpani, vibraphone, and hihat. Five measures later, they are joined by the trombones, euphoniums, and bassoons. The horns, trumpets, and tambourine make the next entrance followed by the clarinets, flutes, and oboes after the next five measures. The final entrance is made by additional percussion at measure 153 joining a driving tutti section featuring a prominent statement by the trombones.

This driving tutti section is suddenly interrupted at measure 163 with two measures of silence for most of the ensemble and a subito piano in the upper woodwinds and percussion. This quiet moment is short lived as a crescendo leads back to a fortissimo re-statement of material presented earlier at measure 59. Another sudden interruption similar to that at measure 163 appears again in measure 183 with a crescendo building into the final eleven measures of the piece. The work closes with a tutti rhythmic statement reminiscent of earlier patterns followed by repeated low brass punctuations culminating in one final two note statement.

With driving rhythms, exciting fanfare figures, and blues inspired riffs, Urban Light is a wonderful new addition to the repertoire that will undoubtedly be enjoyed by performers and audience members alike.

Pictured at right: Urban Light, a large-scale assemblage sculpture by Chris Burden located at the Wilshire Boulevard entrance to the Los

Angeles County Museum of Art. WINTER 2022 NBA 60th Anniversary Commission, Scott Tobias, cont.