MILES LOCKE THUNDERSNOW
Thundersnow by
PROGRAM NOTES
Thundersnow is a natural phenomenon that happens when snow falls as the primary precipitation of a thunderstorm instead of rain. It is considered rare and must have perfect atmospheric conditions to form. It is more common in the Great Lakes region due to the water of the lakes heating the air above it, creating the appropriate temperature differential to build a static charge needed for lightning. When I first heard the term thundersnow, I thought how cool that title would be for a piece. I also thought that the juxtaposition between thunder (drums/cymbals) and snow (metallic/melodic instruments) would be perfect for a percussion ensemble.
Thundersnow was written for the Allen Percussion Ensemble (Allen, Texas) for their performance at the 76th Midwest Clinic. The piece was written to accommodate a wide range of players. With some flexibility in instrumentation provided, Thundersnow can be performed with as few as 18 players and as many as 24 or more.
Miles Locke
PERFORMANCE NOTES
• There are optional antiphonal parts that include large drums (impact drums or marching bass drums horizontally placed on chairs, etc.) whirly tubes, and thunder tubes (also known as spring drums). If these parts are not being utilized, there are cues written in other parts to cover the whirly tubes and thunder tubes. If the instruments are being utilized, they should be placed strategically around the audience to give a surround sound effect at impact moments. Keep in mind they do have rhythmic parts that double with the battery percussion, so timing could be an issue if placed too far away.
• Only one concert bass drum is required, but if a second is available, the two drums should be placed on opposite sides of the stage and performed by two separate players. One option is for the second drum to be played by a dedicated BD2 player (using the concert bass drum part). Another option is for the second drum to be played by the percussion 2 player where marked (mm. 25–37 and 66–70). If using only one BD, play all notes (both parts) on a single bass drum.
• At letter L the glockenspiel, crotales, vibraphone 1, piano, and triangle play an ostinato pattern in 7/8. The first four bars of L should be conducted. After that, the pattern will continue unconducted for about five measures of 7/8 time before the conductor resumes in a new tempo and meter at letter M. The ostinato that began at letter L will continue in the previous tempo/meter (while remaining in the background) and will be unaffected by the marimba entrance and new tempo/meter at letter M. The ostinato will fade to nothing going in to letter N.
• A second glockenspiel may be added if the personnel and instrument are available. Where the score and part say “1p,” only one player plays that part. Where it says “a2,” both players play that part.
• The toms part may be doubled in the following measures: 56–70, 80–82, and 156 (beat 4) to the end. If doubling, additional players may simply use one tom to play the written rhythms instead of three toms.
• The suspended cymbal rolls in the drumset part should be with yarn mallets or the felt side of a swizzle stick.
• The bowed vibraphone notes (mm. 1–12) may be doubled by the marimbas on tuned wine glasses (any octave). Use friction to create the sound by running a wet fingertip around the rim of the glass. Add water to lower the pitch of the glass, as needed.
• In measure 45, the snare drum stick shot can also be played on a marching snare for added effect.
• During the fermata in m. 182, the drums should add short and random dynamic swells as they roll. Hit the beginning of the fermata loudly, then drop down. Then crescendo and diminuendo quickly and dramatically at random intervals.
NOTATION KEY
PLAYERS AND INSTRUMENTATION
Thundersnow requires 18-24+ players with the following instrumentation:
1. Glockenspiel (1 or 2 players) + opt. thunder tube*
2. Crotales (2 octaves) + opt. thunder tube*
3. Chimes + opt. whirly tube (F§) & thunder tube*
4. Vibraphone 1 + 2 bows + opt. thunder tube*
5. Vibraphone 2 + bow
6. Vibraphone 3 + 2 bows
7. Xylophone + sizzle cymbal, thunder tube
8. Marimba 1 (share w/ M4) + med-high tom + opt. tuned wine glass (Db)
9. Marimba 2 (low A) + medium tom + opt. tuned wine glass (F)
10. Marimba 3 (low F, opt. 5-octave) + opt. tuned wine glass (C)
11. Marimba 4 (5-octave) + opt. tuned wine glasses (G, Ab, Bb)
12. 4 Timpani + opt. 20” drum
13. Piano
14. Synthesizer (opt.)
15. Drumset (w/ China & splash cymbals) + opt. marching SD
16. Percussion 1 — 3 triangles, medium tom, tam-tam (share w/ BD), 2 tambourines (orchestral and headless), garden weasels (may substitute triangle)
17. Percussion 2 — sleigh bells, mark tree, slapstick, suspended cymbal, woodblock, concert BD2 (opt.), China cymbal (opt.)
18. 3 Toms + bell tree (opt.)
19. Concert bass drum + tam-tam, opt. 2nd BD, opt. whirly tubes (G§)*
20. Antiphonal drums (opt.) — bass/impact drums, F§ & G§ whirly tubes, thunder tubes
* used only if the optional antiphonal drums part is not being covered
SUGGESTED SETUP
G l o c k e n s p i e l + o p t t h u n d e t u b e
C r o t a l e s 2 o c t a v e s + o p t t h u n d e r t u b e
C h m e s + o p t w h r y t u b e ( F § )
o p t t h u n d e r t u b e
V b r a p h o n e 1 + 2 b o w s + o p t t h u n d e t u b e
V b r a p h o n e 2 + b o w
V i b r a p h o n e 3 + 2 b o w s X y l o p h o n e + s z z e c y m b a t h u n d e r t u b e M a r i m b a 1 ( s h a r e w / M 4 ) + m e d - h g h t o m + o p t t u n e d w n e g a s s ( D b )
M a r i m b a 2 ( o w A ) + m e d u m t o m + o p t t u n e d w n e g a s s ( F )
M a r m b a 3 ( o w F o p t 5 - o c t a v e ) + o p t t u n e d w n e g a s s ( C ) M a r m b a 4 ( 5 - o c t a v e ) + o p t t u n e d w n e g a s s e s ( G A b B b )
4 T m p a n i + o p t 2 0 " d r u m P i a n o S y n t h ( o p t )
D r u m s e t
P e r c u s s o n 1 3 t r a n g e s m e d u m t o m t a m - t a m ( s h a r e w / B D ) 2 t a m b o u r n e s g a r d e n w e a s e s P e r c u s s o n 2 s e g h b e s m a r k t r e e s a p s t c k s u s p e n d e d c y m b a w o o d b o c k c
3 To m s + b e t r e e ( o p t ) C o n c e r t b a s s d r u m + t a
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