beginning band grade 1 andalucía · 2017-09-21 · spain’s most southerly region is the true...

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PROGRAM NOTES

Spain’s most southerly region is the true home of typically Spanish experiences. Bullfi ghting, tapas, fl amenco, the guitar itself—all began in Andalucía and remain deeply embedded there. For hundreds of years, writers from all corners of the world have told of the gypsies and their colorful lively music and dance, and of the spirit that seems to accompany it. Andalucía is a place that burns with life, color, and romance. It is a place of music and dancing, plucked guitar strings, the snapping of fi ngers, clicking castanets, and the stamping of feet, all of which mould together to create this wonderful culture we know as fl amenco.

AndalucíaVICTOR LÓPEZ (ASCAP)

INSTRUMENTATION

6 Trombone/Baritone/Bassoon 2 Baritone Treble Clef

(World Part Trombone in Bb Treble Clef ) 4 Tuba 2 Mallet Percussion

(Bells and/or Xylophone) 1 Optional Timpani

(Tune: A, D) 2 Percussion 1

(Snare Drum, Bass Drum) 2 Percussion 2

(Crash Cymbals/Tambourine, Castanets)

WORLD PARTSAvailable for download fromwww.alfred.com/worldparts

Horn in EbTrombone/Baritone in Bb Bass ClefTuba in Eb Bass ClefTuba in Eb Treble ClefTuba in Bb Bass ClefTuba in Bb Treble Clef

1 Conductor 10 Flute 2 Oboe 10 Bb Clarinet 2 Bb Bass Clarinet 6 Eb Alto Saxophone 4 Bb Tenor Saxophone 2 Eb Baritone Saxophone 8 Bb Trumpet 4 F Horn

Grade 1BEGINNING BAND

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NOTES TO THE CONDUCTOR

This composition, although simple in nature, is to be played with much intensity and emotion. Variations in dynamic levels occur frequently and should be carefully adhered to as a critical musical part of this work.

The tonality of this composition displays a modal mixture. It incorporates pitches or chords from both D minor and Bb major keys. This provides a great opportunity to discuss modal tonality and explain the diff erence between the major and minor modes.

The short fanfare-like introduction establishes the use of the dominant chord. At rehearsal number 9, the principal melody is in the fl ute, trumpet, and oboe. The clarinet, alto saxophone, and horn have characteristic after-beats, which are reinforced by the snare drum and tambourine. The bass line has been doubled in the low brass and woodwinds and should be played lightly with a continuous two-beat pulsation.

Work on the crescendos that appear in measures 13 and 14; 21 and 22; 47 and 48; and 55 and 56. Make certain that everyone understands the dynamic levels at the start and end of the hairpin crescendo and decrescendos, striving for good balance.

At rehearsal number 25, an A dominant pedal is established throughout this section while the melody is played by the oboe, alto saxophone, and horn. At measure 33, the melody is now harmonized a third higher, preparing for the repeat of the fi rst strain. Rehearsal number 59 is written like the “trio” of a traditional march form and modulates to the subdominant key of the march, meaning one fl at is added at the key signature. The clarinet, alto saxophone, and horn perform the new melody with the continuation of the two-beat pulse in the tuba and bass clarinet part. At measure 75, a short countermelody is introduced by the fl ute, oboe, and trumpet until the end of that section, where it establishes the dominant chord before the “Del Segno al Coda.”

Note that the use of the tambourine and castanets in this composition are critical components since their sound serves as a trademark of this style of music. When playing the bass drum solo at measures 8 and 94, the player should damp the head of the bass drum with one hand while striking the head with the other hand to avoid any ringing. The intended eff ect is an overall dry sound.

I hope that Andalucía will be a favorite amongst your students and audiences and that it will provide the enjoyment and educational purpose intended for a meaningful musical experience for your young musicians.

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Oboe

Bb Trumpet

Flute

Bb Clarinet

Bb Bass Clarinet

Eb AltoSaxophone

Bb TenorSaxophone

Eb BaritoneSaxophone

F Horn

Tuba

Mallet Percussion(Bells and/or Xylophone)

Percussion 1(Snare Drum, Bass Drum)

Percussion 2(Crash Cymbals/Tambourine, Castanets)

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35348S

By Victor López (ASCAP)

© 2011 BELWIN-MILLS PUBLISHING CORP. (ASCAP),a division of ALFRED MUSIC PUBLISHING CO., INC.

All Rights Reserved including Public Performance

AndalucíaFULL SCOREApprox. Duration - 2:00

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Perc. 1

Perc. 2

Opt.Timp.

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25

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27

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28

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Opt.Timp.

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36

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41

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Opt.Timp.

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42

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43

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F

F

F

F

F

F

FTambourine

43

43

F

œ œ. œ.

œ œ. œ.‰ jœ. ‰ jœ.

jœ ‰ jœ ‰

‰ Jœb . ‰ Jœ.

jœ ‰ jœ ‰

Jœ ‰ jœ ‰

œ œ. œ.‰ jœ# . ‰ jœ.

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


44

‰ jœ ‰ jœ

˙

˙

œ. œ. ‰ jœ.jœ ‰ jœ ‰

œN . œ. ‰ Jœ.

jœ ‰ jœ ‰

Jœ ‰ jœ ‰

˙

œ. œ. ‰ jœ.

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


45

‰ jœ ‰ jœ

œ œ. œ.

œ œ. œ.‰ jœ. ‰ jœ.

jœ ‰ jœ ‰

‰ Jœb . ‰ Jœ.

jœ ‰ jœ ‰

Jœ ‰ jœ ‰

œ œ. œ.

‰ jœ# . ‰ jœ.

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


46

‰ jœ ‰ jœ

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&

&

&

&

&

&

&

&?

?

&?

ã

ã

b

b#

#

###

##

#

b

bbb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

œ œ œ. œ.

œ œ œ. œ.œ. œ. ‰ jœ.

jœ ‰ jœ ‰

œN . œ. ‰ Jœb .

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ œ œ. œ.œ. œ. ‰ jœ# .

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑∑

œ œ ‰ jœJœ ‰ Jœ ‰

47

‰ jœ ‰ jœ

F

F

Fœ œ. œ.

œ œ. œ.‰ jœ. ‰ jœ.

jœ ‰ jœ ‰

‰ JœN . ‰ Jœb .

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ œ. œ.

‰ jœ. ‰ jœ# .

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑∑


48

‰ jœ ‰ jœ

˙

˙

œ. œ. ‰ jœ.

œ œ œ œœN . œ. ‰ Jœ.


˙

œ. œ. ‰ jœ.œ œ œ œ

œ œ œ œ∑∑

œ œ œ œ œJœ ‰ Jœ ‰

49


f

f

f

f

f

f

f

f

f

f

f

f

f

Jœ ‰ œ>

jœ ‰ œ>

jœ. ‰ œ>jœ. ‰ œ>

Jœ. ‰ œ>jœ. ‰ œ>

Jœ. ‰ œ>

Jœ ‰ œ>

jœ. ‰ œ>Jœ. ‰ œ>

jœ. ‰ œ>∑∑

jœ ‰ œ>æJœ ‰ œ

50

jœ ‰ œ>æJœ ‰ œæ

œ œ. œ.

œ œ. œ.˙

jœ ‰ jœ ‰

˙jœ ‰ jœ ‰

jœ ‰ jœ ‰

œ œ. œ.

˙

Jœ ‰ jœ ‰

jœ ‰ jœ ‰

∑∑

œ œ ‰ jœJœ ‰ Jœ ‰

51

‰ jœ ‰ jœœ œ ‰ Jœ

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

51

51

œ œ. œ.

œ œ. œ.jœ ‰ jœ ‰


jœ ‰ jœ ‰

œ œ. œ.

jœ ‰ jœ ‰

Jœ ‰ jœ ‰

jœ ‰ jœ ‰

∑∑


52


11

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&

&

&

&

&

&

&

&

&?

?

&?

ã

ã

b

b#

#

###

##

#

b

bb

b

bb

bb

n

n

n#

n

n#

n

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

œ œ. œ.

œ œ. œ.˙

jœ ‰ jœ ‰

˙jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œ œ. œ.

˙

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


53


œ œ



jœ ‰ jœ ‰


Jœ ‰ jœ ‰

jœ ‰ jœ ‰

∑


54

‰ jœ ‰ jœ‰ œ œ œ œ

œ œ œ. œ.

œ œ œ. œ.


œ œ

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ œ œ. œ.

œ œ

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


55


œ> œ>

œ> œ>œ# > œ>

jœ ‰ jœ ‰

œb > œ>

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ> œ>

œ# > œ>Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


56


>̇

>̇

>̇œ œ œ œ˙N >


˙˙

œ œ œ œ

œ œ œ œ∑

Jœ ‰ jœ ‰œ> œ œ œ œJœ ‰ Jœ ‰

57


f

f

f

f

f

f

f

f

f

f

f

f

f

f

Jœ ‰ Œ

Jœ ‰ Œ

jœ ‰ œjœ ‰ Œ

Jœ ‰ œ

jœ ‰ Œ

Jœ ‰ Œ

jœ ‰ Œjœ ‰ œ

Jœ ‰ Œ

jœ ‰ Œ

∑

Jœ ‰ Œjœ> ‰ Œ

Jœ ‰ Œ

58

jœ ‰ ŒJœ ‰ Œ

F

F

F

12

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&

&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

∑

∑

˙jœ ‰ jœ ‰

˙

∑∑

Jœ ‰ Jœ ‰

∑

˙∑

Jœ ‰ Jœ ‰jœ ‰ jœ ‰

∑

∑

∑

59

∑

F

F

F

F

(Tuba)

(Tuba)

59

59

∑

∑

œ œ œ œjœ ‰ jœ ‰

œ œ œ œ

∑∑

Jœ ‰ Jœ ‰

∑

œ œ œ œ∑


∑

∑

∑

60

∑

∑

∑

˙jœ ‰ jœ ‰

˙∑∑

Jœ ‰ Jœ ‰

∑

˙∑


∑

∑

∑

61

∑

∑

∑


œ œ œ œ∑∑

Jœ ‰ Jœ ‰

∑

œ œ œ œ∑


∑

∑

∑

62

∑

∑

∑


œ œ

∑∑

Jœ ‰ Jœ ‰

∑

œ œ∑


∑

∑

∑

63

∑

∑

∑


œ œ∑∑

Jœ ‰ Jœ ‰

∑

œ œ∑


∑

∑

∑

64

∑

13

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&

&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

∑

∑

˙jœ ‰ jœ ‰

˙∑∑Jœ ‰ Jœ ‰

∑

˙∑


∑

∑

∑

65

∑

∑

∑

œ œ œjœ ‰ jœ ‰

œ œ œ∑∑Jœ ‰ Jœ ‰

∑

œ œ œ∑


∑

∑

∑

66

∑

∑

∑

˙jœ ‰ jœ ‰

˙

∑∑Jœ ‰ Jœ ‰

∑

˙∑


∑

∑

∑

67

∑

67

67

∑

∑


œ œ œ œ

∑∑Jœ ‰ Jœ ‰

∑

œ œ œ œ∑


∑

∑

∑

68

∑

∑

∑


œ œ∑∑

Jœ ‰ Jœ ‰

∑

œ œ∑


∑

∑

∑

69

∑

∑

∑

œ œ œjœ ‰ jœ ‰

œ œ œ

∑∑

Jœ ‰ Jœ ‰

∑

œ œ œ∑


∑

∑

∑

70

∑

14

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&

&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

∑

∑


œ œ∑∑Jœ ‰ Jœ ‰

∑

œ œ∑


∑

∑∑

71

∑

∑

∑


œ œ∑∑Jœ ‰ Jœ ‰

∑

œ œ∑


∑

∑∑

72

∑

∑

∑

˙jœ ‰ jœ ‰

˙∑∑

Jœ ‰ Jœ ‰

∑

˙∑Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑

∑∑

73

∑

∑

∑

jœ ‰ œ

jœ ‰ Œjœ ‰ œ

∑∑

Jœ ‰ Œ

∑

jœ ‰ œ

∑Jœ ‰ Œ

jœ ‰ Œ

∑

∑∑

74

∑

Œ œ

Œ œ

˙jœ ‰ jœ ‰

˙

Jœ ‰ jœ ‰jœ ‰ jœ ‰

Œ œ

˙jœ ‰ Jœ ‰jœ ‰ jœ ‰

Œ œ∑

‰ œ œ œ œJœ ‰ Jœ ‰

75

j¿ ‰ j¿ ‰

Play

F

F

F

F

F

F

FCr. Cyms.

Play

75

75

F

F

˙

˙


œ œ œ œ


˙

œ œ œ œjœ ‰ Jœ ‰jœ ‰ jœ ‰

˙


76

j¿ ‰ j¿ ‰

15

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&

&

&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

œ œ. œ. œ.

œ œ. œ. œ.

˙jœ ‰ jœ ‰

˙


œ œ. œ. œ.˙

jœ ‰ Jœ ‰jœ ‰ jœ ‰

œ œ œ œ∑

‰ jœ œ œJœ ‰ Jœ ‰

77

j¿ ‰ j¿ ‰

˙

˙

œ œ. œ. œ.jœ ‰ jœ ‰

œ œ. œ. œ.


˙

œ œ. œ. œ.

jœ ‰ Jœ ‰jœ ‰ jœ ‰

˙∑


78

j¿ ‰ j¿ ‰

œ œ. œ. œ.

œ œ. œ. œ.

.œ jœ.jœ ‰ jœ ‰

.œ jœ.jœ ‰ jœ ‰

jœ ‰ Jœ ‰

œ œ. œ. œ..œ jœ.

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œ œ œ œ


79

j¿ ‰ j¿ ‰

œn œ

œn œ

œ# œjœ ‰ jœ ‰

œ# œjœ ‰ jœ ‰

jœ ‰ Jœ ‰

œ# œ

œ# œ

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œn œ∑


80

j¿ ‰ j¿ ‰

˙

˙

˙jœ ‰ jœ ‰

˙


˙

˙jœ ‰ Jœ ‰

jœ ‰ jœ ‰

˙


81

j¿ ‰ j¿ ‰

Jœ ‰ Œ


jœ ‰ Œ

Jœ ‰ Œ

jœ ‰ Œjœ ‰ Œ

Jœ ‰ Œ


jœ ‰ Œ

Jœ ‰ Œ

∑jœ ‰ Œ

Jœ ‰ Œ

82

j¿ ‰ ŒChoke

16

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&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

œ> œ. œ.

œ> œ. œ.

œ œN.œ> jœ>

œ œN

.œ> jœ>

.œ> Jœ>

œ> œ. œ.œ œN

.œ> Jœ>

.œ> jœ>∑

∑‰ jœ jœ ‰Jœ ‰ ‰ Jœ

83

j¿ ‰ ‰ j¿

83

83

˙n >

˙n >

˙.œ# > jœ>

˙

.œ# > jœ>

.œ# > Jœ>

˙# >˙

.œn > Jœ>

.œn > jœ>∑


84

j¿ ‰ ‰ j¿

œ œb

œ œb

œ œ.œ> jœb >

œ œ

.œ> Jœb >

.œ> jœn >

œ œb

œ œ.œ> Jœb >

.œ>jœb >

∑


85

j¿ ‰ ‰ j¿

˙

˙

˙jœ ‰ jœ ‰

˙#jœ ‰ jœ ‰

jœ ‰ Jœ ‰

˙

˙#

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

∑


86

j¿ ‰ j¿ ‰

œ œ

œ œ


œ œ œ. œ.


œ œ

œ œ œ. œ.jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œ œ∑

‰ œ œ œ œJœ ‰ Jœ ‰

87

j¿ ‰ j¿ ‰

œ œ œN . œ.

œ œ œN . œ.

˙

jœ ‰ jœ ‰˙

jœ ‰ jœ ‰

jœ ‰ jœ ‰

œ œ œN . œ.

˙

Jœ ‰ jœ ‰

jœ ‰ jœ ‰

œ œ œ œ


88

j¿ ‰ j¿ ‰

17

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&

&

&

&

&

&

&

&?

?

&?

ã

ã

bb

bb

#

#

b

bb

bb

bb

bb

nbnb#

#

###

##

#

n

nbnbnbnb

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

>̇

>̇

>̇jœ ‰ jœ ‰

>̇


>̇

>̇jœ ‰ Jœ ‰

jœ ‰ jœ ‰>̇


89

j¿ ‰ j¿ ‰

Jœ ‰ Œ

Jœ ‰ Œ

jœ ‰ Œ

jœ ‰ Œ

Jœ ‰ Œ


Jœ ‰ Œjœ ‰ Œjœ ‰ Œ

jœ ‰ Œ

Jœ ‰ Œ

∑jœ ‰ Œ

Jœ ‰ Œ

90

j¿ ‰ ŒChoke

Jœ> ‰ œ>

jœ> ‰ œ>

jœ> ‰ œ# >jœ>

‰ œ>Jœb > ‰ œn >

Jœ> ‰ œ>jœ> ‰ œ>

Jœ> ‰ œ>

jœ# > ‰ œ>Jœ> ‰ œ>

jœ> ‰ œ>jœ> ‰ œ>

jœ> ‰ Œjœ> ‰ œæ>

Jœ ‰ œ

91


f

f

f

ff

f

f

f

f

f

f

f

f

f

f

91

91

Jœ ‰ œ>

jœ ‰ œ>

jœ ‰ œ# >jœ ‰ œ>

Jœb ‰ œn >


Jœ ‰ œ>



jœ> ‰ Œjœ ‰ œæ>

Jœ ‰ œ

92


Jœ ‰ Jœ> ‰jœ ‰ jœ> ‰jœ ‰ jœ# > ‰

jœ ‰ jœ>‰

Jœb ‰ Jœ> ‰


Jœ ‰ Jœ> ‰jœ# ‰ jœ> ‰

Jœ ‰ Jœ> ‰jœ ‰ jœ> ‰jœ ‰ jœ> ‰jœ> ‰ jœ> ‰jœ ‰ jœ ‰

Jœ ‰ Jœ ‰

93

j¿> ‰ j¿> ‰Jœ ‰ Jœ ‰

Œ œ. œn .

Œ œ. œn .∑

∑

∑

∑

∑

Œ œ. œ# .∑

∑

∑

∑

∑

Jœ> ‰ Œ

94

∑

Solo

D.S. … al Coda

D.S. … al Coda

18

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&

&

&

&?

?

&?

ã

ã

b

b#

#

###

##

#

b

bb

b

Ob.

Tpt.

Tbn./Bar./Bsn.

Fl.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Hn.

Tuba

Mlt. Perc.

Perc. 1

Perc. 2

Opt.Timp.

œ œ œ. œ.

œ œ œ. œ.


œ œ

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ œ œ. œ.

œ œ

Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œ œ œ œ


95


fi Coda

fi Coda

œ> œ>

œ> œ>œ# > œ>

jœ ‰ jœ ‰

œb > œ>

jœ ‰ Jœ ‰

Jœ ‰ jœ ‰

œ> œ>

œ# > œ>Jœ ‰ Jœ ‰

jœ ‰ jœ ‰

œ> œ>∑


96


>̇

>̇

>̇œ œ œ œ˙N >


>̇

>̇œ œ œ œ

œ œ œ œ>̇

Jœ ‰ jœ ‰œ> œ œ œ œ œJœ ‰ Jœ ‰

97

œ œ œ œœ œ œ œ œ œ

f

f

f

f

f

ff

f

f

f

f

f

f

f

f

Jœ ‰ Jœ> ‰

Jœ ‰ Jœ> ‰

jœ ‰ jœ> ‰

jœ ‰ jœ> ‰

Jœ ‰ Jœ> ‰

jœ ‰ jœ ‰

Jœ ‰ Jœ> ‰

jœ ‰ jœ> ‰jœ ‰ jœ> ‰

Jœ ‰ Jœ> ‰

jœ ‰ jœ>‰

Jœ ‰ Jœ> ‰


Jœ ‰ Jœ> ‰

98

jœ ‰ jœ> ‰Jœ ‰ Jœ> ‰

19

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beginning band grade 1 andalucía · 2017-09-21 · spain’s most southerly region is the true...

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