greetings from america, and - stephen melillo, … · greetings from austria flute: ... and the...
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Greetings from America, and...
Greetings from Austria
Flute: Katharina Geroldinger, Ingrid GeroldingerOboe: Renate NobisClar: Doris Freimüller, August Auinger, Manuel PeerHorn: Hubert Ecklbauer, Florian EigelsbergerTrpt: Markus Reisinger, Franz Heiler, Gerhard ReischlTrbn: Felix Geroldinger, Walter ZaunerTuba: Johann OberauerRecording Engineer: Andreas SchwarzgruberConductor: Karl Geroldinger
Reproduction, arranging, transcribing or excerpting for any other purpose, is prohibited by law. All Rights Reserved. International Copyright Secured.
© Curt DeMott & Stephen Melillo/STORMWORKS® 2nd & 3rd Millennium
DedicationThis piece is humbly offered in memory of Charlotte Bacon and Olivia Rose Engel.
NOTES
On December 14th, 2012 my youngest son, Matthew sat huddled in the corner of his classroom at Sandy Hook Elementary School. Beyond his classroom door an unimaginable tragedy unfolded that took the lives of Charlotte and Olivia along with their friends and classmates.
Charlotte, you were an amazing, happy, ever-smiling beautiful girl. I miss you tremendously. There are no words to explain the devastating, draining, helpless, sadness I felt that day. Even to this day I can find no words.
Olivia, your loss was equally devastating. We met when your Mom came over to tutor my boys each summer. Even though our meetings were few you left a lasting impression on me. Like Charlotte, it is your beautiful smile that I remember most.
I humbly offer this work as a gesture of sympathy in the only language that can adequately express how I feel. Music.
Sincerely,Curt
Dear JoAnn & Joel, Dear Shannon & Brian,
Even the greatest belief in the powers of Music fall immeasurably short when we attempt to find some vibration in the Universe that will offer healing. I know I speak for all of the Musicians involved in this project when I say, “our playing of this Music is offered, knowing that the gesture is small. Yet, we hope that you will always hear something other than ‘sound.’ What matters more is that strangers, people you’ve never met, from around the world aged 12 to 73 came together to grieve with you and let you know that you are not alone. We, those who have signed this score from America and Austria, we... who are merely empathetic Souls, offer not just the Music... but our Love and support. May you find some strength in this gesture. Godspeed!”
The many Musicians from Central Bucks West & South High Schools & West Chester University, Pennsylvania, USA, the Musicians from SBO-Ried, Austria, Karl Geroldinger, Andreas Schwarzgruber, Sylvia Ahramjian, Robert Rust, Scott Hensil, Curt DeMott & Stephen Melillo.
A Brief intro to Music By stephen Melillo
Dynamics are exaggerated by stressing the quieter markings. Crescendo markings which do not indicate a "starting" point emerge from "nothing." Follow line shapes dynamically. As a general statement... What opens up in terms of interval should also open up in terms of faster air and bow.
A crescendo has a different correlation to time as it expands to a destination or “arrival” point in STORM Music. The picture below, better illustrates the effect, which to ensure a great rendering, must be felt and not merely executed. From Silence, stay to the lower portion of the slope longer... pushing the dynamic effect closer to the end or destination point. Algorithmic vs. linear. Percussionists should further exaggerate this effect, allowing the winds to remain transparent, staying out of the crescendo until the very last moments. Non-pitched percussionists and people playing repeated notes under lines that rise and fall must do their best to listen and swell appropriately. The result should be a continuous succession of rising and falling, swelling and building. The dynamic architecture is the Music.
INTENDED ACCENTS are often the result of the way rhythms are grouped. These are rendered automatically and it saves the eye the additional burden of seeing accent markings above every note. Unless marked to the contrary, usually with tenuto markings, syncopated rhythms automatically receive a lift, a separation, an accent. A tuplet figure in music in 2s is syncopated, therefore, stressed and separated. A duplet figure in music in 3s is syncopated, therefore stressed and separated.
This marking: , in all of the “storm” Music, means that the note should have a weighted, symphonic accent. Imagine a full downbow swiped across the string. A swipe is the best way I can explain it... It is not short. It is much more like a jazz style notation... “AAHT!”
A conductor viewing the score may find an A Major chord, for example, spelled vertically as A, Db, E. Please understand that the Music is conceived in a horizontal manner. Notes and enharmonics are chosen based on, more times than not, what the Musician will read. The HARP, electronic or not, the PIANO, electronic or not and the PAD BASS must be mixed into the ensemble as any acoustic instrument would be. Simply think of these sounds as REAL and beautiful and capable of orchestral dimension. A new world of colour and student involvement awaits those who will patiently explore the Band & Orchestra of the 3rd Millennium. Please see my Seating Chart for placement and visit STORMWORLD for more.
HARP notation is written for a one-staved harp, intended to be played on a synth. Therefore, the Musician should
be aware of how to respond to harp notation. A 7-note figure with a harp-like graphic notation represents a glissando across the keyboard. Do not exceed C5 as this will sound uncharacteristic. Glissandi only occur across the white keys, a strategy which allows for all ages to create sounds more often associated with the Orchestra. Fast rhythmic figures are designed to work as tremolos between the two hands. The faster written rhythms, sextuplets or 32nd notes are not to be read precisely, but as splashes of colour and rendered in a harp-like manner.
Percussion of Choice: One 18” Medium-Thin and one 16” Paper-Thin Zildjian Suspended Cymbals, one 22” Medium-Heavy German Symphonic Zildjian Crash, one Tambourine with German Silver Jingles, one Piccolo Snare, tightly tuned with coated batter head, Deagan Silver Chimes, Large Orchestral Bass Drum, and of course, the highest possible quality of Timpani. The designation “Glockenspiel” always means “Orchestra Bells”.
As always, there is a tremendous dichotomy in the Music I write, a duality that at one moment demands exact, relentless, unyielding pulse... and then
suddenly calls upon the sensitive breath-like phrasing of an insightful Conductor. To your sensitive vision, I leave these languid moments... those whispers which, indeed, are the essence... and the very reason for everything else.
Godspeed. ∕¤‹›
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For Band and for Orchestra, angle the parabolically positioned speakers, back through the ensemble and toward the keyboardists. This allows for warmth of sound and proper mixing. These diagrams represent the optimum. Since I myself have hardly ever had such an ensemble, rest assured that the Music will work in a variety of "in-the-trenches" realities. One thing not revealed in the diagram, but which is of paramount importance, is space. I usually allow for 12-feet of space between the Horns and the Trumpets. I often stage the Horns in the center, and with great space in back of them. This opens the entire Brass Arc. By example, in a group of 36 Musicians recording the Chapter 2 CD, there was 65-feet of space of between the Conductor and the Timpanist. Of course such spacing is not always possible, BUT, I maintain that you have yet to fully explore the Sonic-scape & possibilities of this idiom until you experiment with space. Godspeed! S
© storMWorKs copyriGht notice for score & pArtsConductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specific use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Curt DeMott & Stephen Melillo/STORMWORKS® 2nd & 3rd Millennium
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3
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Horn 2
Horn 3
Trumpet 1
Trumpet 2
Trumpet 3
Trombone 1
Trombone 2
Bass Trombone
Tuba
Sus Crash & Bass Drum (Gong)
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Timpani
Piano
Harp
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COURAGEOUS by © Curt DeMott & Stephen Melillo IGNA 15 April 2013, 2-3 Millennium
4
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Horn 2
Horn 3
Trumpet 1
Trumpet 2
Trumpet 3
Trombone 1
Trombone 2
Bass Trombone
Tuba
Sus Crash & Bass Drum (Gong)
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Timpani
Piano
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Violins 2
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5
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Trombone 2
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6
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Horn 2
Horn 3
Trumpet 1
Trumpet 2
Trumpet 3
Trombone 1
Trombone 2
Bass Trombone
Tuba
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Chimes & Orch Bells
Timpani
Piano
Harp
Violins 1
Violins 2
Violins 3
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Bass
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COURAGEOUS by © Curt DeMott & Stephen Melillo IGNA 15 April 2013, 2-3 Millennium
7