GOD Bless the WORLD, Musical Haiku #31, #955 ... - STORMWORLD

iTunesleftBassDrum 2leftspeakerLaptop 1:iTUNESTracksTIME to TAKEBACK theKNIGHTS! &American KnightsVocalSoloTheSpeechofAngelsLaptop 2:opt.VirtualChoirWAITof theWORLDMalletsTrumpets 3-2-13-2-1 ClarinetsIN a CAUSECALLED“GLORIOUS”B.ClarIN a SERVICEBEYONDSELFTrombones 1-2-3 (bass)Horns 2314PicAmpPAD BassA BRIEF INTRO TOMUSIC BY STEPHEN MELILLODynamics are exaggerated by stressing the quieter markings.Crescendo markings which do not indicate a "starting" volumelevel should be considered as starting from "nothing". Followthe line shapes dynamically. As a general statement... What opensup in terms of interval should also open up in terms of faster airand bow. For bow markings, I defer to the conductor and concertmaster.A crescendo has a different correlation to time as it expandsto a destination or “arrival” point in STORM Music. Thepicture below, better illustrates the effect, which, to ensure agreat rendering, must be felt and not merely executed. FromSilence, stay to the lower portion of the slope longer... pushingthe dynamic effect closer to the end or destination point.Percussionists should further exaggerate this effect, allowing thewinds to remain transparent, staying out of the crescendo until thevery last moments. Non-pitched percussionists and people playingrepeated notes under lines that rise and fall must do their best tolisten and swell appropriately. The result should be a continuoussuccession of rising and falling, swelling and building. Thedynamic architecture is the Music.INTENDED ACCENTS are often the result of the way therhythms are grouped. These are rendered automatically and it savesthe eye the additional burden of seeing accent markings above everynote. Unless marked to the contrary, usually with tenuto markings,syncopated rhythms automatically receive alift, a separation, an accent. A tuplet figure inmusic in 2’s is syncopated, therefore, stressedand separated. A duplet figure in music in 3’s issyncopated, therefore stressed and separated. Thislift and separation are of paramount importance inestablishing impetus, pulse and relentless drama.SuiteBEYONDCOURAGE This marking: , in all of the “storm” Music,A Documentaryin MusicIN THEBEGINNING!means that the note should have a weighted,symphonic accent. Imagine a full downbowAll the Teaching Tools andswiped across the string. A swipe is the best wayGODSPEED!CONNECTIONSall that is soon to bewritten...I can explain it... full, fast and hard. It is notnecessarily short and it is much more like a jazzESCAPEfromPLATO’sstyle notation... “AAHT!”CAVES-MatrixSymphony IIJazz &AHAB!Concerto for15 ChaptersOrchestralTEDDYViolinofMusicERICHA conductor, in viewing the score, may find anWISH toDAVIDthe WORLDffffffMUSASHIHIM11 OriginalA Major chord, for example, spelled verticallyShows for the ffff13 ChaptersFieldofWPIMas A, Db, E. Please understand that the Music isSTORMfJourneys“I” of the STORMfWithoutconceived in a horizontal manner and that notesAfter theWarningmfVs. mfSTORMHonor,16 ChaptersSON of theCouragempmpofSTORMCommitmentand enharmonics are chosen based on, more timesThe FirstSTORMQuest&The LastONLY forppNOWthan not, what the instrumental Musician willSTORMWORKS ppppArt of the Stateread.&By Love InviolateO Come HolyppppppNight!Giving!Festival of Light!America the Brave!TheTime TimeSTAR!FOUNTAINHEADGOD BlessThe HARP, electronic or not, the PIANO,AmericaERICH!electronic or not and the PAD BASS mustbe mixed into the ensemble as any acousticinstrument would be. Just think of these sounds as REAL and beautiful and capable of orchestral dimension. A new world of colour and student involvementawaits those who will patiently explore the wind and percussion ensemble of the 3rd Millennium. Please see my Seating Chart for placement and visitSTORMWORLD for more.HARP notation is written for a one-staved harp... (considering, of course, that the part is most likely to be played on a keyboard.) Therefore, the Musicianshould be aware of how to respond to harp notation. A 7-note figure with a harp-like graphic notation represents a gliss across the whole keyboard. Do notexceed C5 as this will sound uncharacteristic. Glissandi only occur across the white keys, a strategy which allows for all ages to create sounds more oftenassociated with the Orchestra. Fast rhythmic figures are designed to work as tremolos between the two hands. The faster written rhythms, sextuplets or 32ndnotes 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 ZildjianCrash, one Tambourine with German Silver Jingles, one Piccolo Snare, tightly tuned with coated batter head, Deagan Silver Chimes, Large Orchestral BassDrum, 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 suddenlycalls upon the sensitive breath-like phrasing of an insightful Conductor. To your sensitive vision, I leave these languid moments... those whispers which, indeed,∕¤‹›© STORMWORKS COPYRIGHT NOTICE FOR SCORE & PARTSare the essence... and the very reason for everything else. Godspeed.VoicesVoice forBassoon&Percussion...from the Timestorm of past, from 1975 and I-v-I on a basement piano during "Only for Now", through hundreds of pieces...to works yet to be... These are some of the...ConductorLaptop 3:iMOVIEKOLDOONHarpFlutesFINESTHOUR&RENDEZVOUSWithDESTINYAlso Set &Bass Drum 3on Kick2 Bassn, E.H, OboeONCEMOREUNTOtheBREACH!LargeTamEuphoTubasB-T-A SaxesContraBassesAngle the asymmetrically positioned speakers, back through the ensemble and toward the keyboardists toallow for warmth of sound and proper mixing. Dependent upon numbers, the Flutes and Clarinets becomeinterchangeable. I have found that for “younger” groups, the flutist’s posture is better when staged in reverse ofthe diagram. The diagram represents the optimum ensemble as composed for. Since I myself have hardly everhad such an ensemble, rest assured that the Music will work in a variety of "in-the-trenches" realities. One thingnot revealed in the diagram, but which is of paramount importance, is space. By example, I usually allow for12 feet of space between the Horns and the Trumpets. With the diagram serving only as a guide, I often stagethe Horns in the center, and with great space in back of them. So too do the Trombones have much more spaceafforded them. As another example, in a group of 36 Musicians recording the Chapter 2 CD, there was 65 feetof space of between the Conductor and the Timpanist. Of course such spacing is not always possible, BUT, Imaintain that you have yet to fully explore the sonic-scape of this idiom until you experiment with space, andsometimes, dependent upon the Music, the use of risers. Godspeed!TheUNIVERSEBELOWBassDrum 1rightspeakerAWALKon theWATERConductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specific use oftheir 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 inthe Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillois a member of ASCAP.MUSASHIiTunesright© Stephen Melillo/STORMWORKS® 2nd & 3rd Millenniumsteve@stormworld.com www.stormworld.comCUBAJ I D A I

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