Seven Islands [flex] - Full score

Josh Trentadue
SEVEN ISLANDS
(2020/arr. 2022)
for 6-part adaptable ensemble
Commissioned by and Dedicated to
Tavia Zerman and the Hayes Middle School Bands
the second piece of
THE GRAND LEDGE TRIPTYCH
© 2020/2022 Josh Trentadue / M.O.T.I.F. (ASCAP) | www.joshtrentadue.com
International Copyright Secured. All Rights Reserved.

SUGGESTED INSTRUMENTATION
The following suggested list is provided to serve as a guide for your part assignments. Any combination of these instruments can be used at your discretion, as
long as all required parts are fulfilled (as few as six players, one per part, can perform this work).
If you're able to do this, don't be afraid to experiment with different instrumental combinations when performing this work! These experimentations can be
used a learning tool for you and your performers for how color and texture can change with even the smallest difference in orchestration (example: have the
flutes play alone at a particular passage, then clarinets and/or saxophones, then a combination of all of these families. What are the differences in timbre?
Does it affect the mood or emotion of the piece, and if so, how?). Use this piece, in that regard, as an endless sea of experimentation and creative possibilities
for you and your performers.
With all of this in mind, SEVEN ISLANDS should be used as opportunity to demonstrate how music isn't just chord progressions, electronic samples, heavymetal
grooves, or even just simply dots on a page. It's how that music is brought to life with what we have available; what we can create from it; how decisions
of musical intent, listening to each other, and hearing these new sounds/colors/textures can impact musical intent for a piece of music and/or our perceptions
of it; and finally, how we can use these skills for any performance situation, no matter what the instrumentation, style, or genre may be.
Contact me if you have any questions, and send me a recording of your performance if possible. I'd love to hear what you come up with!
PART I
Flute/Oboe
B ♭ Clarinet, Soprano Sax
Violin I
PART II
Flute/Oboe
B ♭ Clarinet, B ♭ Trumpet
E ♭ Alto Sax
Violin II
PART III
B ♭ Clarinet, B ♭ Trumpet
E ♭ Alto Sax
Horn (F)
Violin III
PART IV
Bassoon, Trombone/Euphonium (B.C.)
B ♭ Clarinet, B ♭ Trumpet
Tenor Sax, Euphonium (T.C.)
Horn (F)
Viola
PART V
Bassoon, Trombone/Euphonium (B.C.)
Bass Clarinet, Tenor Sax, Euphonium (T.C.)
Violoncello
PART VI
Bassoon, Trombone/Euphonium (B.C.)
Bass Trombone/Tuba
Bass Clarinet, Euphonium (T.C.)
E ♭ Baritone Sax
Double Bass
ADDITIONAL INSTRUMENTS (if available)
Harp
Piano
Keyboard Synthesizer
Acoustic Guitar
All percussion is optional.
PERCUSSION LIST
STRONGLY ENCOURAGED FOR PERFORMANCE
Timpani (3 drums), Suspended Cymbal, Ocean Drum (see Performance Notes), Crash Cymbals
ENTIRELY OPTIONAL
Glockenspiel, Vibraphone, Marimba (4.3-octave), Crotales (bow needed), Triangle, Bass Drum
A synthesizer can also cover any of the mallet parts at your discretion - again, get creative and experiment!

PERFORMANCE NOTES
-Some of the transposed copies split into octaves in consideration of a particular instrument's idiomatic capabilities. Unless
otherwise indicated in these copies, if a particular staff where this occurs can be doubled (ex: if you have a flute and oboe player
available to play on Part I}, have each of the players divide into the indicated octaves wherever possible.
-STRINGS (if used): The instrumentation provided is exact - these copies do not follow traditional orchestral string section divisions
and instead adhere to covering each of the main parts. If any of the string copies are doubled, follow all guidelines, as written and at
your discretion. If one player is used, the top line of every divisi passage is preferred. Bowings should be determined by conductor
and concertmaster before rehearsals and performance.
-Meas. 27-31: All trills are optional.
-Rubato and molto rubato is encouraged at your discretion throughout the entire piece.
-All accented and tenuto material should last very close to the full duration of the note. If possible, there should be no discernible
separation of sound between notes in these moments.
-If mallet percussion is used but the crotales are not available, a second Vibraphone or Glockenspiel may alternately be used. If
using Glockenspiel, all bowed material should be omitted.
-Ocean drums are available to purchase online from Steve Weiss Music and Remo - they can also be made on your own if necessary.
The easiest method to do this is to take two single-headed frame drums, fill one of them with small to medium-sized ball bearings
(or similar metallic beads, and duct tape the two drums together. The frame drums should be equal in size (each drum
approximately 16-20" in diameter and 2-4" deep). One frame drum with bearings/beads may also be used, but this is not
recommended. Finally, great care should be takend as to how many bearings/beads are added - too little will cause a thinner sound
and extra noise when handling the instrument, while too many will prevent them from creating a consistent swirling motion
altogether, resulting in a choppier sound.
The part is played by gently swirling the drum in a clockwise or counterclockwise motion.
PROGRAM NOTES
There are seven islands located in the town of Grand Ledge, Michigan. Three of them are quite small, not large enough for
exploration. The last island (now named Half-Mile Island) once served as a picnic area for boaters. And, the first two islands
would become the town's most popular resort areas in its early history.
Throughout the late 1800's to early 1900's, settlers built resorts and amusement-park attractions to capitalize on the natural
wonders of this place. While such eccentricities would gradually wane out by the 1930's, remnants of these popular
entertainments can be found to an extent. Today, riverboats still make their journey along the Grand River. Annual festivals and
other events are held. And, a popular gazebo was built on the now-named Island Park.
Seven Islands is a lush ballad which depicts the natural beauty and wonder of this historical place in Grand Ledge at sunrise.
Melodies are accompanied with sweeping harmonic motion as well as shimmering and twinkling figures, bridged together by
passages depicting the stillness of the Grand River. The history of this place is acknowledged in the grand and majestic build
(and resolution) of this music, demonstrating that the Seven Islands has so much more to offer in Grand Ledge today.
My sincerest gratitude to Tavia Zerman and the Hayes Middle School Bands (whom the piece is dedicated to) for
commissioning the original version of this work for concert band, as well as to John Szczerowski, Dave Funk, and the Grand
Ledge High School Wind Symphony for giving the original version of this piece its world premiere at the 2022 Michigan Music
Conference in Grand Rapids, Michigan.
www.joshtrentadue.com
PLEASE DIRECT ALL QUERIES TO:
josh@joshtrentadue.com
(artistic and technical questions, errata submissions, purchasing music, commissions/arranging, submitting performances,
additional licensing requests such as for commercial recordings or marching band performances, live and virtual
residency/workshop scheduling, saying hello, sending food/drink/music/book/video game recommendations, and more!!)
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Printed and Engraved in the USA.
First Printing: January 2022

GRADE 3
Full Score (transposed)
Commissioned by and Dedicated to
Tavia Zerman and the Hayes Middle School Bands
SEVEN ISLANDS
(2020/arr. 2022)
for 6-part adaptable ensemble
Josh Trentadue
PART I
PART II
PART III
PART IV
PART V
PART VI
ADDITIONALS [opt.]
PERCUSSION [opt.]
Flute/Oboe
Bb Clarinet
Soprano Sax
Violin I
Flute/Oboe
Bb Clarinet
Bb Trumpet
Eb Alto Sax
Violin II
Bb Clarinet
Bb Trumpet
Eb Alto Sax
Horn (F)
Violin III
Bassoon
Trombone
Euphonium
Bb Clarinet
Bb Trumpet
Tenor Sax
Euphonium (T.C.)
Horn (F)
Viola
Bassoon
Trombone
Euphonium
Bass Clarinet
Tenor Sax
Euphonium (T.C.)
Violoncello
Bassoon
Trombone
Euphonium
Bass Trombone
Tuba
Bass Clarinet
Euphonium (T.C.)
Eb Baritone Sax
Double Bass
Piano
Harp
Keyboard
Synthesizer
Guitar
Timpani
Glockenspiel
Vibraphone
Marimba
Crotales
Suspended Cymbal
Ocean Drum
Triangle
Shimmering and Lyrical = 82–84
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
warmly
warmly
warmly
warmly
4
gently 4
all harmonics sound as written
4
gently
w/ bow
4
pedal ad lib. throughout
gently
Shimmering and Lyrical = 82–84
3
4
all harmonics sound as written
WARM PAD
slowly swirl beads in clockwise
or counterclockwise motion
6
4
4
4
4
4
4
4
4
4
4
3 4
4
3 4
4
6
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
Bass Drum
2 3 4 5 6 7 8 9 10
© 2020/2022 Josh Trentadue / M.O.T.I.F. (ASCAP) | www.joshtrentadue.com
International Copyright Secured. All Rights Reserved. Printed and Engraved in the USA.
WARNING: Unauthorized reproduction and distribution of this publication is strictly prohibited.

6 SEVEN ISLANDS
PART I
PART II
PART III
PART IV
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
3
4
3
4
3
4
3
4
4 warmly
4
warmly
warmly
warmly
warmly
warmly
15
4
4
4
4
4
warmly
warmly
warmly
warmly
warmly
4
4
3
3
4
3
4
3
4
PART V
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
3
4
4
3
4
PART VI
ADDITIONALS [opt.]
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Pno.
Hp.
Synth.
3
4
3
4
3
4
3
4
4
4
4
4
4
3
4
3
4
3
4
3
4
Gtr.
Timp.
3
4
3
4
4
15
PERCUSSION [opt.]
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
3
4
(still bowed)
4
4
warmly
softly
3
4
Oc. Dr.
Tri.
B. Dr.
not too harsh
11 12 13 14 15 16 17 18 19 20

SEVEN ISLANDS
7
PART I
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
25 With More Movement [3+2 throughout] = 86–88
5
4
4
PART V
PART IV
PART III
PART II
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
5
4
opt. trill
opt. trill
5
4
opt. trill
Tpt: NO trill
opt. trill
5
4
opt. trill
4
5
opt. trill
Tpt - trill if asked; always warmly, not harsh!
opt. trill
Trb: NO trill
4
4
4
4
4
4
4
PART VI
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Pno.
5
4
5
4
4
4
4
ADDITIONALS [opt.]
Hp.
Synth.
5
4
5
4
B♮
E♭
4
4
PERCUSSION [opt.]
Gtr.
Timp.
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
5
4
25 With More Movement [3+2 throughout] = 86–88
5
4
4
4
4
Oc. Dr.
Tri.
B. Dr.
not too harsh
21 22 23 24 25 26 27

8 SEVEN ISLANDS
PART I
PART II
PART III
PART IV
PART V
PART VI
ADDITIONALS [opt.]
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Pno.
Hp.
Synth.
Gtr.
Timp.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
opt. trill
32
opt. trill
3
opt. trill
4
opt. trill
opt. trill
Tpt - trill if asked; always warmly, not harsh!
opt. trill
opt. trill
4
3
4
3
4
3
4
3
3
4
3
4
3
4
3
4
3
4
32
B♭
PERCUSSION [opt.]
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
Oc. Dr.
Tri.
B. Dr.
4
4
swirl as before
3
4
28 29 30 31 32 33 34 35 36 37 38 39
(still bowed)

SEVEN ISLANDS
9
PART I
PART II
PART III
PART IV
PART V
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
40
4
4
Rit.
4
4
4
4
4
4
4
PART VI
ADDITIONALS [opt.]
PERCUSSION [opt.]
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Pno.
Hp.
Synth.
Gtr.
Timp.
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
no cresc.
4
4
40
Rit.
A♭
D♭
4
4
4
4
4
4
Cr. Cyms.
To Cr. Cyms.
Tri.
B. Dr.
40 41 42 43 44 45 46 47

10 SEVEN ISLANDS
PART I
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
48
Tempo I, Maestoso = 82–84
Pno.
bring out
bring out
bring out
bring out
bring out
bring out
bring out
bring out
Hp.
Synth.
3
4
3
Tempo I, Maestoso = 82–84
3
4
PART II
PART III
PART IV
PART V
PART VI
ADDITIONALS [opt.]
PERCUSSION [opt.]
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Gtr.
Timp.
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
Cr. Cyms.
Tri.
B. Dr.
48
w/ mallets
Cr. Cyms.
48 49 50 51 52 53 54 55 56 57 58
3
4
3
4
3
4
3
4
3
4
4
3
4
3
4
3
4
To Oc. Dr.

SEVEN ISLANDS
11
PART I
PART II
PART III
PART IV
PART V
PART VI
ADDITIONALS [opt.]
Fl./Ob.
Bb Cl.
S. Sax.
Vln. I
Fl./Ob.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Vln II
Bb Cl.
Bb Tpt.
Eb A. Sax.
Hn. (F)
Vln III
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
T. Sax.
Euph. (T.C.)
Hn. (F)
Vla
Bsn.
Tbn.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Vc.
Bsn.
Tbn.
Euph.
Bs. Trb.
Tba.
Bs. Cl.
Euph. (T.C.)
Eb Bar. Sax.
D. B.
Pno.
Rit. To End
4
4
Hp.
Synth.
Gtr.
Timp.
59 66
4
4
59 66
Rit. To End
4
4
4
4
4
4
4
4
4
4
4
4
PERCUSSION [opt.]
Glock.
Vib.
Mar.
Crot.
Sus. Cym.
Oc. Dr.
Tri.
bowed
4
4
Oc. Dr.
swirl as before
w/ mallets
gradually stop swirling,
let beads slow down
and fade away
B. Dr.
59 60 61 62 63 64 65 66 67 68 69 70