00 SCORE Blackshaw The LIttle Bush Buddha

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w CONDUCTOR NOTES w Free time section (measure 1) This section is designed to represent the urbanization of the natural environment. It is not metered. • Have a phone/stopwatch on your music stand and start it when the first audio track begins. Use this to cue the timed entries on the first page of the score. • Using silent, numbered visual commands of your own preference, cue each “group” to enter (labelled on the score between 1-6). Groups should be aware of the sound already established and enter with care and awareness. • Once the chord cluster is established and thicker in texture (with the entry of Group 6), instruct percussion to guide the beginning of the intense crescendo labelled at rehearsal marking ‘A’. You will notice that their parts are teaching them about changing the speed of their roll to increase intensity and dynamic. • At letter ‘A’, students are strongly encouraged to push as much air as possible through their instruments whilst maintaining a note. It is expected that the notes will become more and more distorted and out of tune, this timbre is sought at this time to represent the intensity of the sounds of traffic, people, electronic devices and construction sites. • ‘Wild and Crazy’: two measures before ‘15’, all woodwind & brass students (and bass guitar) are invited to ‘Go wild and crazy’. It means play whatever you want as fast and as loud as you want. BUT! Ensure that the sound intensity is maintained, especially when you return to the “normally played” dissonant chord just prior to the caesura. CREATIVE EXTENSION: If you have a large ensemble, you may wish to experiment with having some students from each group not play their notes but instead, add to the soundscape with ringing mobile phones, loud conversations, football whistles etc.. Let your imagination run wild! Just ensure that it all comes to a dramatic and sudden stop at the same time (as marked by the caesura). Power point Slides (Rehearsal Marking 15) These slides should be shown in absolute silence and your band members should remain completely still. They should also slowly place their instruments in their laps after the dissonant chord – percussion should be particularly aware of the impact their movement has on the audience. Blending and legato tonguing As part of the ‘ecosystem’ Educational Objective, parts are sometimes detailed with who else in the band they are playing with or blending with. Have students sit near these students at first and then move away from them. Can they still hear them? Legato tonguing is an extension of basic tonguing and it’s never too early to learn (in my humble opinion). Encourage students to consider how they re-articulate here, the main idea is that the sound isn’t too harshly interrupted but is smooth and unintrusive. iv
Crescendo and Decrescendo All crescendo and decrescendo markings have been deliberately left to a minimum of two measures. At times, a long decrescendo over several measures is divided into stages (see this horn part at m. 67): Students are encouraged to consider how they change their breath to alter their dynamic as well as, how this aligns with the other musicians around them. Consider introducing this concept during warm-ups. Space I grew up in regional New South Wales. My father was a primary school teacher and up until the age of 10 years, we lived in very remote parts of the state. Dad often taught with fewer than 3-4 teachers in his school. We lived in the school residence (Dad was the Principal) and this meant usually having no neighbours. My afternoons were spent playing in the playground of my own school, on my own, in large, wide open spaces. It would take many hours of driving to arrive as a major city from where we lived, and we didn’t visit very often. Please consider the impact this has on my music. Don’t be in a rush – allow the spaces within the music itself to breath. Relax. Take your time, and be as sleepy as a koala when it comes to progressing through the transitions. Linking Ecosystem to Band In the notes provided via the QR code, students are encouraged to draw a link between an ecosystem, and a musical ensemble. They can do this by watching two specifically chosen video clips that explain ecosystems and then discussing how the ensemble works as an ecosystem. Most importantly, the ecosystem with change based on the music, and it’s great for them to realise if they are the Primary producer (or not) in those moments. SUGGESTION: Link with the Social Science/Humanities department to draw a curricular connection with music! COMMISSION ACKNOWLEDGEMENT This work was commissioned by St. Joseph’s College, Newtown, Victoria, Australia. Special mention to Music Director Amy Young for her passion, vision and commitment to offering students creative experiences and an all-important opportunity to be vulnerable. v
Page 1: The Little Bush Buddha for concert
Page 5 and 6: w P ROGRAMME NOTE w …and then it
Page 7: POWER POINT SLIDES A short video co
Page 13 and 14: This work was commissioned for the
Page 15 and 16: E.T. 16 ° ¢ / 3 4 ∑ There is ho
Page 17 and 18: E.T. The Little Bush Buddha 46 °
Page 19 and 20: E.T. The Little Bush Buddha rit. 70

00 SCORE Blackshaw The LIttle Bush Buddha

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