00 - Complete Score - Vulnerable Joy by Jodie Blackshaw_Tabloid paper

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EMOTIONAL CONTEXT: Embracing the 21st Century Instead of providing details for emotional context on the score and in parts by way of words and directions, I have instead created a webpage that provides links to YouTube clips and imagery. All parts contain the QR code printed here for easy access. Four different informative and/or inspiring video clips are included. These correspond with the four main sections of the work. Students are invited to link the emotions/information provided with their own personal experiences by way of mind-map, journal entry, video blog, dance/movement or artistic expression (whatever is personally relevant to them). Based on your school community, select what methodology is best for sharing/discussing student responses (if you choose to share them at all – they may remain personal). This task is designed to couple information and imagery with personal experience to contextualise the meaning behind the work with the day to life of your students. Contextualization that is hoped will influence their emotional and musical approach to the performance of this work. NOTE: Program note is also available for download via this link in Word format. A FEW TECHNICAL NOTES: Articulation interpretation (for clarity) Staccato: short (note held for approximately 50% of it’s value) and detached Tenuto: an unstressed note that is held for its fullest value (note held for 100% of its value) Mezzo Staccato: lightly detached (note held for approximately 75% of it’s value) Accented Staccato: accented and detached (accent held for approximately 75% of it’s value) Accented Tenuto: accented and note held to it’s fullest value (note held for 100% of its value) Marcato: sharp, heavy accent and detached (note held for approximately 50% of it’s value) Sforzando: sudden, loud burst of sound, notes following return to prior dynamic unless marked otherwise. Please note: the breath mark is used as an articulation. An indication of a very small separation of the notes. iii
w CONDUCTOR NOTES w Measure 1-26 “Entering the Southern Ocean”: With quiet purpose • Interpreting the “Survival” motif: this figure appears throughout the piece and is what I call the “survival” motif. The breath mark denotes a very short detachment between the two notes within the duplet. The tie to the quarter note/crotchet marked with a tenuto represents holding the note to its fullest value (no stress on the note itself). The tenuto marked note, when slurred to in this fashion, should not ever be re-articulated OR accented. • Mallets Percussion II: If Crotales are not available, use a pedal Glockenspiel where available. Do not use brass mallets – crisp, firm plastic mallets are best here. • Aux. Perc. II: The Tam-tam should be a murmur here until measure 16, nothing more. • mm. 4: The spoken chant here is designed as a timbre that sparks curiosity. It is not important that the audience here the words clearly, but moreso, are able to hear the colour the different words provide. The whisper should be audible (not under the breath), but retain its breathy attack and release. • mm. 14-15: Horns should disappear into the Clarinet entry. Clarinet I and II entry at 14 should not be articulated other than with the breath. • mp+: This dynamic marks a halfway point between mp and mf. Whilst subtle, explore with your ensemble the differences here to ensure a graduated approach to the climax at 25-26 is enabled. Measure 27-52 “As if moving in slow motion”: Effortlessly The theme introduced at the pick-up to mm. 31 by Bassoons is the “Calf” motif. Playful, ever-changing and growing, the theme should be interpreted with a sense of frivolity and joy. At rehearsal marking ‘F’ (mm. 53) the theme is interspersed with the ‘Survival’ motif, almost as if the mother whale is pushing her calf along with a sense of impatience. • Mallet Percussion I and IV are designed to lock together on every pulse, players should be staged next to each other. Mallets II and III also work together frequently and should also be staged next to each other for ease of clarity and security. • String Bass may need to be amplified in order for the pizzicato figure that commences at 29 to be heard. Add Tuba and/or Contrabass clarinet (as cued) if required, but aim to keep the pizz. timbre prominent. The dull sound of the centre of a conga drum is also added to fortify this line, but the conga should never be louder that the Bass. • mm. 39: The Clarinet entry here should not be a surprise to the audience and emerge from the established texture of the percussion. The figures are written in pairs – Clt I and II work in tag team, as do Clt III and IV. The pulsing 8th notes/quavers in-between the 16 th notes /semi-quaver patterns are designed to keep players locked into the pulse. At all times they should work within the framework established by the percussion and provide a colour rather than an over-powering rhythmic figure. • mm. 47: Ensure Alto Sax I has the warmest tone possible here and enters with subtlety (rather than brute force!). iv
Page 1: Vulnerable Joy for concert winds, b
Page 4 and 5: w PROGRAM NOTE w 'Vulnerable Joy' i
Page 8 and 9: Measure 53-70 “Re-connection and

00 - Complete Score - Vulnerable Joy by Jodie Blackshaw_Tabloid paper

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