00 - Complete Score - Vulnerable Joy by Jodie Blackshaw_Tabloid paper

Measure 53-70 “Re-connection and satiation”: with increasing intensity
• mm. 53-55: The new colour of Tpt/Oboe/Saxophone will be more pointed then previously. Invite players to hold
back here and not give too much too soon. Allow the polyrhythmic ostinato figure in the lower reeds and brass to
emerge (and yes, they start together and then phase).
• mm. 57-61: Pay careful note to dynamics here and read each increase as that particular figure emerging from the
texture. Other parts follow and gradually all come together on the last two 8th notes/quavers of mm. 61.
• mm. 62-65: a moment of unrelenting joy! Don’t hold back!! Review videos on webpage of humpback whales feeding
in their bubble-net formation for inspiration here J.
• mm. 66-67: It is imperative that the Trombones and Euphoniums play their duplets as smoothly as possible here.
• mm. 66-70: Focus your Trombone/Euphonium on the duplets to really achieve the momentum of the polyrhythmic
structures here. Saxes should also play out but not overpower the main theme as played by Clarinets, Trumpets
and Horns.
Measure 71-end “The returning”
• mm. 70: A sudden transition that is best achieved by maintaining current tempo until exactly on the 3 rd pulse of the
12/8. Allow percussion to ring and use the timbre of the bass drum, matched by the slight crescendo in lower reeds
and String Bass to successfully bring about the transition.
• The chant here works in tandem with the bass figure to provide a reverberation effect – again, celebrate the colour
of the words in their hushed tones and use them to your best advantage.
• mm. 71: Flutes, Bassoons and Trombones transform the ‘survival’ motif into a happily seated F major. The lower
Flute colour is written in to soften the blend of Bassoon/Trombone, but then removed so that the inversion of the
harmonic language here changes to offer greater resolution for the audience.
• mm. 79-80: Play around with this section. Ideally, the hushed, layered and quasi-improvised tones of “Heiwa aroha”
(peace, love: pronounced hey-wa a-row-ha) provide a luscious texture that envelopes the fading lower reeds, brass
and String Bass, that fade away as the percussion rings out. It may take a few different attempts to make this
section work, but when done with commitment and professionalism, it is simply magical.
COMMISSION ACKNOWLEDGEMENT
Commissioned by the Jodie Blackshaw Commission Consortium, led by Dr. Timothy Mahr.
Consortium members:
Bethel University - Dr. Steven Thompson
Blaine High School - Bruce Olson
Concordia College - Dr. Peter Haberman
Eagan High School - Brett Benson
Edina High School - Paul Kile
Gonzaga University - Dr. Peter Hamlin
Gustavus Adolphus College - Dr. James Patrick Miller
Hays High School - Matthew Rome
Hollidaysburg Area Senior High School - Scott Sheehan
Hopkins High School - Nora Tycast
Kent State University - Dr. Wendy Matthews
Minneapolis Southwest High School - Reid Wixson
Minnesota Symphonic Winds - Dr. Timothy Mahr
New Prague High School - John Pohland
Orono High School - Timothy Arnold
Owatonna High School - Peter Guenther
Prior Lake High School - Justin Schramm
Roseville Area High School - Matt Dehnel
Shakopee High School - Eric Christenson
Spring Lake Park High School - Ross Wolf
St. Charles East High School - Jim Kull
St. Olaf College - Dr. Timothy Mahr
St. Paul Central High School - Matthew Oyen
Texas Woman's University - Dr. Carter Biggers
The Blake School - Brian Lukkasson
University of Dubuque - Dr. Nolan Hauta
University of Wisconsin-Parkside - Dr. Laura Rexroth
Waconia High School - Nick Hansberry
Washington Community High School - Jim Tallman
Waubonsie Valley High School - Mark Duker
Winona State University - Dr. Melanie Brooks
Thank you for supporting an independent artist! PLEASE, keep in touch and let me
know when you are performing the work!
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