Forever in the Wind OFFICIAL SCORE

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I S A B E L L A P I R I T T A M O R R I L L<br />

. . . . .<br />

Commissioned by <strong>the</strong> Battle Ground High School Band, Wash<strong>in</strong>gton, Greg McKelvey, director<br />

FoReVeR<br />

<strong>in</strong> <strong>the</strong><br />

WiNd<br />


g r a d e 4<br />

FoReVeR <strong>in</strong> <strong>the</strong> WiNd<br />

f o r<br />

W I N D E N S E M B L E<br />

b y <br />

I S A B E L L A P I R I T T A M O R R I L L<br />

. . . . .<br />

I N S T R U M E N T A T I O N<br />

Piccolo<br />

Flute 1<br />

Flute 2<br />

Oboe<br />

Clar<strong>in</strong>et 1 <strong>in</strong> Bb<br />

Clar<strong>in</strong>et 1 <strong>in</strong> Bb<br />

Clar<strong>in</strong>et 3 <strong>in</strong> Bb<br />

Bass Clar<strong>in</strong>et <strong>in</strong> Bb<br />

Contrabass Clar<strong>in</strong>et (optional)<br />

Bassoon<br />

Contrabassoon (optional)<br />

Alto Saxophone 1<br />

Alto Saxophone 2<br />

Tenor Saxophone<br />

Baritone Saxophone<br />

Trumpet 1 <strong>in</strong> Bb<br />

Trumpet 2 <strong>in</strong> Bb<br />

Trumpet 3 <strong>in</strong> Bb<br />

Horn 1 <strong>in</strong> F<br />

Horn 2 <strong>in</strong> F<br />

Horn 3 <strong>in</strong> F<br />

Horn 4 <strong>in</strong> F<br />

Trombone 1<br />

Trombone 2<br />

Bass Trombone<br />

Euphonium<br />

Tuba<br />

Double Bass<br />

Piano (see performance notes)<br />

Timpani<br />

Percussion 1<br />

glockenspiel - 2 hard rubber mallets<br />

chimes - 2 chime mallets (shared w/ Perc. 4)<br />

tam-tam - heavy beater (shared w/ Perc. 3 & 4)<br />

Percussion 2<br />

marimba - 2 soft wound mallets,<br />

2 hard wound mallets<br />

Percussion 3<br />

vibraphone - 2 medium wound mallets<br />

tam-tam - 2 heavy beaters (shared w/ Perc. 1 & 4)<br />

P E R C U S S I O N B A T T E R Y<br />

all percussion parts require only one player<br />

Percussion 4<br />

metal w<strong>in</strong>d chimes<br />

mark tree<br />

chimes - 2 chime mallets (shared w/ Perc. 1)<br />

suspended cymbal - 2 wound mallets<br />

tam-tam - 2 heavy beaters (shared w/ Perc 1<br />

& 3) hi-hat - 2 drum sticks<br />

Percussion 5<br />

ra<strong>in</strong>stick<br />

snare - 2 drum sticks<br />

Percussion 6<br />

ra<strong>in</strong>stick<br />

bass drum - 2 heavy beaters

FoReVeR <strong>in</strong> <strong>the</strong> WiNd<br />

. . . . .<br />

P R O G R A M N O T E S<br />

<strong>Forever</strong> <strong>in</strong> <strong>the</strong> W<strong>in</strong>d was composed by Isabella Morrill for Greg McKelvey and <strong>the</strong><br />

Battle Ground High School band <strong>in</strong> Battle Ground, Wash<strong>in</strong>gton. The piece is written<br />

<strong>in</strong> memory of Cienna Rose Morrison, a Battle Ground High School student who<br />

passed away on June 15th, 2023 at <strong>the</strong> age of 17.<br />

Cienna was an active leader <strong>in</strong> both <strong>the</strong> school’s concert band and jazz band. She was a<br />

percussionist, and is described as an <strong>in</strong>credibly phenomenal jazz drummer. But her<br />

legacy reaches far beyond music. Although she was more quiet and shy <strong>in</strong> her early<br />

years, she grew up to be passionate and driven, and she cared for her friends and family<br />

with all that she had <strong>in</strong> her. She was also an accomplished artist and poet, and was a<br />

dearly loved student, sister, daughter, and friend.<br />

<strong>Forever</strong> <strong>in</strong> <strong>the</strong> W<strong>in</strong>d was written to highlight <strong>the</strong> passion and beauty of Cienna’s life, as<br />

well as her deep struggles with mental health. The piece is meant to raise awareness to<br />

<strong>the</strong>se struggles and show <strong>the</strong> profound impact one life can have on a community.<br />

The piece is <strong>in</strong>spired by a poem written by Cienna titled I’m <strong>in</strong> <strong>the</strong> W<strong>in</strong>d. The band<br />

members s<strong>in</strong>g two l<strong>in</strong>es from this poem throughout <strong>the</strong> duration of <strong>the</strong> piece, while <strong>the</strong><br />

sounds of ra<strong>in</strong> and w<strong>in</strong>d accompany <strong>the</strong>ir song. Cienna’s poem highlights <strong>the</strong> reality<br />

and unexpected beauty of grief. Morrill composed <strong>the</strong> piece to capture <strong>the</strong> journey of<br />

los<strong>in</strong>g a loved one, from solemn stillness to a powerful explosion of remembrance<br />

through color and movement.<br />

At first, grief is suffocat<strong>in</strong>g and overwhelm<strong>in</strong>g, and unbearable, but as time passes a<br />

powerful occurrence takes place where we can see our departed loved ones <strong>in</strong> a million<br />

different places - <strong>in</strong> t<strong>in</strong>y, ord<strong>in</strong>ary th<strong>in</strong>gs that suddenly come to life with cherished<br />

memories of life and love. Although grief always rema<strong>in</strong>s <strong>in</strong> different forms and through<br />

unexpected waves, it births a beauty of see<strong>in</strong>g life through <strong>the</strong> lens of those we have<br />

loved and lost. The message of this piece speaks of <strong>the</strong> pa<strong>in</strong>ful bless<strong>in</strong>g of mourn<strong>in</strong>g. It<br />

s<strong>in</strong>gs of beauty through deep, tear<strong>in</strong>g pa<strong>in</strong>, and <strong>the</strong> power and passion of Cienna Rose<br />

Morrison.<br />

. . . . .

FoReVeR <strong>in</strong> <strong>the</strong> WiNd<br />

. . . . .<br />

I’m <strong>in</strong> <strong>the</strong> W<strong>in</strong>d<br />

As <strong>the</strong> soft tear trickled down my face,<br />

I remembered she said<br />

“I will always be <strong>the</strong>re<br />

When <strong>the</strong> w<strong>in</strong>d blows”<br />

I felt a soft breeze<br />

And <strong>the</strong> tear floated off my face<br />

By<br />

Cienna Rose Morrison<br />

. . . . .<br />

Cover art by Cienna Rose Morrison (courtesy of <strong>the</strong> Morrison Family)

FoReVeR <strong>in</strong> <strong>the</strong> WiNd<br />

. . . . .<br />

P E R F O R M A N C E N O T E S<br />

❖ If a performance group are unable to have a pianist, <strong>the</strong><br />

marimba player can play <strong>the</strong> piano part from mm. 4 - 18<br />

❖ The 6/8 section has a lot of polyrhythms. The bass drum part<br />

<strong>in</strong> Percussion 6 is play<strong>in</strong>g consistent half notes. It is suggested<br />

that o<strong>the</strong>r players don’t listen down to that rhythm.<br />

❖ If <strong>the</strong> woodw<strong>in</strong>d run <strong>in</strong> mm. 101 - 102 is too difficult for<br />

younger players, <strong>the</strong>y are encouraged to play only <strong>the</strong> last four<br />

32nd notes.<br />

❖ There is a repeated stemless notation that <strong>in</strong>dicates players<br />

should snap <strong>in</strong> any rhythm without time to imitate ra<strong>in</strong>. At <strong>the</strong><br />

end of <strong>the</strong> piece, players should let <strong>the</strong> snaps fade out until<br />

silence ends <strong>the</strong> piece<br />

Below is an excerpt from <strong>the</strong> piano part <strong>in</strong> mm. 4 - 18. The pianist<br />

should <strong>in</strong>terpret it as follows: play <strong>the</strong> given notes <strong>in</strong> any order, <strong>in</strong><br />

<strong>the</strong> given octave or higher, without time. The effect is to imitate<br />

ra<strong>in</strong>drops, so players are encouraged to alternate between higher<br />

and lower octaves gently.

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