Shattering Stars.Score

Performance Notes
Mallet Percussion Instrumentation: Percussion 2 offers flexibility so that band programs may
utilize either Vibraphone, Marimba, Piano, or any combination of the three.
Balanced Dynamics: Every effort has been made to create balanced dynamics considering
instrument tendencies. For instance, trumpets may be marked softer at times due to the
instrument’s pointed sound while flutes in the low to middle registers may be marked up. Mallet
percussion should play indicated dynamics to create a balanced sound. Glockenspiel and
Xylophone are often marked softer than Vibraphone/Marimba which do not project as loudly.
Optional Solo, measures 5‐6: The composer’s preferred option is solo flute with solo horn;
however, since player proficiency varies, multiple options are given to the conductor. These
featured measures may be played by one soloist in one section, or through multiple soloists (soli) in
Flute 1, Alto Sax 1, and Horn parts. Additionally, these measures may be played by an entire section
if solos are not preferable. Conductors are encouraged to assign music to best fit his/her ensemble,
even if offering a solo to a part without cues.
Stings and Fortepianos (fp): Stings occur when notes are accented with a softer dynamic such as in
measure 34. This harmonic “bell tone” should be heard clearly where the left edge of the note is
articulated with distinction and immediately followed by the indicated dynamic. Similar to
fortepiano (fp) spots, players should not play entrances too harshly and instead should focus on
clear entrances that “pop” out of the texture. When fortepiano (fp) is indicated, take care not to over
articulate.
Breath Mark Release at m. 33: All players should release before the following downbeat to create a
slight pause. A breath mark is given to each player to facilitate an even release.
Final cut‐off (m. 70): Allow ensemble to play a centered tone on the final quarter‐note then cut‐off.
Do not hold too long.
Textural Music/Color Music: As a composer with synesthesia, I often see colors when I hear
instruments. This multi‐sensory experience has shaped my writing process. I often think of
composing as organizing instrumental color. While I do use strict development techniques rooted in
melodic motive expansion, Shattering Stars is a work portraying atmosphere by moving ideas
throughout the ensemble in different combinations, often focused on creating thin or thick textures.
I have named the process of building crescendos with additional techniques, “textural crescendos”
or “textural decrescendos” when deconstructed. This concept achieves an additive effect using
instrument layering/exposure, ranges (high or low), instrument timbre, and dynamics.