About the Music <strong>Respite</strong> was completed on September 27, 2018. The seed that would become <strong>Respite</strong> was planted, by total coincidence, right around the same time that my long-time friend and colleague, Kevin Welborn, started talking to me about composing a piece for his wind ensemble. In the spring of 2018, after a couple years of off-and-on discussion the time seemed right to go forward with the project, and we decided to look into bringing a few other band programs along for the ride. The consortium was soon formed, and I am forever grateful for the trust these directors put in me, and their support for the creation of new music. The “seed” came in a most unexpected way. My son, Alden (age 7 at the time) was at the piano practicing one day. I don’t know if he was playing from the page or just goofing around, but he played the following three chords in a nice, slow even succession all in parallel motion, G major, then skipping up to B minor and then stepping down to A minor. Nothing fancy. But something about the gentle way in which he delivered this short, simple phrase caught my attention. Later that day I went to the piano, played the same three chords, but re-voiced the chord members so that they now read: root, fifth, tenth. This opened up the interval between each chord. The harmonic openness, slow delivery, planing motion, played on the piano’s lower middle range felt very calming to me. Gentle. I had something there, a simple seed, but worthy of watering and cultivating. I stored that away for a while and just let it simmer. “<strong>Respite</strong>” is a pretty safe, maybe slightly generic title. But it sums up the overall vibe and I think it’s just a nice sounding word. The subtitle, Music for a gentler time came about as I was finishing the composition. It is not from a gentler time because I’m not being nostalgic for a bygone era when everything was right with the world. I doubt that time ever existed, at least not for all of us at the same exact time in history. For a gentler time is looking forward and with a somewhat hopeful and optimistic attitude, but with no real target date in mind. It may likely come to us at different times, and our personal measuring stick for what qualifies as gentle may vary. It may never actually come at all in a physical world sense, but might only exist as state of mind that if embraced may just lighten our load a bit. This is my soundtrack for that time. <strong>David</strong> <strong>Reeves</strong> Performance notes for the conductor and ensemble Like many wind ensembles there may be multiple clarinets on each part. The opening is very intimate, and though it isn’t marked in the score, consider having only one per part for the opening phrase, perhaps adding in more players at rehearsal marking nine. The same idea could be used anytime the clarinets are playing by themselves. Feel free to experiment. The eighth note “trill” that begins in measure six should sound as legato and connected as possible. A “trill” because it isn’t necessary for that line to sound in time. In fact it could help blur time which is preferable in this case. It is more gestural than literal. It is perfectly fine if you decide to play the figures as strict eighth notes, just try to keep the “strict” out of the equation. Conversely, it isn’t labeled with the standard trill marking either because the last thing wanted is a lightning fast flurry of motion. It is approximately the speed of eighth notes, but not strictly the speed. Look for these figures throughout the piece. There are a few exceptions where, for the sake of clarity, these eighth notes should be played in time. Meas. 24 – A. Sax, Meas. 77-82. In time, but always legato. The trumpets will need mutes. I had originally envisioned the solo trumpet to use a harmon mute (w/stem) and a plunger to produce the optional wah-wah (+ - - O) effects. If projection is an issue try cup mutes and don’t worry about the wah-wah effect. I recently heard the piece played using a straight mute and, surprisingly, I liked it! Again, feel free to experiment with what sounds best for your band. The percussionists should error on the side of soft when choosing the hardness of mallets. No bright sounds. Even the bells and crotales, though they should speak clearly, should have a more understated sparkle. A large weighty beater for the bass drum is needed and think of the bass drum, when it is part of the low brass choir (meas. 60), as creating mass and warmth, not impact. Tuning is a big factor here as well. Lastly, there are frequent uses of grace notes throughout. These figures should lend a lazy bluesy quality to the music. Please feel free to experiment with some more advanced techniques to enhance this effect. For example, rehearsal marking 64 – the sax trio/quartet – is a great spot to explore some more jazz influenced techniques in terms of how one can bend into the attack and depart. Approach with tasteful nuance.
Instrumentation Flute 1 Flute 2 Oboe Bassoon B flat Clarinet 1 B flat Clarinet 2 B flat Clarinet 3 Bass Clarinet Alto Sax 1 Alto Sax 2 Tenor Sax Baritone Sax Trumpet 1 Trumpet 2 Trumpet 3 French Horn 1&2 French Horn 3&4 Trombone 1 Trombone 2 Trombone 3 Euphonium Tuba Timpani Percussion 1 - Orchestra Bells, Crotales (Two 8ves) Percussion 2 - Vibraphone (optional motor usage), Chimes Percussion 3 - Medium & Large Suspended Cymbals, Sizzle Cym., Medium Wood block Percussion 4 - Small Triangle, Concert Bass Drum, Tam-Tam The score is transposed. No Key Signatures. Accidentals carry through the bar.
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