KJOS CONCERT BAND GRADE 3 WB375F $7.00 RYAN NOWLIN PRESSURE K JOS CONCERT BANDVVORKS NEIL A. KJOS MUSIC COMPANY SAN DIEGO, CALIFORNIA

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1 KJOS CONCERT BAND GRADE 3 F $7.00 RYAN NOWLIN E PRESSURE SA M PL K JOS CONCERT BANDVVORKS NEIL A. KJOS MUSIC COMPANY SAN DIEGO, CALIFORNIA

2 THE COMPOSER A native o Cleveland, Ohio, Ryan Nowlin holds both his Bachelor o Music and Master o Music degrees rom Bowling Green State University. He currently teaches instrumental music in the Brecksville-Broadview Heights School District (Ohio), where he directs high school wind ensemble, marching band, and jazz ensemble as well as teaching beginning band and high school music theory. Mr. Nowlin has also served as an instructor in conducting and band scoring at Bowling Green State University, where he continues to work as sta arranger or the BGSU Falcon Marching Band. Mr. Nowlin is an active cooser and arranger and has received various commissions or young to advanced bands. His numerous awards include the James Paul Kennedy Music Achievement Award, as well as the Faculty Excellence Award or his work at BGSU. He is a member o Pi Kaa Lambda, Music Educators National Conerence, and the International Horn Society and holds honorary membershis in Phi Mu Alha Sinonia, Kaa Kaa Psi, and Tau Beta Sigma. THE COMPOSITION Students are aced with mounting ressures and adversity daily. These ressures take the orm o the ersonal changes they are undergoing, inluences o their eers, exectations o their teachers and amily, involvement in several activities, inluence o the media, and many others. The cooser thought it would be aroriate to rovide a iece o music that could not only serve as an artistic reresentation o these common eelings, but also erhas serve as a vessel or students to exress and communicate these eelings. The coosition is based on two basic themes: the serenity theme, a gentle and lacid melody ully stated in measures 55 65, and the ressure motive, an ominous and always-growing, inectious statement that exands rom our itches (irst stated in the low brass and reeds in measures 5 and 6) to the ull ten-itch aggressive and angular motive. Very quickly the serenity theme in the woodwinds is chased, enguled, and eventually transormed into the ressure motive. Immediately ollowing this occurrence is an aleatoric section that reresents the building o anger, teer, and rustration culminating in the release o the stress and ressure. Care should be taken that the added elements in each diamond can be heard uon their entrance. [Deending on the size o the ensemble, there may need to be more than layers on the clarinet mouthiece and barrel art.] The dynamic and tension should gradually increase rom the ermata receding diamond all the way through diamond 6. As elements are added, they should enter at a dynamic level that is consistent with its lace in the ensemble s gradual crescendo. Each musical igure in each diamond is intended to be reeated and to crescendo to the climax at diamond 6. These igures are not to be layed in unison or at the same teo. The erormance o each igure is at the discretion o the individual erormer and can be layed as ast or slow as he or she desires. It is iortant that in the end, the susended cymbal is swooshing violently, ending very loudly. The sound o the susended cymbal is to remain ringing ater the sigh is coleted and the director must wait until the susended cymbal naturally dissiates beore continuing. The serenity theme is then layed in ull and uon its coletion is juxtaosed with the ressure motive (measures 65 and 66) in very alatable manner signiying living and coing with one s stresses. The iece inishes with a dissonant return o the ressure motive in the low brass indicating the act there will always be stress in our lives. 3

3 4 NOTES TO THE CONDUCTOR Six ercussionists are needed or this iece. I more ercussionists are available, however, the iece would beneit greatly. The use o multile layers on these arts is encouraged with reerence given to: gravel in lastic milk jug (3 or more is best), anvil (i ossible, double by adding brake drum), and inally tom drum. All arts are iortant, articularly the bells. The cooser suggests using gallon milk jugs with an inch o gravel, however, erormers may design their own instruments using lastic containers, trash bins, and so orth, with a variety o items inside (e.g., gravel, marbles, etc.). The desired sound is a heavy, dull, dramatic, almost hollow thud. INSTRUMENTATION LIST 4 - st Flute 4 - nd Flute 3 - Oboe 5 - st Bb Clarinet 5 - nd Bb Clarinet 3 - Bb Bass Clarinet 3 - Bassoon - st Eb Alto Saxohone - nd Eb Alto Saxohone - Bb Tenor Saxohone - Eb Baritone Saxohone 4 - st Bb Truet 4 - nd Bb Truet 4 - F Horn 3 - st Trombone 3 - nd Trombone - Euhonium - Bb Euhonium T.C Tiani - Percussion I: Bells, Tambourine, Finger Cymbals - Percussion II: Susended Cymbal 3 - Percussion III:,, in Plastic Milk Jug, Crash Cymbals 3 - Percussion IV: Triangle, Snare Drum, Medium Tom, Bass Drum - Full Conductor Score Aroximate Perormance Time - 5:5 Additional scores and instrumental arts are available.

4 Full Conductor Score Aroximate Perormance Time - 5:5 Flutes Oboe Bb Clarinets Bb Bass Clarinet Bassoon Eb Alto Saxohones Bb Tenor Saxohone Eb Baritone Saxohone Bb Truets F Horn Trombones Euhonium Tiani Percussion I: Bells, Tambourine, Finger Cymbals Percussion II: Susended Cymbal Percussion III:,, in lastic milk jug, Crash Cymbals Percussion IV: layers Triangle, Snare Drum, Medium Tom, Bass Drum PRESSURE Susiciously (q = 96) Susiciously (q = 96) Susiciously (q = 96) Bells (w/brass mallets) (Tune: Eb, Bb, E ) 3. Solo 4 (w/hard mallets) Med. Tom. 5 6 ominously ominously ominously 6 a ominously ominously ominously 7 5 RYAN NOWLIN Kjos Music Press, 438 Jutland Drive, San Diego, Caliornia, 97. International coyright secured. All rights reserved. Printed in the U. S. A. Warning! The contents o this ublication are rotected by coyright law. To coy or reroduce them by any method is an inringement o the coyright law. Anyone who reroduces coyrighted matter is subject to substantial enalties and assessments or each inringement.

5 6 8 Bb Tts. Trbs. Euh. Ti. 3 accel Tutti a lacidly lacidly accel. accel. 4 lacidly lacidly Hn. cue Euh. cue Bells Tom end cue end cue

6 7 5 Faster (q = 0) Bb Tts. Trbs. Euh. Ti. Bells Tom Faster (q = 0) T. Sax. cue B. Sax. cue B. Sax. cue Faster (q = 0) 6 end cue end cue end cue 7 a 6 6 a a smear bend with hand ()

7 8 Bb Tts. Trbs. Euh. Ti. Bells Tom a a 6accel. accel. accel.

8 9 Bb Tts. Trbs. Euh. Ti. Bells Tom 7 7 Even aster (q = 44) Even aster (q = 44) 7 Even aster (q = 44) div. div.

9 0 3 Eb A. Saxes Bb Tts. Trbs. Euh. Ti. Bells. div. 33. unis. a 34 Tom a unis. 35 unis.

10 Bb Tts. Trbs. Euh. Ti. Bells Tamb. Tom 36 Aggressively!. div. div. 36 Aggressively! 36 div. div. Aggressively! molto rit. 39 molto rit. molto rit. 40 Take o head joint, ut lute saely on loor. 4 all excet layers unis. unis. dead strokes dead strokes choke to Tamb. dead strokes dead strokes

11 Play on head joint. Change itch with index inger. 4. unis. ( ) a ( 0'' ) 8'' 3 6'' 4 0'' ) ( cresc. cresc. remaining two layers: remove mouthiece and barrel and set clarinet saely o loor a Bb Tts. Trbs. Euh. Ti. Tamb. S. D. a cresc. cresc. cresc. cresc. cresc. cresc. 0'' 8'' 3 6'' 4 unis. 0'' cresc. cresc. 0'' cresc. bend bend 8'' 3 6'' 4 0'' Tamb. 0'' to 8'' S. D. 3 R. S. 6'' cresc. 4 0''

12 3 0'' 6 Bb Tts. Trbs. Euh. Ti. Bells Tamb. S. D. Tri '' 6 layers lay on mouthiece and barrel. Bend itch by caing hand around barrel. ( ) 5 0'' 6 (anv. strike randomly) (gravel shake randomly) 5 0'' 43 wait or sus. cym. to die away Reassemble lute Reassemble clarinet wait or sus. cym. to die away Sto rolling, do not choke, let ring until natural silence 6 Bells 44 Calmly (q = 84) 45 Calmly (q = 84) Calmly (q = 84) Tri Bells (strike instrument using inger cymbals) Mark tree Solo

13 4 48. Bb Tts. Trbs. Euh. Ti dolce dolce dolce dolce 5 dolce dolce dolce dolce a dolce 48 Bells C. Cyms. Tri. a (w/inger cymbals) unis.

14 5 55 Bb Tts. Trbs. Euh. Ti a Moving ahead, 6 oco rit. con rubato 6 oco rit. oco rit. a Moving ahead, 6 con rubato a 55 (w/sot mallets) Bells (w/hard lastic mallets) C. Cyms. Tri. Moving ahead, 6 con rubato

15 6 63 Bb Tts. Trbs. Euh. Ti div. 67 unis. 68 a 69 div. a 70 unis. a Bells C. Cyms. Tri.

16 7 7 Bb Tts. Trbs. Euh. Slower (q = 7) 7 Slower (q = 7) a div. 7 7 Slower (q = 7) Solo ten. B. Cl. cue end cue Ti. Bells Solo C. Cyms. Tri. C. Cyms. unis. Tri. One layer n. n. n. n. n. n. n. n.

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