Preview score. British Music Collection. Revolution. For orchestra. Jenni Pinnock
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1 For orchestra Jenni Pinnock July-Set 01 In the region o 10 minutes in length
2
3 About relects uon the irrevocable changes brought about by climate change rom the eects on the atmoshere itsel to the overall eects on our lanet and our lives. The title was chosen because throughout research into the toic, it became clear that we need to revolutionise the ways in which we live our lives in order to ensure we slow the warming o the lanet. The iece begins by looking at climate change rom an atmosheric oint o view, ocusing on our key gases (carbon dioxide, methane, nitrous oxide and CFCs). These have been converted into musical molecules, with their notated orms bearing direct relation to the molecules themselves or exale, using the number o electrons in an atom s outer electron shell to determine intervals between notes. In the irst and second sections o the iece, the concentration o these molecules in the atmoshere is tracked rom their re-150 troosheric concentrations to their resent day concentrations. The levels are directly relected in the music, with the random nature o molecules movements relected by the use o indeendent reetition by the erormers. Towards the end o the section a rising moti symbolises the slow rise in the Earth s teerature. Moving into the second section, the ocus changes to look at the manmade inluences on climate change. The musical molecules are extended and develoed to relect the industries that create them, leading to a mechanical, systematic climate change machine which grows in ower as the teerature increase until a crisis oint is reached. In the inal section, the iece changes gear. Instead o the negatives o climate change, it looks at the ositive changes humankind are making to try to slow its rogression. Pulsating notes relect the sun s rays and the turning o wind turbines, while greener technologies are contelated as the iece draws to a close. While the eorts that are being made to quash climate change won t be able to sto the Earth rom continuing to warm u, the inal bars acknowledge that our eorts will hel slow down the rising teeratures and atmosheric changes. was commissioned by the Aldworth Philharmonic Orchestra in 01 as art o their Young Coosers Award. It was written between July and Setember 0 It is in the region o ten minutes in length (very aroximate due to the nature o the irst section o the iece). About Jenni Pinnock Jenni is a cooser, teacher and arranger based in East Anglia, UK. She studied at Kingston University (BMus) and Trinity Laban Conservatoire o Music and Dance (MMus), and has had her music erormed by a variety o ensembles across the UK and worldwide. For more inormation about Jenni and her music, lease see her website jenniinnock.com.
4 Notes or erormers and conductors Wherever is seciied, instruments are required to erorm the musical molecule in question at any teo, reeating as requently as they desire and indeendently o any other instruments sharing the same art. Sections o music to be reeated will have reeat marks with brackets at either end, and will be marked Indeendent reetition. They will have a line seciying the duration o the reetition, which will come to the end either at a double or inal bar line. There are no cues in this section due to the erorming lexibility. The bar numbers start rom rehearsal mark A, due to the unmetered nature o the majority o the music beore that (excluding the irst our bars). Reeat once instructions In a handul o arts there ll be a whole tone scale o ascending notes with recise instructions as to how many times it should be reeated, and a time scale as to when the reetition(s) should begin (e.g. within ive seconds o cue). The notes to be reeated will be clearly marked within brackets. Freely whisered words Throughout the irst section o the score there are also words above the art in boxes, labelled Freely whiser or FW. When a box is reached, the erormers should whiser some (or all) o its contents. The erormers can choose which word(s) to whiser, how requently, and how loud (rom a very quiet whiser to a loud stage whiser). For exale, using the box above, the erormer could choose to whiser each word in the box, cycling round and round, with no gas between them (change-cfcs-climate-challenge-global-time-carbon-change- CFCs-climate-challenge etc..), or just the word challenge, whisered once. The words are valid until the next Free whisering box is reached, at which oint the new words become valid. This haens rom near the beginning o the iece (the ith bar), until the bar beore rehearsal mark B at which oint the command STOP ALL WHISPERING is resent on the score. For each box with ree whisering in, erormers should aim to whiser at least one word within its duration. Where erormers have a musical molecule to reeat (or other notation to lay), they may choose to whiser and lay where ossible, or to interserse the two. As there are no cues in the arts, the whisered words boxes can either be cued by the conductor (or a member o the orchestra/section leader), or the decision can be made to let erormers decide when to move between boxes. Further notes or conductors The irst section contains lots o elements that could require cueing (whisering, indeendent reetition, the beginning o limited reeats, and notated material ater rehearsal mark A). It is u to you how recise this cueing is, or i you have to make the section leaders or instrumentalists remember where their cue comes in relation to the cues o others.
5 Transosing score Jenni Pinnock Flute 1 FREELY WHISPER: change FW: change CO FW: change NO CO Oboe Clarinet in Bb Bassoon Horn in F Horn in F Truet in Bb 1 Trombone 1 Tiani Marimba Har Violin I Violin II mute mute Play ONCE (indeendently) at any teo, beginning no more than 5 seconds ater cue. a a a Viola Violoncello Contrabass Hold until cued to begin indeendent reetition Hold until cued to begin indeendent reetition Jenni Pinnock 01
6 FW: change NO CO CH a Fl. Ob. a Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. a a MMLOMNNN I Jenni Pinnock 01
7 A FW: change climate a Fl. Ob. a Play ONCE (indeendently) at any teo, beginning no more than 5 seconds ater cue. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. a s s A a PLAY ONCE, beginning no more than 5 seconds ater cue (end o revious section) a s I s Jenni Pinnock 01
8 5 a FW: change climate CFCs Fl. Ob. a Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. nat. a nat. a. MMLOLMMM Tbn. continues a I Jenni Pinnock 01
9 11 FW: change CFCs climate challenge global time carbon FW: change climate global CH NO CFCs challenge CO time carbon 5 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H.. I Jenni Pinnock 01
10 6 STOP ALL 1 WHISPERING B Andante cantabile Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. B solo Andante cantabile MMMOMNMN I Jenni Pinnock 01
11 a Fl. Ob. Bsn. H. I Fl. Ob. Cl. H. 0 col legno battuto col legno battuto C C Rhythmic, industrial Rhythmic, industrial izz. izz. izz. I col legno battuto izz. izz. Jenni Pinnock 01
12 5 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I
13 9 Fl. 50 Ob. a Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I a a a izz. izz. arco Jenni Pinnock 01
14 10 56 Fl. 1 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. G# a. I Jenni Pinnock 01
15 Fl. Ob. 6 D a 11 Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. D a MMMOMNMN a I izz. Jenni Pinnock 01
16 1 6 Fl. Ob. a Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. a. I Jenni Pinnock 01
17 1 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I E# Jenni Pinnock 01
18 1 Fl. E Ob.. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I E a a a arco arco arco. Jenni Pinnock 01
19 15 1 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H... G# D# I arco Jenni Pinnock 01
20 16 5 Fl. 1 Fl. Ob. 1 Ob. Cl. 1 Cl. Bsn. 1 Bsn. Hn. Hn.. Tt. Tbn. Ti. H.. a.. C# E A D I Jenni Pinnock 01
21 1 Fl G.P. Fl. Ob. 1 Ob. Cl. 1 Cl. Bsn. 1 Bsn. Hn. Hn.. Tt. Tbn. Ti. H. a G C F G# G.P. I Jenni Pinnock 01
22 1 F Largo Gentle uslating eect Fl. 95 dynamics sim. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I F Gentle uslating eect Largo dynamics sim. Gentle uslating eect Gentle uslating eect MNMOMNMM Gentle uslating eect a Gentle uslating eect dynamics sim. Gentle uslating eect dynamics sim.
23 19 Fl. 105 Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H.... a Slow roll down to a sto Slow rolls down to a sto I dynamics sim. Jenni Pinnock 01
24 0 Fl. 11 G Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I a mute G a a Jenni Pinnock 01
25 1 119 Fl. Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I a a izz. izz. Jenni Pinnock 01
26 15 Fl. a Ob. Cl. Bsn. Hn. Hn.. Tt. Tbn. Ti. H. I a a a a Eb A# arco arco. Jenni Pinnock 01
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