Dixie Highway. Preview Only. Andrew H. Dabczynski (ASCAP) instrumentation. Conductor Score... 1 Violin II Viola... 5 Cello... 5 String Bass...

Transcription

1 Grade Level: 3½ Dixie Highay Andre H Dabczynski (ASCA) instrumentation Conductor Score 1 Violin 8 Violin 8 Viola 5 5 String ass 5 A hint of Ne Age a bit of traditional rish fiddling and some intense luegrass those are the sounds of this creative ork hich musically deicts the history of the famous auto road that as built to connect Midest America ith the Dee South ased on Chiea rish and Old-Time melodies this excetional comosition contains individual and section solos oortunities for imrovisation suggestions for traditional folk ornamentation and hi bass lines With its variety of musical moods Dixie Highay offers a dynamic and motivating change of ace to any orchestra rogram one that romises to shift both the audience and orchestra to overdrive! A DVSON O lease note: Our band and orchestra music is no being collated by an automatic high-seed system The enclosed arts are no sorted by age count rather than score order

2 rogram Notes Written for and remiered by the Kettering High School Orchestra in Waterford Michigan (Merlyn eard Director) Dixie Highay musically deicts the historic develoment of the American auto road of the same name The famous roaday asses through Waterford and long has been central to its history as ell as to the history of many other tons in the Midest ased on its redecessor the east-est Lincoln Highay that traverses the United States the Dixie Highay as first conceived in the early years of the 20th century to be a netork of interconnected aved roads making ossible continuous auto travel from the Dee South all the ay into the Midest the heartland of the auto industry The iece is in three sections: The Sagina Trail The mmigration Road and Cruisin the Dixie Highay n southeast Michigan the Dixie Highay follos the ancient route of the ndian Sagina Trail To bring this imortant Native American trail to mind a Chiea melody ( areell to the Warriors ) oens the iece heard first as a cello solo and then in a series of Ne Age style variations The melody fades aay ith reeated drumbeats layed by the basses yielding to a solo violin setting of an rish sli ig (a dance in 9/8 time) called iddy from Limerick This tune suggests the arrival and settlement of Euroeans and the develoment of the trail into an immigrant road A faint hint of the drumbeats returns momentarily but quickly transforms into a driving bass line indicating the rogression of the old road into the modern high-seed Dixie Highay Aroriately the melody heard at this oint is the energetic Old-Time fiddle favorite addy on the Turnike The iece concludes ith a hard-driving bluegrass version of the tune reminding us that the Dixie Highay continues to serve as a modern avenue of music and culture beteen the Southern and Midestern states as ell as a means to share its cars trucks and travelers Notes to the Conductor Dixie Highay musically deicts the historic develoment of the American auto road of the same name The comosition is in three sections: The Sagina Trail The mmigration Road and Cruisin the Dixie Highay The first is a setting of a Chiea ndian melody heard first by solo cello (mm 2 11) folloed by a series of free variations (mm and 32 44) all ith a distinctive Ne Age flavor Care should be taken in this section to observe the subtle dynamic differences as marked and to bring out the continuity of the interlocking musical lines (ie mm 32 33: beteen 1st and 2nd violins; mm 32 42: among viola cello and bass) The reeated Ds reresenting the distant Chiea drums in the cello/bass (mm 44 47) should remain steady and at a consistent temo The second section (mm 47 81) is a setting of an rish sli ig iddy from Limerick heard first as a violin solo (mm 47 50) and then as a section solo Traditional rish fiddling ornaments are suggested; layers esecially the soloist should be encouraged to use these as a dearture oint for their on tasteful ornamentation The lilting melody is then heard in the cellos (mm 59 74; note occasional otional divisi) ith secondary countermelodies in the other voices A suggestion of the Chiea drum beat returns in the bass (mm 82 91) and then merges ith a syncoated cello line and off-beat accomaniment The accomaniment should be layed off the string The third and final section is an energetic setting of the Scottish-based Old-Time American fiddle tune addy on the Turnike The basic melody is resented initially in the first violins (mm ) and then in a series of increasingly comlicated variations Care should be taken to emhasize syncoated accomaniment lines (ie m 116) as ell as to observe all accent and staccato markings The cellos take over the melody suddenly and quietly over a steady and continuously driving bass line and drones (mm ) The melody takes a decided turn toard a bluegrass feel ith its statement in trile-fiddling harmony (mm ) A change of key (m 145) follos ith a statement of the tune by second violins/violas ith an off-the-string chugging accomaniment (mm ) The final statement of addy on the Turnike is a reeated 1st violin setting in a tyical bluegrass solo-fiddle style (mm ) Care should be taken so that this melody soars above the rest of the grou A syncoated bluegrass figure closes the iece in an energetic coda (mm ) fortissimo in all arts The final accented note is held; layers should be encouraged to use many extra bos ith a ried release

3 CONDUCTOR SCORE Duration - 5:00 Violins Viola String ass or the Kettering High School Orchestra Waterford Michigan - Merlyn eard Director The Chiea ath Unhurried and freely ( = 76) π Dixie Highay - - Solo arco 2 o π π izz - Section ȯ } } } } - - ȯ 4 π } Andre H Dabczynski (ASCA) 9 o Coyright 2010 by Highland/Etling ublishing a division of Alfred Music ublishing All rights reserved rinted in USA

4 Ó b b arco Tutti div 14-1 f f - - Í - Í - - Í - Í

5 b b 26 b S S S b cresc - cresc - cresc - cresc - cresc b S S 23 - b S div b b rit

6 6 A temo dim dim dim dim dim izz izz izz

7 izz a The mmigration Road 42 dim dim dim dim 47 Gently and floing ( = 76) ( = ) Solo π π 47

8 8 Tutti 48 a a arco arco arco 50 53

9 arco 59 div 56-60

10 10 61 div div 63 sub sub sub sub div 67

11 π sub 71 π π 75 π 75

12 izz izz n n n n n C C C C C Dixie Highay ( = Ó ) ast and rhythmic (Ó = 76) n 84

13 13 85 b n (izz) b n N 88 N b n

14 14 off string N b n f f off string 94 n arco n n n semre 98 1/2-1 n b n b n n n 96 f f f N 96 n n n 99 n b n n semre 97 n n

15 n Í Í sub f Í Í Í n sub f n 106 n n n 104 n n n n 108 n b n

16 16 n n n n 109 n 112 n b n n n n n 115

17 a b n b n arco b n 116 n n n n a b n b n b n n n - - n n n n

18 b n b n - n n n 127 n b n b n n sub sub sub sub izz sub 125 a 128 a

19 f f f 135 n n n cresc cresc cresc cresc cresc 133 b n n n n 137 n b n n 134 n - n b - n n 138 n b n

20 20 N a 139 n 143 a n a n 145 div sub f sub f sub f 141 n f - arco f n

21 21 n n n n n- semre n - - a a div cresc izz

22 n 158 n n n n n n 156 n a a 157 n n 160

23 n n n n n -1 Ó 165 arco Ó 162 n n - Ó Ó n n n n U " U " U " U " U " 167

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