Composed for Dorian Cooke

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#891 for Bassoon, otiona Bassoon verdu Percussion at 7:00 y tehen Meio IGNA 31 Decemer 2000 into 1 January 2001.

1 #891 for Bassoon, otiona Bassoon verdu Percussion at 7:00 y tehen Meio IGNA 31 Decemer 2000 into 1 January nd 3rd Miennium Comosed for Dorian Cooke Conductors, rendering any TRM ork have the comoser/coyright hoder s ermission to hotocoy the core Parts for the soe and secific use their students and/or musicians residing in the organization hich invested in an origina coy the ork from TRMWRK. Reroduction, arranging, transcriing or excerting for any other urose, incuding transort to another ocation or organization is rohiited y a. Music hich has een urchased in the Digita Form may e rinted ith a rues ertaining to rinted Music sti in effect. A Rights Reserved. Internationa Coyright ecured. tehen Meio is a memer ACAP. tehen Meio/TRMWRK 2nd 3rd Miennium steve@stormord.com.stormord.com

2 TEPHEN MELILL, CMPER TRMWRLD.CM Conductors, rendering any TRM ork have the comoser/coyright hoder s ermission to hotocoy the core Parts for the soe and secific use their students and/or musicians residing in the organization hich invested in an origina coy the ork from TRMWRK. Reroduction, arranging, transcriing or excerting for any other urose, incuding transort to another ocation or organization is rohiited y a. Music hich has een urchased in the Digita Form may e rinted ith a rues ertaining to rinted Music sti in effect. A Rights Reserved. Internationa Coyright ecured. tehen Meio is a memer ACAP. tehen Meio/TRMWRK 2nd 3rd Miennium.stormord.com Dear Conductor... Thank you for eieving in, and investing in the ody ork caed TRMWRK. nce you ve tasted the ossiiities and exerienced the reactions from your students and audiences, a arge ody interreated ork aaits you. If you ve invested in the hoe ackage or uite... Bravo. It as the est ay to go. TRMite at.stormord.com rovides utodate info on a that is haening ith TRMWRK. Thanks so much for chamioning this Music and Godseed in the journeys ahead. YTEM REQUIREMENT ne oudn t think uying stare ithout having the aroriate hardare. With this same commonsense thinking, conductors rendering torm Works shoud e roery equied. In the Band the 3rd Miennium, the orchestration emoyed in the ody ork caed tormorks, e find the standard ind and ercussion enseme augmented y the use 2 synthesizers. A seemingy innocent ea, it is reete ith functionaity. generic sounds ascried to the synthesizers are: PAD Bass, (sometimes Piano and/or Chorus) and Har. Comments aout the tyes sounds and manner interreting the varied notation may e found in the Brief Intro to the Music tehen Meio... ith FAQs residing on the TRMite at stormord.com. In 1980, the cost for such an undertaking as significant. No, for a costeffective, mutiusefu investment, your rogram can e readiy equied. f course, this is ony if you are cometey unequied right no! Most music rograms i have at east one student ho ons a synthesizer, or at east knos someone ho does. In the eary 1980s, I as ae to recruit a great numer students simy y suggesting that there as a ace for them in the eectronics section! I invite you, no ith Music that cas for it, to e chamions a ider and fuer Music Education. n the TRMWRK CDs, you i hear ho these sounds, aced in a stereo fied around the and... as in the diagram on the seating chart age... enhances the overtone hierarchy and resonance the and hie remaining somehat traditiona in its orchestra usage. To seakers, ying fat on the foor, shoud e aced so that the sound is directed ack into the enseme. As e aroach a the ne tomorros, students need to ay Music, that hie serving the cause and urose Music Education, excites them... Music hich sonicay cometes ith the inundation suremey roduced sounds they hear in their every day ives. A vast variety interreated and graduated ieces as e as accomanying Teaching Toos aait you. No, as aays, it s u to you. ny you can e the guide your students need, and ony you can deiver this Music to that imitess ream e refer to as Music. To that Quest, noe and honorae, Godseed! tehen Meio, Comoser

3 VICE for BAN PERCUIN #891 for Bassoon, otiona Bassoon verdu Percussion at 7:00 y tehen Meio IGNA 31 Decemer 2000 into 1 January nd 3rd Miennium Comosed for Dorian Cooke TECHNICAL It is imortant that the temo e insistent, through a the changing moods. For detais on Percussion choice, interretation and desired eectronicorchestra comonents, ease see Brief Intro. Throughout the iece exaggerated dynamics and contrasting styes shoud foo 3 rincies: 1. Exaggerate the shae and contour the ine. 2. Instead riting dynamic markings at the eginning oints crescendi markings, assume that the Music egins as quiet as is comfortay ossie. f course various contexts i change certain moments, ut in genera, aays come ack to exaggerate the constant seing and groing as the iece evoves in Time. 3. Accent, use and fee the ay rhythms are groued. Lift and imetus shoud e aied to these rhythms continuay as the iece advances. Rising and faing ith great contrasts i give the Music its character, stereohonic amience and drama. excetion to this is the Virahone hich may ay the 1/8th note stream fuidy against the use. In addition, this iece resents many otions. 1. ork may e rendered ive, y aying either Bassoon oo Version 1 or Version ork may e rendered y 4 ive Bassoonists. 3. re are 2 versions (deendant uon difficuty eve) hich are resented for a recording in hich the Bassoon arts are overdued. This ork is comosed for 10 Musicians: 1 Bassoonist, ith otions for 2 versions and 5 overdus. 1 Live Chorus (fftage) or ynthesized ith PAD Bass on a it Keyoard. 1 Har (the art may aso e triggered from MIDI for recording ithout an actua Harist.) 1 Timanist. 1 Chimes Payer, douing on Finger Cymas Tamourine. 1 Virahonist, douing on RotoToms, or 4Tuned Tenor Drums. 1 Marima Payer, douing on rchestra Bes. 1 Percussion NE Payer, covering: nare Drum, Cave, haker, Wind Chimes, Triange Virasa. 1 usended Cyma Tam Payer. 1 Conga Payer. Godseed! tehen Meio Comoser

4 A Brief Intro to the Music tehen Meio eft seaker Har Am PAD Bass right seaker Dynamics are exaggerated y stressing the quieter markings. Crescendo markings hich do not indicate a starting dynamic shoud e considered as starting from quiet. Foo the ine shaes dynamicay. As a genera statement... What oens u in terms interva shoud aso oen u in terms faster air and o. Bo markings may est e thought as suggestions. I defer to the conductor and concert master. Vie fff ff f mf m Time Bassoon Vs. fff ff f mf m Marima B Time and faing, seing and uiding. dynamic architecture is the Music. A crescendo has a different correation to time as it exands to a destination or arriva oint in TRMMusic. icture eo, etter iustrates the effect, hich, to ensure a great rendering, must e fet and not merey executed. After getting st, stay to the oer ortion the soe onger... ushing the dynamic effect coser to the end or destination oint. Percussionists shoud exaggerate this effect, aoing the inds to remain transarent, y staying out the crescendo unti the very ast moments. Nonitched ercussionists and eoe aying reeated notes under ines that rise and fa must do their est to isten and se aroriatey. resut shoud e a continuous succession rising INTENDED ACCENT are ten the resut the ay the rhythms are groued. se are rendered automaticay and it saves the eye the additiona urden seeing accent markings aove every note. Uness marked to the contrary, usuay ith TENUT markings, syncoated rhythms automaticay receive a ift, a searation, an accent. A tuet figure in music in 2 s is syncoated, therefore, stressed and searated. A duet figure in music in 3 s is syncoated, therefore stressed and searated. This ift and searation are aramount imortance in estaishing imetus, use and reentess drama. This marking:, in a the storm Music, means that the note shoud have a eighted, symhonic accent. I say symhonic to denote the end a symhony. I aays imagine a fu dono sied across the string. A sie is the est ay I can exain it... fu, fast and hard. It is not necessariy short and it is actuay much more ike a jazz stye notation... AAHT! A conductor, in vieing the score, may find an A Major chord, for exame, seed verticay as A, D, E. Pease understand that the Music is conceived in a horizonta manner and that notes and enharmonics are chosen ased on, more times than not, hat the instrumenta Musician i read. HARP, eectronic or not, the PIAN, eectronic or not and the PAD BA, eectronic or not, must e aanced into the enseme as any acoustic instrument oud e. Just think these sounds as REAL and eautifu and caae orchestra dimension. A ne ord coour and student invovement aaits those ho i atienty exore the ind and ercussion enseme the 3rd Miennium. Pease see my eating Chart for acement. Percussion Choice: ne 18 MediumThin and one 16 PaerThin Zidjian usended Cymas, one 22 MediumHeavy German ymhonic Zidjian Crash, one Tamourine ith German iver Jinges, one Piccoo nare, tighty tuned ith coated atter head, Deagan iver Chimes, Large rchestra Bass Drum, and course, the highest ossie quaity Timani. designation Gockensie aays means rchestra Bes. As aays, there is a tremendous dichotomy in the Music I rite, amost a schizohrenia hich at one moment demands exact, reentess, unyieding use... and then suddeny cas uon the sensitive reathike ruato an insightfu conductor. To your sensitive vision, I eave these anguid moments... those hisers hich, indeed, are the essence... and the very reason for everything ese. Godseed. WAIT the WRLD IN a CAUE CALLED GLRIU IN a ERVICE BEYND ELF Voice for Bassoon Percussion KLDN FINET HUR RENDEZVU With DETINY NCE MRE UNT the BREACH! UNIVERE BELW A WALK on the WATER MUAHI eech Anges CUBA IN THE BEGINNING! TIME to TAKE BACK the KNIGHT! American Knights uite J I D A I BEYND CURAGE A Documentary in Music GDPEED!...from the Timestorm ast, from 1975 and IvI on a asement iano during "ny for No", through hundreds ieces... CNNECTIN to orks yet to e... se are some the... A the Teaching Toos and a that is soon to e ritten... ECAPE from PLAT s CAVE AHAB! TEDDY ERICH DAVID MUAHI HIM I the TRM First Last 13 Chaters TRM Journeys 15 Chaters WIH to the WRLD 16 Chaters TRMQuest After the TRM Matrix ymhony II Concerto for Vioin NLY for NW N the TRM Jazz rchestra Music 11 rigina hos for the Fied WPIM Without Warning Honor, Courage Commitment TRMWRK Art the tate By Love Invioate America the Brave! TAR! GD Bess America Come Hoy Night! Giving! Festiva Light! FUNTAINHEAD ERICH!

5 1 Desoate, V E R I N 2 B A N Bassoon 4 Bassoon 3 Bassoon 2 Bassoon 1 Har Fing Cym Tamourine Chimes RotoToms Virahone Marima rch Bes Vira a Cave Triange haker Wind Chimes nare Drum Crash Cyma Bass Drum (Kick) us Cyma TAM Bassoon 5 Bassoon 4 Bassoon 3 Bassoon 2 Bassoon 1 Voice for Bassoon Percussion... y tehen Meio IGNA 31 Decemer January 2001, 2nd 3rd Miennia... Page 1... Chorus (synth) PAD Bass Timani Random inge Wind Chimes Œ æ Œ Œ ƒ n fftage Concert Bass F n P Œ æ. ~~ ~~ D ater chime P. # #. rch Bes #..,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

Angels We Have Heard On High

Angels We Have Heard On High #116 in 5:11 Arranged y STEPHEN MELILLO, IGNA 28 Decemer 2017 2- Millennium for Orchestra, To Antihonal Choirs, and Otional Solo Vocalist Secial Directions concerning the Set-U