Perormance Directions General All instruments in the score are transosed. Timani should avoid beaters that are too sot. The Timani art should always sound clear and not muled. All trills in the score are to be treated as hal-tone trills unless otherwise stated. Make much o dynamic contrasts, this will add to the drama and atmoshere o the work. I have tried to design Storm Surge to sound uniquely dierent, deending on the band that is erorming it. This idea is not new it is or me a truly ascinating characteristic o Igor Stravinsky s Le Sacre du Printems (Rite o Sring). Stravinsky s work seems to orce the orchestra to create its own individual and ersonal sound, which is exciting or both erormer and audience alike. I have given the conductor and band much scoe in Storm Surge to be creative and imaginative in their interretation. My aim in this is to avoid the erormance becoming too sae and lacking a sense o atmoshere and gravitas. To hel create the mood o this devastating storm, the orchestra could use (occasional) lashing lights to emulate lightning strikes. The use o video or slide roject could also enhance the erormance. Sound Design CD and additional eects It is indicated in the score when each track on the rovided CD should start and where it should be aded out. The sound design track on the CD has about 15 minutes o silence at the end o each track to avoid the CD accidently moving orward to the next iece o sound design. Secial care should be taken to balance the sound design with the orchestra. A sare ercussionist could also add a Thunder Sheet in aroriate laces in the music. Perormed Sound Eects From the beginning o the work to the letter A (Bar 10), I would encourage the conductor to be as imaginative and creative as ossible in setting the mood o the iece, or examle to use additional or alternative eects to denote the beginning o the storm. Several seconds into the work the oem by Martin Westlake should start. There are instructions in the score as to how the oem should be read during the oening bars o the music. The symbol in the score (Bars 266-285) denotes that the layers should sna ingers constantly (with both hands raised above the music stand in ull view o the audience) to create a light rain eect. The American comoser, Eric Whitacre, irst used this eect in his wind orchestra work Cloudburst. The conductor can exeriment with this idea to create the best eect.
Written and dedicated to Majoor Peter Kleine Schaars and the Marinierskael der Koninklijke Marine 1. "Now hear this, ye denizens o alse hoe" SOUND DESIGN: 1M1 STORM SURGE (WATERSNOODRAMP) An Elemental Portrait or Concert Band NIGEL CLARKE Piccolo Flute 1.2 Flute SENZA MISURA (to bar 10) Conductor Note: There is lenty o scoe or creativity between bar 1 through to bar 10. Reeat until conductor moves to bar 10 Reeat until conductor moves to bar 4 Blow air through the instrument and waggle keys to emulate the wind X X X *** Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and always in context! Fl. 1 & 2 *** Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and always in context! () *** Oboe 1.2 English Horn (Otional) X X Ob. 1 & 2 Blow air through the instrument and waggle keys to emulate the wind Blow air through the instrument and waggle keys to emulate the wind Clarinet in Eb Blow air through the instrument and waggle keys to emulate the wind X Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb Bass Clarinet in Bb Bassoon 1. 2 Contrabassoon (Otional) Alto Saxohone 1.2 Tenor Saxohone Baritone Saxohone Trumet in Bb 1.2 Trumet in Bb.4 Horn in F 1.2 X X X X X X X X X X (NB. At least 10 to 15 seconds beore the oem should start) STORM SURGE Now hear this, ye denizens o alse land; Beware the heaving back o the sleeing giant! Yay, you may tame and train docile waters, Build your dykes and your levees, Channel the lows and gutter the rains. But when the oceans stir, When the winds and the tide and the cloudbursts combine, When the waters mass and the storms drive shoreward, Then you will learn a terrible truth. For there is no such thing as a level sea, Only the inexorable surge o the storm tide, Wave ater wave, sluing at your crumbling deences, Nibbling at the chinks, ouring through the breaches, Swirling through and down, washing away homes and souls, X Swaming, drowning, enguling asts and utures, And only then receding, slowly, to reveal soaked and shattered ruins. X Waggle keys to emulate light rain Let the oem declamation end just beore o stage trumet entry in bar 11. Horn in F.4 Trombone 1.2 Bass Trombone Euhonium Oh ye o aith or o no aith, remember this; No man may rebuke the winds and the sea; No man may still the storm. X X X by Martin Westlake X Tuba1.2 X Piano (Otional) Double Bass Timani Perormance Directions (Narrator) X The oem should be declaimed almost as i rom a ulit. It is a stern and assionate warning, esecially the irst X `swirling', `swaming`,`drowning'...) beore subsiding, like the lood waters (`to reveal soaked shattered ruins'). stanza (`Beware'). The middle section is a descrition o what haens when you do not heed warnings. It should relect the music that ollows, and build slowly (`But when...'), rise to a crescendo (`Wave ater wave', `'nibbling', X There should be a beat, a contemlative silence, (with the sound-design howling in the background), beore in the inal stanza the reacher (or the rohet) returns with his admonition; `No man may still the storm.', which is deliberate echo o the Bible. X N.B. Lay large cymbal on to o Timani and imrovise with glissando eect Percussion 1 X N.B.`Percussion 1' will need to use Kit Drums or large arts o the iece. Susended Cymbal (Sus. Cymb.) [Imrovise] Percussion 2 Percussion X X Thunder Tube (Otional) N.B. The Thunder Tube need not start staight away, but eventually blend in with the Sound Design. Otional (1 layer) use o Wind Machine, lay u to the end o bar 19 SOUND DESIGN: 1M1 Coyright 201 by Studio Music Comany, Cadence House, Eaton Green Road, Luton, Bedordshire, LU2 9LD, England All Rights Reserved Wind Band Score - ISMN: M-050-09171-4 Printed in Great Britain Wind Chimes gliss. etc. gliss.
2 10 A Allegro *** N.B. Though o-stage Trumets are marked " " the eect should be distant and quiet. I it is not ractical to use o-stage Trumets, the ensemble Trumets should lay using straight mutes Conductor Note: Piccolo, Flutes and Oboes to lay in a staccato style to emulate a rain shower m (Ot.) 1 layer on a art only 1 layer on a art only m 1 layer on a art only Waggle keys to emulate light rain Waggle keys to emulate light rain Waggle keys to emulate light rain (Ot.) Waggle keys to emulate light rain Waggle keys to emulate light rain Tt. 1.2 Tt..4 Waggle keys to emulate light rain 1. Trt. (Otional - O Stage) *** lontano anara ***. Trt. (Otional - O Stage) anara Blow air through the instrument to emulate the wind Hn. 1.2 Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Euh. air through the instrument to emulate the wind Euh. 1.2 Blow Blow air through the instrument to emulate the wind (Ot.) ** Hit (lightly) bass iano strings with th alm o the hand while holding the substain edal down ** Tim. Tam Tam (T.Tm) Glockensiel (Glock.) l.v. m m To Vibrahone (etc. to bar 19) Vibrahone (Vibs.) - Engine On m m m
18 m m m m m m m m m m (Ot.) m m m (Ot.) Tt. 1.2 *** 2. Trt. (Otional - O Stage) anara Tt..4 *** 4. Trt. (Otional - O Stage) anara Euh. (Ot.) Tim. Sus. Cymb. Snare Drum (S.Dr.) Snare On ** End Wind Machine
4 B accel. 22 m m m m (Ot.) m m m m m m m m m m m 1 layer on a art only m m m 1 layer only Div. 1 layer on a art only m (Ot.) Tt. 1.2 m m m 1. Trt. (On Stage - senza sordini) 2. Trt. (On Stage - senza sordini) Tt..4. Trt. (On Stage - senza sordini). Bell tones m 4. Trt. (On Stage - senza sordini) 1. Bell tones 4. Bell tones m 2. Bell tones m m m m m m m. Bell tones m m m m m m Euh. (Ot.) Tim. arco sim. Senza Cymbal l.v. + Sus. Cymb. + Sus. Cymb. Orchestral Bass Drum (B.Dr.) - Use beater m like distant thunder l.v. l.v. Glock. Tubular Bells (T.Bells ) Use Glock beaters
5 29 (Ot.) (Ot.) Tt. 1.2 Tt..4 C Allegro sim. m m m m m m Ob. Cue (1 layer on a art only) div. div. () m m m sim. sim. sim. Solo. Euh. m (Ot.) Tim. m m m Sus. Cymb.
6 5 m 7 D (Ot.) (Ot.) Tt. 1.2 Tt..4 Euh. (Ot.) Tim. m 7 m 7 m m Div. Tutti - Bell tones Div. Tutti - Bell tones Div. Tutti - Bell tones Bssn 2. Cue sec. Otional 8va lower l.v. m l.v. Sus. Cymb. T.Bells - Use Glock beaters
7 42 1 layer on aart only (Ot.) 1. (1 layer) Slow bisbigliando (Timbre trem.) 1 layer on aart only m Div. (1 layer only on a art) Div. (1 layer only on a art) (1 layer only on a art) 7 7 7 m (1 layer only on a art) Div. (1 layer only on a art) (1 layer only on a art) 7 7 7 (Ot.) m 1.2 Bell tones Bell tone Bell tone Tt. 1.2 Tt..4 (Trt. 1 & 2).4 Bell tones 1.2 Bell tones (Trt. & 4) 1.2 Bell tones.4 Bell tones m m Euh. m (Ot.) Tim. m m m m Vibra.
8 (Ot.) 50 E 1 layer on a art only m m Ob. 1. Cue m 1 layer on a art only m m m m m m m 1 layer on a art only m 1 layer on a art only m m m m m m m Div. 1 layer on a art only legato m subito m m m m (Ot.) Tt. 1.2 Tt..4 legato m subito legato m subito legato m subito 1.2 Bell tones.4 Bell tones 1.2 Bell tones.4 Bell tones 1.2 Bell tones Euh. (Ot.) Tim. legato legato m subito m subito legato m subito m m m izz. m l.v.
9 57 m (Ot.) m m m m m () rd Flt. Cue m m Ob.2 & E.Hn. Cue (Div. 1 layer on a art only) m (Ot.) Tt. 1.2 Tt..4 Euh. (Ot.) m m m m m m izz. m Tim. m m m m m (To Xylohone) (Glock) Xylohone (Xylo.)
10 64 F Conductor Note: The brass section rom bar 69 onwards, should not diminuendo on long notes (tied minims) but sustain the dynamic. Tutti (i more than one lute on a art) (Ot.) m Div. () (Ot.) Tt. 1.2 m Tt..4 m m Euh. (Ot.) Tim. arco m S.Dr.