Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 1 Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Form Incantation: A Phrase Tempo Largo Q=54 Poco più mosso Q=66 Dynamics fl: mp cres. dim. cl, bcl, cb cl: p fl: cresc. dim. cresc. dim. cl, bcl, cbcl: pp; fl: cresc. fl: dim. cl, bcl, cbcl: mf fl: senza cresc. Meter/Rhythm 3/4 Long Sustains in Low WW Tonality Harmonic Motion Almost the whole piece is based aroun D Phrygian and Octatonic Very Stepwise motions in the melody Based on Octatonic Scales C Beginning with a Half Step Orchestration Flute Solo Bb cl, bcl, Cbcl General Character Means for Expression Reflective & Dark As connected as possible in the Flute, stagger breathe Low WW, attack at mm, decrescendo by m. 5 Conducting Concerns/Rehearsal Considerations Intonation in Flutes can create lots of issues that low in the range. Balance of Low WW's to make sure they do not over-power the flutes.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 2 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Fugue B rit. Tempo I Q=54 fl: p sempre cl1: pp cresc; cl2&3 p Fugue type passages in upper ww tba: mp; cbcl, bsn: f cbcl, bsn, tba: cresc. dim. cresc. dim. cresc. picc, fl, ob, a. t. sax-p; tpt, tbn, bar, bd-pp; b sax-f; b. tbn-mf Offset melody makes it seem like there is a change in harmonic progression Bb cl 2, 3, a cl Bsn, Tba All - Perc 1-5, timp Fl, crec. Into m. 18 Mysterious Low ww, as smooth as possible, over dramatize the hairpins Timing throughout the ensemble with the Fugue section. Intonation can also be an issue; since the parts are offset, it creates difficulties hearing the pitches. Also balance to give a blurring effect can be difficult, especially since the flutes are higher in their range Contemplative Keep soft on the trills, smooth and connected throughout the whole phrase and grow to the release Balance with the whole ensemble and the muted trumpets especially at pp, most likely they will need to be taken up a dynamic.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 3 29 30 31 32 33 - Incantation 34 35 36 37 38 39 40 41 42 43 Dance - Introduction Presto Q=138 cbcl, bsn-ff; b. tbn, tba-f; b.sax, hn-p cbcl, bsn, bar, tba-p; maraca-mp 4/4; Percussion entrance builds a groove for the "Dance" Clave mf cbcl, bsn, b. tbn, tbacresc. guirof tambmf Bb, Ab, F and G are very common, and only at the end of each micro-phrase it breaks away Ebadd4 Maracas P1 Claves P3 Guiro P5 Tamb P4 Wondrous Very ominous background sustains, stagger breath, no breaks. Percussion come in confident then back away for next entrance. Balance and Timing through this percussion intro may be a problem. Entrances will tend to be slow, especially in the more syncopated lines. Blend of the instruments, especially with timbales will can be a concern. The Sustaining in the winds and tuning may become an issue the longer they play.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 4 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 temple blks-f timbalesf bcl, cbcl, bsn, btbn, tba-ff; tamb.-ff-pp cl, acl, a. t. b sax, hn-ff; tamb-cresc t.b. sax, hndim. mf hn, tbn, bar, whip- ff 1/4 note Triplets in Brass F, G, Ab T. Blocks P2 Timbales P6 Low Reeds, B tbn, Bar, Tba, Timp Sax, Hn hn, tbn, bar Fierce Very forceful entrance in low voices, back away by 57 Start the triplets at more of a F and cresc through to m. 59 Rhythm accuracy with the quarter note triplet will be "Marching band" tendency
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 5 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 Melody and Countermelody (A) pic, fl, ob, cl-ff; sax-f dim.; hn-sf 16th note fragments in ww saxmf; tpt-f 16th note fragments in ww see 57 see 59 1/4 note Triplets in Brass see 57 All-ff tpt-f 3/4 pic, fl-f cresc.; hnf see 71 see 71 see 71 4/4; Composite 1/8 note rhythm throught enesmble, 1/16 note figures scattered through melody pic, fl, ob, cl, a cl hn, tbn, bar pic, fl, ob, cl, a t sax, hn, tpt Aggressive and Sharp same as m. 57 Terrace dynamics here; b. 1 mp, b. 2 mf, b. 3 f, b. 4 ff Crescendo all pick ups in slurred into the downbeats in this section. Same Rhythm Accuracy issue. Same Rhythm Accuracy issue. Rhythm here is very important, the ensemble will want to rush through the rests especially in the syncopated areas, make sure they are very accurate in rhythm because of the disjunct line. Balance and timbre will be difficult to make it sound like 1 instrument and 1 line is playing.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 6 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 cl-mp; bcl-mf; cbcl-ff/sf ob, cl, bcl-f; hn-mp 4/4 (3/4 pattern group eights 3, 2, 3) 4/4 3/4 4/4 4/4 (3/4 pattern group eights 3, 2, 3) 4/4 hn1- mf tbn, b.tbn, bar, tbaf/sf tbn, b. tbn, bar, tba Pulsating In Instruments that have the whole melodic line, crescendo through the long notes on beat 4 that are slurred into the downbeat Crescendo through this measure Tone Quality and articulations especially in the 16th note figures in the Tbns.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 7 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 Transition m. 100 [B] hn, tptf All-ff bcl, cbclfff cl-mp; bcl, cbcldim, mp 3/4 4/4 4/4 (3/4 pattern group eights 3, 2, 3) 4/4 Lyrical 1/8 note line, w/pedal notes hn, tpt All cl, b cl, cbcl Flowing and ornery Really lean on the accented notes in this section. As the low voices progress through this phrase, grow in volume during each 8th note motif Cymbal balance at 95 will most likely be too loud. Again, Rhythm accuracy in all parts in the section, as well as balance and tone quality. Too loud will cause a very distorted musical line. Articulations especially might be a little difficult. Balance of low woodwinds and upper woodwinds might get a little bottom heavy.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 8 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 Fanfare [C] All mf All f Allff; ob, hn-ffp Numerous WW 1/6 note Runs; Brass Fanfare hn-ff a cl, bsn, sax All Ww, tpt, tbn hn b tbn, bar, tuba All Gradioso WW crescendo through to the eighth notes at the end of a run, start softer than FF so you have room to grow. Brass push volume through to the down beats to complete each micro-phrase Careful not to let the woodwinds slow down on the runs, the speed and difficulty will most likely drag. Also make sure the brass fanfare can be heard over the woodwind runs.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 9 127 128 129 130 131 132 133 134 135 136 137 138 139 Recapitulation - Introduction ob, cl, a. t bcl, cbcl, bsn, b. sax, hn, tpt, sax, hn, tpt, tbn, btbn, bar, tba, perc- molto tbn-sff; perc-dim.; ob, a. t. sax- dim. P fl,cl, bcl, cbcl, bsn, sax, hn- p; tpt, tbn, btbn, bar, tba-pp Guirop tamb. P t. blocksmf bongomf Add Perc 1,3,6 Claves P3 Guiro P5 Tamb P4 T. Blocks P2 Bongo P6 Mysterious Be very specific about when you are supposed to diminuendo, get almost as soft as possible, and bring out the dissonances Balance during the diminuendo. Bottom voices lead. Percussion pulse may tend to rush during the section.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 10 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 Counter-Melody (D) bcl, cbcl, bsn, hn.- b. sax, bar, tba- cresc.m dim. cresc. Mf f; tpt-mf cl, tptcresc. mp fl, cl, tpt, tba- dim. bcl, cbcl, timp-p hn-p cl-pp hncresc. mp bar, tba tpts cl bcl, cbcl, timp hn cl Adding intensity Curious and Wondrous At 142, make sure the cl. Doesn't get lost in the tpts and especially percussion. It's supposed to be in the background, but still heard. Also rhythmic accuracy towards the end of phrase can tend to make the cl slow. Stay sharp and accurate on rhythmic accuracy and attacks Smooth as possible, only break where there is a rest. Stagger breathe if necessary. Watch the balance of the muted horn throughout this section. It is the lyrical melody and may get lost.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 11 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 Transition Coda [A'] hn-p fl-p hncresc. cresc. mf p Allff tpt- ff All-ff bcl, cbcl, hnp cl-p tbn. Btbn, bar, tba tpt WW except bcl, cbcl bcl, cbcl, hn, timp add cl Grand ffp on the "and" of 2 then cresc. To the "and" of 4 and then again cresc. Into the downbeat. WW,dim. On the long tone to stay out of the way, but bring out articulations and the 16th notes. Watch tone quality in the low brass here, loud doesn't mean splat. Make this dynamic change extremely apparent and sudden
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 12 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 Melody and Countermelody [A''] [B] fl-mp cl-p cl, bclp; cbclf/sf cl 2 3- p All-ff 1/16 runs in ww 4/4; Composite 1/8 note rhythm throught enesmble, 1/16 note figures scattered through add fl fl, b cl cl, bcl, cbcl add cl 2,3 ALL Sneaky Cynical Whispers in all parts to contrast the soon-to-be loud ending. Make sure all style is matched when the melody gets passed to the cl. Do not let the clarinets over power the flutes in this portion. The range should lend itself well to the part however. Rhythmic accuracy will be VERY important in the woodwinds to make sure it lines up with the melody in the brass. WW shaping should be micro shaped to match the line, slight dim on descending lines, and visa versa Melodic figure is most important, make sure instruments know their parts This is probably the most rhythmically involved portion of the piece, and rhythmic accuracy and balance will be crucial for this to be successful
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 13 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 [A'''] [C] 3/4 4/4; Scattered Melody on top of WW 1/16 note runs 1/4 Note Triplets in whole band 1/16 notes in ww Perc All Perc All Intense Angry Tpts play strongly to match intensity of the rest of the band Again WW rhythm accuracy and balance Percussion and horns on the trade offs need to match not only volume levels, but also intensity levels and rhythmic accuracies. Horn parts need to start more at a F and grow through the microphrase to FF to keep energy perpetual With the percussion and wind trade offs, entrances will be very important as well as tempo maintenance through this section.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 14 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 [A''''] Final Coda 1/4 Note Triplets in whole band Hemiola 1/16 note rhythm in ww tpt, tbn, btbn- sfp cresc. cresc. fff Sharp and In-your-face Lots of passing line will require entrances be on time and in time. Crescendo through that line in WW to keep intensity Back Trill away slightly after established moving forward. Tone quality and attention to articulation is going to be a big concern since the volume is so loud. Especially in the brass parts, good tongue and support is going to be necessary so it doesn t get crass.
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 15 233 234 235 hn-fff; all others ff G Maj Bold and Grand All Instruments grow into the last beat, especially moving lines and 16th notes
Title: Incantation and Dance Composer: John Barnes Chance Joe Kulick 16