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THIS SCORE IS FOR PRIVATE PERUSAL. ENJOY & GODSPEED! ANY OTHER PRINTING, EXCERPTING, IMITATING,M SCREEN-SHOOTING OR PHOTOCOPYING, OR USE BY ANY OTHER ORGANIZATION OF THE PARTS OR SCORE IS NOT LEGAL. Perusal Only
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Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specific use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com
Lullabyfor
World Ensemble™ of the 3rd Millennium#1035 in 3:33 - 4:00
by © Stephen Melillo IGNA 10 May 2012, 2nd & 3rd Millennium
Commissioned in Concert by
What is meant by “World Ensemble?”
This work allows for Music-making in many varied combinations and possibilities. Chorus
String OrchestraAmerican & European Band
Symphony OrchestraChorus & Band
Chorus & OrchestraBrass Ensemble
Woodwind Ensembleetc., and...
Any Combination of forces at your disposal, or brought together for special concert events. You are as much part of the Orchestration as I am. During rehearsals, you can decide what Soloists will be featured, which sections or sub-ensembles to
highlight. Much is possible! Enjoy & Godspeed! S
Musical Thought
A Mom... a Dad, sings to their Child, now a Soldier serving in some distant land.
Technical
Lows are lows. The highs, reaching. Though optional 8vas and 8vbs are written into the Parts, you can always have student Musicians alter octaves whenever needed. As long as “Music” is being made the “notes” are secondary. Even professional players will be challenged to play with perfect tuning and intonation, the starting points from which the Music might one day hopefully flow.
Can such a small work be “monumental?” Find out. That you may give birth to the Music in these simple notes, and therefore the message and depiction of the parent thinking such thoughts across the seas... I wish you Godspeed! S
The Caston Comet Band Fulton, Indiana
James Byrn, Director
Mt. Pleasant High School Music DepartmentJim DePriest, Director of Instrumental Music Philip Schroetter, Director of Choral Music
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A Brief intro to Music By stephen Melillo
Dynamics are exaggerated by stressing the quieter markings. Crescendo markings which do not indicate a "starting" volume level should be considered as starting from "nothing." Follow line shapes dynamically. As a general statement... What opens up in terms of interval should also open up in terms of faster air and bow.
A crescendo has a different correlation to time as it expands to a destination or “arrival” point in STORM Music. The picture below, better illustrates the effect, which to ensure a great rendering, must be felt and not merely executed. From Silence, stay to the lower portion of the slope longer... pushing the dynamic effect closer to the end or destination point. Percussionists should further exaggerate this effect, allowing the winds to remain transparent, staying out of the crescendo until the very last moments. Non-pitched percussionists and people playing repeated notes under lines that rise and fall must do their best to
listen and swell appropriately. The result should be a continuous succession of rising and falling, swelling and building. The dynamic architecture is the Music.
INTENDED ACCENTS are often the result of the way the rhythms are grouped. These are rendered automatically and it saves the eye the additional burden of seeing accent markings above every note. Unless marked to the contrary, usually with tenuto markings, syncopated rhythms automatically receive a lift, a separation, an accent. A tuplet figure in music in 2s is syncopated, therefore, stressed and separated. A duplet figure in music in 3s is syncopated, therefore stressed and separated.
This marking: , in all of the “storm” Music, means that the note should have a weighted, symphonic accent. Imagine a full downbow swiped across the string. A swipe is the best way I can explain it... It is not necessarily short and it is much more like a jazz style notation... “AAHT!”
A conductor viewing the score may find an A Major chord, for example, spelled vertically as A, Db, E. Please understand that the Music is conceived in a horizontal manner. Notes and enharmonics are chosen based on, more times than not, what the Musician will read. The HARP, electronic or not, the PIANO, electronic or not and the PAD BASS must be mixed into the ensemble
as any acoustic instrument would be. Simply think of these sounds as REAL and beautiful and capable of orchestral dimension. A new world of colour and student involvement awaits those who will patiently explore the wind and percussion ensemble of the 3rd Millennium. Please see my Seating Chart for placement and visit STORMWORLD for more.
HARP notation is written for a one-staved harp, intended to be played on a synth. Therefore, the Musician should be aware of how to respond to harp notation. A 7-note figure with a harp-like graphic notation represents a glissando across the keyboard. Do not exceed C5 as this will sound uncharacteristic. Glissandi only occur across the white keys, a strategy which allows for all ages to create sounds more often associated with the Orchestra. Fast rhythmic figures are designed to work as tremolos between the two hands. The faster written rhythms, sextuplets or 32nd notes are not to be read precisely, but as splashes of colour and rendered in a harp-like manner.
Percussion of Choice: One 18” Medium-Thin and one 16” Paper-Thin Zildjian Suspended Cymbals, one 22” Medium-Heavy German Symphonic Zildjian Crash, one Tambourine with German Silver Jingles, one Piccolo Snare, tightly tuned with coated batter head, Deagan Silver Chimes, Large Orchestral Bass Drum, and of course, the highest possible quality of Timpani. The designation “Glockenspiel” always means “Orchestra Bells”.
As always, there is a tremendous dichotomy in the Music I write, a duality that at one moment demands exact, relentless, unyielding pulse... and then suddenly calls upon the sensitive breath-like phrasing of an insightful Conductor. To your sensitive vision, I leave these languid moments... those whispers which, indeed, are the essence... and the very reason for everything else.
Godspeed. ∕¤‹›
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, from 1975 and I-v-I on a basement piano during "Only for Now", through hundreds of pieces... to works yet to be... These are some of the...
ONLY for NOW
All the Teaching Tools and all that is soon to be
written...
After the STORM
SON of the STORM16 Chapters
ofSTORMQuest
Jazz & Orchestral
Music
13 Chaptersof
STORMJourneys
15 Chaptersof
WISH tothe WORLD
S-MatrixSymphony IIConcerto for
Violin
STORMWORKS
11 Original Shows for the
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Without WarningHonor,
CourageCommitment
The First&
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Festival of Light!Giving!
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Angle the parabolically positioned speakers, back through the ensemble and toward the keyboardists. This allows for warmth of sound and proper mixing. Dependent upon numbers, the Flutes and Clarinets become interchangeable. I have found that for “younger” groups, the flutist’s posture is better when staged in reverse of the diagram. This diagram represents the optimum ensemble. Since I myself have hardly ever had such an ensemble, rest assured that the Music will work in a variety of "in-the-trenches" realities. One thing not revealed in the diagram, but which is of paramount importance, is space. I usually allow for 12-feet of space between the Horns and the Trumpets. I often stage the Horns in the center, and with great space in back of them. This opens the entire Brass Arc. By example, in a group of 36 Musicians recording the Chapter 2 CD, there was 65-feet of space of between the Conductor and the Timpanist. Of course such spacing is not always possible, BUT, I maintain that you have yet to fully explore the Sonic-scape & possibilities of this idiom until you experiment with space. Godspeed! S
© storMWorKs copyriGht notice for score & pArts
Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specific use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com
This s
core
is fo
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God
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Trombone 1-2
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Tuba
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Harp
Timpani
Chimes
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Percussion
Violin 1-2-3
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by Johannes Brahms
arranged as #1039 for World Ensemble
by © STEPHEN MELILLO
IGNA 10 MAY 2012, 2-3 Millennium
ASCAP
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This s
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God
sPee
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Choir
Flute 1-2-3
Oboe 1-2
Bassoon 1-2
Clarinet 1-2-3
Alto Clarinet in Eb
Bass Clarinet
in Bb
Alto Sax 1-2
Tenor Sax 1-2
Bari Sax
Horn 1-2-3
Trumpet 1-2-3
Trombone 1-2
Trombone 3. Bass Trombone
Bb Fluegal Horn 1-2
Bb Tenor Horn
Euphonium
Tuba
Str. / PAD Bass
Harp
Timpani
Chimes
Orch Bells
Percussion
Violin 1-2-3
Viola
Solo Cello
Cello
Bass
bless ings.- If you sleep, should you Dream Let- the world just fade a way- I- real ly- don'tdon't knowknow-- wherewhere youyou are,are, inin aa place all too
bless ings.- If you sleep, should you Dream - world fadefade aa way-- - don't know- where you are,are, place all too
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Flute 1-2-3
Oboe 1-2
Bassoon 1-2
Clarinet 1-2-3
Alto Clarinet in Eb
Bass Clarinet
in Bb
Alto Sax 1-2
Tenor Sax 1-2
Bari Sax
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Trumpet 1-2-3
Trombone 1-2
Trombone 3. Bass Trombone
Bb Fluegal Horn 1-2
Bb Tenor Horn
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Lullaby by Johannes Brahms, arranged as #1039 for World Ensemble by © STEPHEN MELILLO IGNA 2012
3
This s
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Tenor Sax 1-2
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Lullaby by Johannes Brahms, arranged as #1039 for World Ensemble by © STEPHEN MELILLO IGNA 2012
4
This s
core
is fo
r Pri
vaTe
Per
usal
. enj
oy &
God
sPee
d! an
y oTh
er Pr
inTi
nG, e
xcer
PTin
G, im
iTaTi
nG,m
scre
en-sh
ooTi
nG o
r Pho
Toco
Pyin
G, or
use b
y any
oThe
r orG
aniz
aTio
n of T
he P
arTs
or s
core
is n
oT l
eGal
. Perusal On
ly
![T O M M E N O R[ B E T O]](https://static.fdocuments.net/doc/165x107/58f2b4621a28ab7f238b4585/t-o-m-m-e-n-o-r-b-e-t-o.jpg)
