Baroque Flamenco |
The
premise of this piece is that a group of Flamenco
Dancers accidentally get in a time machine and find
themselves in Marie Antoinette’s boudoire.
The contrast between the “Dolce” sections
and the Energico or Appasionato sections should
be exaggerated to cartoon-esque proportions. The
Dolce sections should be truly snooty and the Energico/Appasionato
sections raucous & passionate. |
Condct |
237 |
May start slower than 108 and
accel poco a poco to achieve tempo in 251 (dotted
half = 80 or even a little faster) |
ALL |
212 |
No diminuendo, no decrease to mf. Just steady thru
214 then cresc poco a poco to climax in 225 |
All |
246 |
no ritard (unless it feels totally
right at the moment) |
Clarinets 1/2 |
149-179 |
Add one level to the dynamics |
Trumpets |
21-36
53-68
123-148 |
If you play in these
sections, then you need to have an extremely light
touch in order to contrast with the Appasionato &
Energico Sections. |
Trumpets |
180 - 225 |
Stand from the pickup of K through
m. 225 and play bravado, as if you were unbridled
egotists (imagine you are combination Bullfighters,
Flamenco Dancers and Don Juans) |
Trumpets |
181-187 |
This section seems to often fall
behind the beat, so there’s probably something
misleading in the way it’s composed -- if you
need to slur it differently to keep it in tempo, feel
free to do that. |
Violin 1 & Cello |
149-179 |
Add one level to the dynamics,
and if possible, split the Vn1’s and have them
play the line divisi in octaves (play what’s
written part plus one octave higher). |
Harp |
149-209 |
Play as loud as you can. |
Belinda |
This is a light little calypso -- a
love-song about a tree. |
Cndctr |
46-47 |
This hemiola is always a problem
becase I also slow down. 46-47 are in a substantially
slower tempo. 48 is a Tempo. |
Cndctr |
70-73 |
I often broaden this considerably |
Cndctr |
92 |
There should be a fermata on this
measure, with my pickup in tempo |
Cndctr |
95 |
The tempo here should be about
quarter note equals 120 |
Cndctr |
103 |
This pickup is written wrong --
I do it as 3 quarter notes, not 3 8th notes. |
Cndctr |
104 |
Tempo should be around 120 |
Cndctr |
115 |
As at 103, these pickups are written
wrong - I do them as 3 quarter notes (so 116 isn’t
as slow as you’d think from how slowly I do
the pickups) |
Cndctr |
116 |
Tempo still around 120 |
Cndctr |
124 |
Tempo around 114 (not 106 as written
in the score) |
Cndctr |
138/139 |
accel to the a tempo in 140 |
Cndctr |
159-160 |
these measures should actually
be done at half-tempo |
Tbns |
68 |
delete last eight note (there
should be only one note in that measure and it should
be a quarter note with an accent and staccato on beat
4). |
Perc |
All |
If you have questions about where
you’re in or out vis-a-vis the “ad lib”
latin percussion playing, please email as far as possible
in advance with any specific questions: info@HipHarp.com |
Califypso |
This is a very simple audience participation
piece -- no tricky parts. |
|
Catcher
in the Rye |
This piece was inspired by Davey Steele,
a Scottish singer and Bodhran player whose voice embodied
the tenderness of Scottish ballads and whose percussive
playing evoked huge passion. |
Conductor & Perc (Toms or
Timp feature) |
ALL |
The timp part in the score may
be played on Toms (depending on acoustics and other
considerations). If so, there's ’s a sparser
timpani part that was added after the score was finished
(it accents the Tom part). |
Conductor & Perc (Toms or
Timp feature) |
167-174 |
Starting at 167 there’s
a long, semi-improvised solo for harp & one
of the following: Timpani, Bodhran, Frame drum,
Snare drum. If it's anything other than Timpani,
the percussionist comes out front to play the duet
with me. Depending on the drum you play, you may
be miked.
Here’s how it happens: Starting at Letter
N, there are 4 orchestra “hits” followed
by short harp solos. The fourth hit is at 162-163.
I will extend the following “solo” (m.
163-166) as long as needed to give you time to come
out and get ready to play with me. You’ll
remain out to the end of the tune. If this tune
is done with Timp, I'll raise my arm to cue you
to start the timpani solo
Practice Part:
Catcher in the Rye -
Timpani
Feature Part (2007) (pg
1 pdf) (pg
2 pdf) |
ALL |
199-202 |
The tempo should stay the same
as in the previous section |
ALL |
203 |
This is in 8. NO FERMATA. Eighth
note in 203 = half note in 202 |
ALL |
204 - 207 |
This is in 2. Same tempo as in
199-202 |
ALL |
208 |
This is in 8. NO FERMATA. Eighth
note in 208 = half note in 207 |
ALL |
209 |
This is in4. Quarter note in
209 = eighth note in 208 |
English Horn (Clarinet
1)
(Conductor) |
2-5 |
This is extremely exposed. All
grace notes should be very short (jjust embellishments,
the classic, mournful Celtic piper’s sound.
When an English Horn isn't available, this part
can be played on Clarinet but we never supply that
part unless the conductor specifically asks for it. |
Celtic
Minstrel, The |
|
|
(tricky parts coming soon) |
CONGRATULATIONS,
YOU MADE IT THIS FAR |
A Gospel-type ballad for strings, harp
& voice. |
Conductor
|
77-94 |
• Don’t try to folow
Deborah’s words -- just mark each measure in
a leisurely fashion, as though each measure were a
candle you were lighting on a cake. • You
should get to 90 before Deborah. Hold at the fermata
on 90 until she has said, “And that child needs
to hear something from you.” • Then
end the fermata and continue to follow Deborah. |
Concertmaster/mistress
or
Trumpet fanfar: |
61-63 |
IF CONCERTMASTER: What I really
want here is a bravado, virtuosic piece, anywhere
from 15 –60 seconds. It can be anything you
want, but if possible, something that SOUNDS hard
without actually BEING hard. You can choose anything
-- the key, tempo, etc aren’t important.
If you don’t want to come up with something,
you can play what’s written, or you can elect
another player. in one concert, a 2nd violinist jumped
up and played Czardas and the audience loved it (especially
those who had sat in second violin sections in high
school and college; on another program, a bass played
a great virtuoso thing which I think he was making
up on the spot -- the audience also loved that).
IF TRUMPET FANFARE: There should be something written
in the part. If not, any famous cartoon –type
fanfare will work (see the DVD "Invention &
Alchemy" to see how this works) |
Prinipal Vc or Kb |
64 |
The F# should be a whole note
and the the gliss should take as long as possible.
In this measure you are impersonating our fear of
a long slow decline during middle age. (See the DVD
"Invention & Alchemy" to see how this
works. |
COSITA
LATINA |
This piece is a pretty straightforward
samba with a Flamenco cadenza. |
Vn 1 |
110 - 168 |
This is requested to be played
a la guitarra (I think I removed this part) |
Danger
Zone |
This is a musical science project. NOTE
FOR ALL: this is a cartoon, so exaggerate everything
to the extreme. |
Conductor |
13 |
Not too slow |
Conductor |
108 |
The accel to a tempo should all
take place from 144 - 148, and the final A Tempo (at
N) can even be slightly faster than the original at
letter B |
Trombone
(Bass Tbn) |
123-147 |
Please stand and play as loud
and raucous as possible through 147. You are impersonating
all 76 of the 76 trombones in this section of the
piece. |
Xylophone |
115-122 |
Even though other instruments
are supporting you, you are the primary voice here
and many players find this section tricky. |
Dee
Deedle Deedle Dee |
This is a simple, silly audience participation
tune. |
ALL |
91-105 |
8 bars between 91 – 106
will be cut. You only cut the 8 bars of tacet –
but different players have different tacet bars. That
means, strings cut 99-106; woodwinds and xylophone
cut 91-98. The result is that everyone cuts 8 bars
of tacet and everyone’s playing together for
8 bars -- and all this should already be written in
your parts. Trust me, it works. I should have written
it that way to start witht -- just don't get confused
if someone else has different bars cut. |
Drunken
Sailor (aka "Earlie in the Morning") |
|
|
(tricky parts coming soon) |
Frog
Princess, The |
|
|
(tricky parts coming soon) |
THE
GARBAGEMAN |
This is a pretty simple song with a
percussion feature which is largely improvised –
and played on trash cans. My preference is to have
it played on multiple trash cans downstage in front
of the orchestra, by multiple players wearing overalls
– but I’m open to other suggestions. The
feel is a combo Irish Reel / Swiss Polka. |
Perc |
89 - end At m. 89, |
1-3 percussionists (or more)
come out from the wings carrying tin garbagecans.
You (the percusionists) can also wear baseball hats
and reflector vests, if you want. You’ll set
up the garbagecans next to stands and chairs (which
should be out there). When you’re ready, you
cue the conductor to begin m. 90.
The downside is you need to get the garbagecans.
Percussionists generally buy them at Home Depot.
Aluminum (not plastic) with lids. Outside-Can size
(i.e. not a trash can you’d have in an inside
office).
When there's just a single percussionist, a fun
"schtick" can be to get several sizes
of cans, insert them into each other (like those
Russian dolls), come out with what appears to be
one can, then keep opening the cans, pulling out
a smaller one, and set them up like a set of toms
or a drumset.
If you have concerns or questions, email me (Deborah)
at info@HipHarp.com with “Urgent Garbagecan
Query” in the subject heading so they’ll
forward it to me. You should have an “Invention
& Alchemy” DVD in your folder –
if you watch
“The Garbageman” track you’ll
get an idea what you can do and what size cans to
buy.
|
Xyl / (Crash Cymbals) |
95-end |
You’re the one percussionist
who won’t come out with garbagecans. At somepoint
during the garbagecan solo, I’ll play the garbagecan
lids as though they were crash cymbals. Every time
I do that, please play crash cymbals. |
Macho
Dogs |
|
|
(tricky parts coming soon) |
Merceditas |
Horns |
|
I the horns are pretty exposed
in this, but it’s a fairlynew piece so I’m
not sure what’s tricky, yet. If you discover
tricky parts, please email them: info@HipHarp.com |
My
Mother's Mexican Hat |
A young woman falls in love with a daring,
handsome sombrero -- and the sombrero falls in love
with her as well. It comes alive at midnight on the
full moon, teaches her to dance the Fandango, then
flies off into the moonlight, never to be seen again. |
Flute 1/Cl. 1 |
133-144 |
Try to bring these solo lines out as much as possible.
You’re playing a duet accompanied by strings. |
Tpt s 2/3 |
177-184 |
Bring this out as much as possible |
Tpt 1 |
|
(apparently I meant to make
a note about something for you, but it got disappeared
-- if you find something tricky in the part I should
have listed here, please let me know: info@HipHarp.com
- Thanks - DHC) |
Tpt 2 |
185-208
193-208 |
This whole line should be forte
or double forte -- it should sing above the rest of
the orchestra |
Harp |
3-28 |
This is a musical joke. I
come on, pretending like I’m the world’s
greatest virtuoso. I play a bunch of arpeggios.
Then I play (in m. 1-2) the same notes you have
written in measures 3-4.
You wait about 2 seconds after my last note, then
you play m. 3-4. You should try to copy my inflection
(it’s easy -- you’ll probably do it
naturally).
The same thing happens in m. 5-8 (first I play
the gesture, then you copy what I’ve played).
The joke is that I’m looking in my harp to
try to figure out where the other harp music is
coming from.
The conductor probably won’t even conduct
this -- we’ll be responding to each other
by ear. I’m happy to go over it a few times
with you before the rehearsal. |
New
Blues |
This is a feature for the orchestra
harpist - but it can also feature other orchestral
players. The way it usually works -- assuming it's
been OK'd by administration, conductor and orchestral
harpist -- is that the orchestral harpist (and her/his
harp) will be brought out in front of the orchestra
at Deborah's request, may be asked to play one or
two short clichéd harp excerpts, then the orchestra
harpist & Deborah will play New Blues as a feature
with the orchestra. |
Conductor |
37-48 |
EXTRA SOLO POSSIBILITY If there’s
a great blues or jazz soloist in the orchestra –
or even someone jjust willing to try (tpt, tbn, clarinet,
fiddle, or whoever) solos are available from m. 37
- 48. For more solos or longer solos, 37-48 can also
be repeated as many times as desired. |
Conductor |
75-81 |
I’ll be playing something
there -- I just don’t know what |
Nightingale,
The |
I like to float over the rhythm, so
conductor shouldn’t worry about following my
words. Your CUE is when I say “She was my nightingale”
-- it’s easy to get faked out because the intro
I play is similar to what’s written in bar one.
I may make reference to the melody several times during
my intro, but I will ALWAYS say “She was my
nightingale” before I begin Bar 1 for real.
|
All |
65-92 |
The upper woodwinds are dominant,
if not in dynamic, in sense of of movement -- any
time woodwinds have a moving line, they should bring
it out and be aware of moving within the counterpoint
of the other woodwinds. Horns are next in prominence
and the strings are creating the greater part of the
atmosphere. It’s as though the woodwinds were
the birds, the horns the trees and the strings the
night sky. |
All / Conductor |
93 |
No subito piano, rather truly
arriving at 93 and pulling back a little at 101, with
a decrescendo in 100 |
Flute 1 |
33 - 40 |
Pull this up at least one dynamic
marking to make sure you’re heard -- you are
like a descant voice here |
English Horn
Clarinet 1 |
65-72 |
This should sound like a duet
between the two of you -- the EH is slightly dominant
to the Cl. 1, but they are both important -- bring
the dynamic markings up to f (EH) and mf (Cl) at the
least. |
English Horn |
9 |
Dynamic should be forte although
you are playing with a Dolce feeling -- you should
be singing above everything else here. This line should
sound as if it’s ad lib, but the underlying
tempo should remain steady, so you need to make sure
that any downbeat notes are actually played on the
downbeat. All the triplets and 32nd notes are grace
notes, so there is some liberty in where you actually
place them. |
English Horn |
41 - 48 |
Bring this out -- you are the
countermelody to the voice |
Horns |
33 - 40 |
Bring these lines out, even though
they’re marked mp -- you can play them louder
-- you should be nearly equal with the singer -- you
are a countermelody to her melody |
Off She Goes & She's
Gone |
(NOTE: there’s
no conductor score for this - it’s just 2 harps
& snare drum) |
Snare |
Open Solo |
You don’t come in until
Q. At Q you should take an open, rhythmic solo 16,
32 or even as much as 64 bars long, but in some increment
of 8 bar phrases. |
Snare & Harp |
Study CD |
If you didn’t get a study
CD and want one, let me know. This may be more useful
for the harp than for the snare. For the harp, the
CD is set-up as a kind of “music minus one”
practice tool. |
Pava Diablo |
Gene Krupa meets George of the Jungle.
Timp or percussion feature. |
All (INTRO) |
Intro (before
1) |
DHC will do a solo introduction,
ending in a rhythmic vamp to set the tempo.Conductor
will start measure 1 when he/she is ready. |
All (CUT) |
65-70 |
CUT. Orchestra enters at J. I
will end my last cadenza with a vamp (similar to the
beginning of the piece) and conductor can bring orchestra
in when ready (I mean when the conductor’s ready).
|
Contra-
bassoon |
ALL |
There isn’t technically
a C Bn part so if we’re playing with reduced
orchestra(only Bn 1 & C Bn), play as written except:
B & C (17 - 32) play up an octave
35/36 and 39/40 - If possible to play 8va, please
do.
33/34 and 37/38 as written (i.e. they’ll sound
an octabe lower)
45 - end: as written |
Timp |
1-4 |
tacet |
Timp |
49-50 |
Tacet |
Perc |
49-56 |
If you don’t have enough
players, DROP OUT parts in this order
1) first drop the Conga
2) then drop the cymbal
Timbales are the most important percussion voice here
|
Perc. Mallets |
49-56 |
You can double the written line
an octave below (or above, as you wish) |
Phoenix,
The |
|
|
(This seems to play fairly well - no real tricky parts) |
Ramsay's
Reel Ride |
This piece is loosely based on the traditional
Irish reel “The Mason’s Apron.”
It depicts the story of Johnny Ramsay, the loudmouthed,
red-headed, motorcycle-driving sound-man at the Edinburgh
Folk Festival and a fast-paced motor tour of Edinburgh
on his motorized trike (the front end of a motorcycle
and the back end of a Vokswagen Beetle.) |
THE INTRODUCTION:
– This section should sound very pastoral. The
subtext would be: “it’s morning in Edinburgh
and nobody has any idea what kind of mayhem will let
loose momentarily when Johnny Ramsay roars through
on his motorized trike” PERFORMANCE
ISSUES: None of the individual parts seem particularly
difficult, but the ensemble rhythms are very importantant
and there are some exposed sections, particularly
in the beginning. DOUBLINGS:
should be fine once we hit the first “Vivo”
tempo (11/11/08 - I don't know what this means,
even though I wrote it myself - hopefully it'll be
clear if you're reading the scores or parts - DHC) |
Fl. 1 (solo)
(w/Cl 1) |
1 –8
9-16 |
(see "The Introduction"
notes above for the flavor of the section)
Totally solo
Duet with Cl. 1 |
Cl 1
(duet w/
Fl.1) |
9 – 16
17 - 24 |
(see "The Introduction"
notes above for the flavor of the section)
Solo duet with Fl. 1
Trio with Ob. 1 & Vc Solo |
Ob. 1 |
17-24 |
(see "The Introduction"
notes above for the flavor of the section)
Solo trio with Vc. & Cl 1 |
Tbn 1 & 2
Tba |
68 - 109 |
Tb 1 has one half of a composite
rhythm and Tbn 2 has the other half of the rhythm.
To hear the completely rhythm you need to play both
parts together, but each has to hold it’s
own. To get the effect, I think we need to approach
it as though the section were being played forte
(with that kind of attack), but the dynamic level
is much lower than that because the solo harp is
improvising over this line.
Tuba creates another part of this composite rhythm,
sometimes enforcing the Tbn 1 line and sometimes
enforcing the Tbn 2 line.
Note: this all sounds more complicated on paper
than it really is. |
B. Tbn |
112-127 |
(see notes for Vla, Vc, Kb
& B.Tbn below) |
Tuba |
Throughout |
The original part is hard to
read because it’s written so low. If you don’t
have a revised part (one that’s written up more
in the staff, and with an indication to play 8ve ad
lib), let me know so I can try to make you one (DHC
/ info@HipHarp.com) |
Hrp |
154-161 |
Exposed, loud and fast –
but it’s just the same arpeggio each measure,
with changing pedals. If there's the possibility of
your being amplified, that's great for this section. |
Vla, Vc, Kb,
B. Tbn |
112 – 127 |
This just needs to be strong and
clean, and it’s just slightly awkward so needs
a little practice |
Vc Solo |
17 - 24 |
(see "The Introduction"
notes above for the flavor of the section)
Solo trio with Ob. 1 & Cl. 1 |
Vc & Kb |
92-109 |
See notes for Tbn 1 & Tbn
2 above. Vc is doubling Tbn1 and Kb is doubling Tbn2/Tba |
Way You
Are Blues, The |
Cndctr |
9 / 11 |
Conductor usually starts beating
in 9 (2 bars before the orchestra comes in) or 11
(the measure the strings & drumset comes in) |
Cndctr
Jazz / Blues
soloists in
the
orchestra |
37-48
37-60
extra
solo
poss-
ibilities |
If there’s a great blues
or jazz soloist in the orchestra (tpt, tbn, clarinet,
fiddle, or whoever) they could take a solo from 37-
48 [D] or 37-60 [E]. Depending on how many people
will take solos and how long each solo will be; 37-48
can repeated any number of times; or 49-60 can be
repeated, or 37-60 can be repeated. The exact measures
and number or repetitions is pretty much the conductor’s
call. We’ve even left the section (37-48) open,
with a cue from the conductor for when to go on to
Letter E. It all depends on what the conductor, soloists
& orchestra are comfortable with. |
Dynamics |
61 - 76 |
We often need more than what’s
originally printed in the score |
CUT |
74 & 75 |
The cut of m's 74 & 75 is
good |
All |
79 |
Keep it loud and raucous, not
p, but mf or even f |
Basses |
94 |
Basses don’t play (i.e.
nobody plays) |
Basses |
96 |
Arco |
Wild
Harp, The |
INTRO:
This is underscoring for
orchestral harp & flute, played “beneath”
Deborah’s story. See the DVD "Invention
& Alchemy" to see how this works. If there's
not a copy in with your folder, you should be able
to borrow one from the Music Librarian. If they don't
have one, you can request one at info@HipHarp.com
|
HARPIST:
Fingerings - You can check online for a manuscript
with alternate fingerings that might make this piece
easier to play. Check at: HipHarp.com > Galleries
> Player’s Page (and if it's not there, and
you want it, email info@HipHarp.com) |
Flute & Harp |
All |
Here’s what happens: Deborah
sings solo a verse of “The Minstrel Boy”
(a traditional tune). She ends with the words “...
one faithful harp shall praise thee.” Then you
play the “Wild Harp Intro.” |
Flute & Harp |
11-12 |
There’s NO D.C Play m. 11
– 12 three times. The third time, ritard. |
Harpist |
Fingerings |
Flute & Harp 13 M. 13 is
cut – don’t play it. |
Concertmaster Feature |
Meas. 198 |
(Meas.
198) - as of July 2009 there
should be a sample "improvised solo"
taped to the back of your part for this section
-- this pdf link is a written-out version of the solo
(which may or may not be the same as what's taped
to the back of your part). If you're an improvisor, this can just be used as an example. |
MAIN
PIECE: This is a set of
jig and reel. This piece can follow “The Celtic
Minstrel,” or be played separately. |
Concertmaster
& snare drum(s) - there's some soloistic
and exposed playing.
Everyone else: the tune
moves fast, but it’s basically 16 bars of
music repeated over and over again.
DOUBLINGS: all woodwinds
and brass can be doubled (i.e. Flute 1 & 2 can
play unison or 8va apart) – subject to conductor’s
approval – but give it a try. Additionally,
if you’re playing the melody and want to try
it up or down an octave, feel free to try it. If
you like the sound and neither the conductor nor
I ask you to play it where written, then please
write the 8va in your part. Thanks! |
Tuba |
Throughout |
The original part is hard to read
because it’s written so low. If you don’t
have a revised part (that’s written up more
in the staff, and with an indication to play 8ve ad
lib), let me know so I can make you one. |
Field Drum |
Throughout |
The sound I’m hearing here
is the sound of the Bodhran, the traditional Celtic
hand drum, or field drum. If field drum, 2 or more
players is prefereable. |
Perc: "Bones" |
125-132
141-148 |
In "Invention & Alchemy,"
the percussionist just happens to be a great bones
player, so I created some call and response between
bones and woodwinds. If nobody plays bones, or another
traditional celtic instrument, the solo harp can fill
here. |
Concertmaster |
198 |
This is an open semi-improvised
section between concertmaster and solo harp. See
Wild Harp Fiddle/Harp Cadenza Ideas page (should
be in your folder) and/or watch this piece on the
"Invention & Alchemy" DVD that should
be provided for you (in your folder). Here's what
generally happens at K:
[Solo Harp 16 bars] [Low Fiddle 16 bars] [ Doublestops
16 bars] [High Fiddle 16 bars].
Plan a little time to work on this together with
Deborah unless you want to play it exactly as on
the DVD. |
996 |
|
|
(tricky parts coming sooner
or later -- probably later) |
Holiday
Shows |
|
|
(no tricky parts overviews
for Holiday show titles yet) |