The you FEAR - Michael Markowski€¦ · “The cave you fear to enter holds the treasure you...

Transcript of The you FEAR - Michael Markowski€¦ · “The cave you fear to enter holds the treasure you...

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MICHAEL MARKOWSKI

caveyou FEAR

For concert band

The

SAMPLE SCORE - NOT FOR PERFORMANCE - NOT A PURCHASED COPY

INSTRUMENTATION

Flute 1 & 2Oboe

Bassoon Bb Clarinet 1 & 2Bb Bass Clarinet

Eb Alto Saxophone 1 & 2Bb Tenor Saxophone

Eb Baritone Saxophone

Bb Trumpets 1 & 2 French Horn

Trombone 1 - 3Euphonium T.C./B.C.

Tuba

Percussion 1: Timpani, Brake Drum Percussion 2: Glockenspiel, Woodblock

Percussion 4: Suspended Cymbal, Mark Tree, Hi-HatPercussion 5: Snare Drum

Percussion 6: Bass Drum, Triangle

DURATIONca. 4:00

Cover art created by Jessica Tang.

MICHAEL MARKOWSKI

For concert band

The

youcave

“The cave you fear to enter holds the treasure you seek.” —Joseph Campbell

to-day to try something new or to go

the opportunity to take a spontaneous road trip, to

down the street where the menu is in a language we

inspired by them.

be doing, listening to the same albums on my

wrong with having a routine or knowing what you

increasingly bored and incredibly boring.

The Hero With A Thousand Faces is

storytellers because Campbell has single-handedly

ourselves? When we hear our own call-to-adventure, will we jump up, prepared, or will we ignore it, sit idly

tell by the end.

Michael Markowski May 10, 2014

ABOUT ‘THE CAVE YOU FEAR’

The Cave You Fearby the Gravelly Hill Middle School Concert Band on May 15th, 2014, conducted by Arris Golden.

COMMISSIONED BY THE GRAVELLY HILL MIDDLE SCHOOL BANDS

ARRIS GOLDEN, DIRECTOR OF BANDS

Fwork will relate to this piece immediately. While this

most middle school and junior high school bands,

his more advanced works. The scoring is pragmatic

likely be new to them, and possibly to you as well.

players, yet will provide engaging challenges.

piece is written without key signatures, and begins fp on beat one does not

m. 2 is not staccato. And the tympani part is marked a gentle mp

Ab Major, and the slurred eighth notes in the upper

with their undulating crescendos and decrescendos.

eighth notes changes to an eerie staccato. Beginning in legato

note lines, each beginning with a minor third. This

signal in the snare drum (mm. 11-12), accompanied b

(see Ex. 1). The motive returns, and this time leads to

Ab

the harmonic progression. These Db bused in mm. 15-16 to help prepare us to return to C

b

A Conductor’s Interpretive Analysis of Michael Markowski’s “The Cave You Fear”

Ex. 2

Ex. 1

ostinato b-G-E,

legato

the urgency without predominating.

in only snare and bass drums, the melody returns at m. 30, announced by a snarling trombone glissando,

literal repetition, Markowski varies the orchestration, articulations, and accompaniments here, to a more

melody, the interlude returns at m. 37 and is extended

no ritard. This transitory section incorporates much

instruments vs. the lower.Be sure to once again slow down in rehearsal

Major to B Major. Amidst some other-worldly sounds

atop a gentle tone cluster. At the same time, a simple multiphonic sounds in the alto saxophone section.

score and the saxophone parts, and Markowski has provided an instructional video1 on his website that

superball mallets scraped across tympani head and

that the superball mallets work only on plastic tympani

1 Instructional videos can be found here:http://www.michaelmarkowski.com/music/the-cave-you-fear/

Ex. 3

A Conductor’s Interpretive Analysis of Michael Markowski’s “The Cave You Fear” Marc R. Dickey, Ph.D.

metal percussionist Michael Bettine explains how to make your own superball mallets on his website2. These mallets are also available commercially, at a

tri-tone reappears with expanded instrumentation,

chord a measure later, and a new motive emerges, yearningly expanding to a minor sixth (m. 63) (see

us to keep our minds open to the possibilities as we

whole-step by whole-step.

piece, C Major to Ab Major, returns, but the chords are in weaker inversions rather than strong root position this time. The yearning motive is stated a last

crescendos to a return

10 in mm. 75 and 77 seems to whine a bit, like a car

in accented eighth notes, using the C and Ab chords

by rim shots and interspersed with a hammered brake

2 Michael Bettine explains how to make your own superball mallets here:http://www.gongtopia.com/sound-chamber/friction-mallets.html

Ex. 4

your low brass and reeds must also play cleanly, and a bit marcato so the tune is heard clearly. Perhaps the

alternating between C and Ab Major. Optimism and wonder replace the shock and awe, as the tune lays back in the clarinets and saxophones. Buoyant Holstian staccatobrass, and then, yikes…

music producer John Emrich clearly explains how to

video3.

musical situation, the low brass again come to the b

the tuba and tympani, and the melody in the bassoon, 1st trombone, and euphonium. Chaos reigns as the

once more in the saxophones, wild glissandos are unleashed by the trombones, while the trumpets

ostinato-like lines in the woodwinds and percussion, and then it

ritard

this ritard, including the last note. And then, as suddenly as the piece began, it is

b in the low brass and reeds. Five heavy strokes poke at the dissonant minor

the tam-tam to match.

program notes, and it is especially likely to resonate

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