Passages - Will Healy

More documents

Recommendations

Info

WILL HEALY PASSAGES for multi-genre soloists and wind ensemble Commissioned by the University of Miami Frost School of Music for the Frost Wind Ensemble, Robert M. Carnochan, conductor 1. Babel On . . . . . . . . . . . . . . .1 2. Heights . . . . . . . . . . . . . . . . 67 3. Fluttering / Hovering . . . .109 “Passages” was premiered by the Frost Wind Ensemble at the CBDNA Conference on February 17th, 2023, conducted by Robert M. Carnochan, with Sydney Altbacker, Jose Ignacio, Chad Nelson, and Dizzy Senze, soloists. All movements may be performed separately. www.willhealymusic.com Copyright © Will Healy Music 2023 (ASCAP)
PROGRAM NOTE: I was thrilled to have the chance to write Passages, a large-scale work for wind ensemble and multigenre soloists. Over the last decade I have written pieces for ShoutHouse, the ensemble that I direct in New York City, with the goal of creating a collaborative space for hip-hop, jazz, and classical musicians to compose and perform together. It has been a joy to bring the work I do in ShoutHouse to other ensembles and to experiment in the wind ensemble medium through Passages. When Dr. Robert Carnochan from the Frost School of Music at the University of Miami approached me about writing a ShoutHouse-style piece for wind ensemble, I immediately thought about language as a unifying theme for the work. I pictured emcees, a singer, jazz soloists, and dozens of instrumentalists attempting to communicate a single narrative through music and words. That tension and opposition among styles would become a basis for playful structural shifts and dynamic musical conversations. I approached my friends spiritchild and Dizzy Senze, both emcees in New York, and we proposed different stories and themes that could serve as inspiration for each movement of the piece. The sung texts in this piece were written by spiritchild and set to music by me. As with ShoutHouse performances, the emcee lyrics are always written by the emcees, so while the singer’s lyrics remain the same among performances, the rapped lyrics will change depending on the featured soloist. This first movement, “I. Babel On”, centers around the story of the Tower of Babel from the Book of Genesis. It features the singer as a narrator, guiding the dramatic flow of the story with spiritchild’s texts. As the movement progresses, we travel from unified harmony to discord and alienation, following the story through the lens of multiple soloists. The second movement, “II. Heights”, begins where the first movement ends, with a feeling of disconnect and breakdown in communication after the fall of universal language and harmony. The emcees represent opposing forces in this movement, bridging the narrative from the shadows at the end of the first movement to the lightness of the third. When I read spiritchild’s texts for the third movement, “III. Fluttering / Hovering”, I was immediately transported back to a specific moment in my life, many years ago. It was a beautiful autumn week in Brooklyn, and a friend and I decided to drive up to the Adirondacks in upstate New York for a respite from the city. One morning, I woke up, grabbed my manuscript paper, pencil, and a big thermos of coffee, and wandered into the woods. I spent the next eight hours alone, surrounded by pine forests listening to the language of the natural world around me. Sitting on a wooden bridge on the edge of a remote lake, I wrote loud, ecstatic music, my first attempts at writing for full orchestra. In composing the final movement of Passages, I drew inspiration from that moment in the woods, spiritchild’s texts, and the idea of harmony between the languages of the natural world, the human voice, and varying musical styles. I want to extend my gratitude to Dr. Carnochan for believing in and supporting this project, and to spiritchild for his creativity and dedication to the creation of the texts. I would also like to thank the soloists on the premiere performance—Dizzy Senze, Chad Nelson, Sydney Altbacker, and José Ignacio, for their incredible virtuosity and individual artistic voices that served as inspiration during my writing process. Note on creative attribution: While spiritchild wrote the sung texts and I wrote the music, there are five instances in which spiritchild suggested musical moments (via voice memos that contained sung words) that are included in the piece. In movement one, he sang a version of the vocal line from mm. 90-101; in movement two a version of the chorus at mm. 74-88 and the trumpet line at mm. 203-205; in movement three a version of the opening “call” melody and the “hovering, fluttering” motive at mm. 39-47. These melodies became a part of the essential fabric of the piece, and they were developed and appeared in many forms throughout each of the movements. – Will Healy Brooklyn, NY January 2023
Page 1: FULL SCORE Will Healy PASSAGES for
Page 5 and 6: INSTRUCTIONS: Notes on soloist sele
Page 7 and 8: Transposed Score words by spiritchi
Page 9 and 10: S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 11 and 12: 5 S. Picc. ° ¢ & ∑ ∑ ∑ ° &
Page 13 and 14: S. Picc. Fl. 1 Fl. 2 Fl. 3 Fl. 4 Ob
Page 15 and 16: S. Picc. Fl. 1 Fl. 2 Fl. 3 Fl. 4 Ob
Page 31 and 32: S. MCs Picc. Fl. 1 Fl. 2 Fl. 3 Fl.
Page 33 and 34: S. J ° & ∑ ∑ ∑ ∑ 27 MCs Pi
Page 35 and 36: MCs Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 C
Page 37 and 38: S. MCs Picc. Fl. 1 Fl. 2 Fl. 3 Fl.
Page 39 and 40: S. Picc. M Building q=76 fade out s
Page 41 and 42: 35 Picc. ° & 4 ∑ ∑ ∑ ∑ ∑
Page 43 and 44: MCs Picc. Fl. 1-2 N MC Verse 2 °
Page 45 and 46: MCs Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 C
Page 47 and 48: MCs ° ¢ & V V V V V V V V V V V V
Page 49 and 50: 43 Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 51 and 52: Ten. Sax. Picc. Fl. 1-2 Fl. 3-4 Ob.
Page 53 and 54:
Ten. Sax. Picc. Fl. 1-2 Fl. 3-4 Ob.
Page 55 and 56:
49 Ten. Sax. Picc. Fl. 1-2 Fl. 3-4
Page 57 and 58:
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 69 and 70:
S. Fl. 1 Fl. 2 Fl. 3 Fl. 4 Ob. 1-2
Page 71 and 72:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 73 and 74:
S. MCs Picc. Fl. 1-2 Fl. 3-4 Ob. 1-
Page 75 and 76:
MCs Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 C
Page 77 and 78:
Page 79 and 80:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 81 and 82:
MCs C Floating in... ° ¢ & ∑
Page 83 and 84:
Page 85 and 86:
79 MCs ° ¢ & 2 4 4 ∑ V V V V V
Page 87 and 88:
Page 89 and 90:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 91 and 92:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 93 and 94:
Picc. ° & > œ # œ œ œ Œ ∑ >
Page 95 and 96:
89 Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 97 and 98:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 99 and 100:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
101 MCs Picc. Fl. 1-2 Fl. 3-4 Ob. 1
Page 109 and 110:
Page 111 and 112:
105 MCs Picc. Fl. 1-2 ° ¢ & ° &
Page 113 and 114:
Page 115 and 116:
III. Hovering / Fluttering 109 Ten.
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
S. Ten. Sax. Picc. Fl. 1-2 Fl. 3-4
Page 123 and 124:
117 S. Ten. Sax. Picc. Fl. 1-2 ° 2
Page 125 and 126:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 127 and 128:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 129 and 130:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 131 and 132:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl. 1
Page 133 and 134:
S. Picc. ° ¢ & 4 Œ ppp within th
Page 135 and 136:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 °
Page 137 and 138:
S. Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 Cl
Page 139 and 140:
S. Picc. L ° ¢ & 2 œ ° & 2 Chor
Page 141 and 142:
S. MC Verse 1 M ° q=c. 116 & ∑
Page 143 and 144:
137 MCs ° ¢ & V V V V V V V V V V
Page 145 and 146:
S. MCs Picc. Fl. 1-2 Fl. 3-4 N ° f
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
S. MCs ° & & P 2 2 Ó Optionally
Page 153 and 154:
147 S. ° & Ó ˙ œ œ # œ œ Ó
Page 155 and 156:
149 S. ° & œ œ # œ œ Ó ˙ ˙
Page 157 and 158:
151 Picc. Fl. 1-2 Fl. 3-4 Ob. 1-2 C
Page 159 and 160:
Picc. Fl. 1-2 Fl. 3-4 Ob. 1 Ob. 2 C
Page 161 and 162:
S. ° & ‰ œ œ j œ œ j ˙ œ
Page 163 and 164:
Page 165 and 166:
Ten. Sax. Picc. Fl. 1 Fl. 2 Fl. 3 F
Page 167 and 168:
Page 169 and 170:
S. Ten. Sax. Picc. Fl. 1-2 Fl. 3-4
Page 171 and 172:
MCs Ten. Sax. Picc. Fl. 1-2 Fl. 3-4
Page 173 and 174:
MCs ° & MC 2 MC 1 V V V V V V V V
Page 175 and 176:
S. ° & ∑ ∑ ∑ freely improvis
Page 177:
S. MCs Ten. Sax. Picc. Fl. 1-2 Fl.
show all

Passages - Will Healy

Create successful ePaper yourself

Delete template?

Save as template?