the you fear - michael markowski€¦ · “the cave you fear to enter holds the treasure you...
TRANSCRIPT
MICHAEL MARKOWSKI
caveyou FEAR
For concert band
The
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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.
Copyright © 2014 Michael Markowski / Markowski Creative (ASCAP). All rights reserved.For more information, please visit www.michaelmarkowski.com.
MICHAEL MARKOWSKI
For concert band
The
youcave
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“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.
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COMMISSIONED BY THE GRAVELLY HILL MIDDLE SCHOOL BANDS
ARRIS GOLDEN, DIRECTOR OF BANDS
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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
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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.
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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
A Conductor’s Interpretive Analysis of Michael Markowski’s “The Cave You Fear” Marc R. Dickey, Ph.D.
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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
_________________________________________
years. His research has been published in the Journal
3 John Emrich explains how to make and play a Lion’s Roar:http://youtu.be/lBBvK5wpeog
Ex. 5
A Conductor’s Interpretive Analysis of Michael Markowski’s “The Cave You Fear” Marc R. Dickey, Ph.D.
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