Nusie WORKS GRADE 3 FULL SCORE JOHNNIE VINSON VARIANTS ONA SHAPED NOTE TUNE INSTRUMENTATION Full Score 3 BoTrumpet Piccolo 3 BbTrumpet 2 Flute 3 BbTrumpet 3 Oboe 2 FHom I Bassoon 2. FHom2 Be Clarinet | 3. Trombone | Bb Clarinet 2 3 Trombone 2 Be Clarinet 3 2 Baritone BC. EL Alto Clarinet 2 Baritone TC. Bb Bass Clarinet 4 Tuba Eb Alto Saxoy String Bass \ Ev Alto Saxoy 2 Percussion | Br Tenor Saxophone 2 Percussion 2 6 Baritone Saxophone 2 Mallet Percussion Timpani Duration Additional Parts U.S. $2.50 Score (04002417) US. $7.50 HAL*LEONARD® ORPORATIONPROGRAM NOTES Sacred Harp singing is the largest surviving branch of traditional American Shape Note Singing. "Sacred Harp” refers to The Sacred Harp, a book first published in 1844 and continuously updated since. The book uses a system of printed shapes, instead of standard music notation, to help untrained singers learn how to read the music. Along with other hymn books from the era, its repertoire of 550 four-part songs is part of the foundation of a singing tradition handed down since Colonial times and stil practiced at numerous annual singing meetings and conventions and in local singing groups in the south and throughout the country. The success of the motion picture Cold ‘Mountain, with its soundtrack featuring Sacred Harp songs and singing, has recently triggered renewed interest in Sacred Harp singing, Variants on a Shaped Note Tune is based on Pisgah which is number 58 in the Sacred Harp songbook. Also known as “When | Can Read My Title Clear,’ the tune is believed to be of Scottish origin. It was arranged by J.C. Lowry and first published around 1817-1820. The original setting is in the key of A-flat major. The melody is in the tenor voice, the third line from the top. ‘The Variants begin simply with a statement of the melody in unison clarinets. Gradually harmony is ‘added along with more instruments leading to a chorale setting for the full band at m. 25. A fast variation follows based on a three note motive taken from the beginning of the tune. A slow variation then features a trumpet soloist. The tune in its original Sacred Harp setting is next presented in the saxophones, followed by the full woodwind section. The final variation has the full band playing the tune in long note values over an active percussion background. The work then concludes with a maestoso ending Variants on a Shaped Note Tune was commissioned by and is dedicated to the Homewood Middle ‘School Band, Homewood, AL, and their director, Chris Cooper. The composition was written and scored during September and October, 2005. It was premiered by the Homewood Middle Schoo! Band on January 20, 2006, at a special concert for the participants of the Alabama Music Educators Association Conference in Tuscaloosa, Alabama. PERCUSSION NOTES Percussion 1 (2 players) Snare Drum, Bass Drum (the usual concert instruments): unless absolutely necessary for security, the snare drum part should not be doubled. Percussion 2 (2 or more players) ‘Triangle: play with a small metal triangle beater (near the end of the beater) near the closed corner of the triangle for a high pitched “ting sound. ‘Suspended Cymbal: play with soft yarn marimba mallets. Crash Cymbals: a pair of medium large concert crash cymbals (16" or 18") Mark Tree: sometimes called “Wind Chimes” The glissandi should be played with a triangle beater moving slowly from the small tubes through the larger ones. Tambourine: preferably one with a wooden shell, calfskin head, and a double row of metal jingles. Please don't use a plastic “ching ring” with no head! Sleigh Bells: a larger set with lots of bells sounds best. Mallet Percussion (2 or more players) Balls (required): lay with hard plastic or small brass mallets. Vibraphone (required): lay with hard yarn or cord mallets. The vibes are paired with the bells, so a bright tone is needed. The vibe part may be doubled if two instruments and players are available. Chimes (optional): i chimes are not available, substitute bells in measure 92. NOTE concerning measures 68-75: The bells (and chimes if available) should play only the halt notes and should play them an octave lower than notated. If two vibraphones are available, one should play the notes with stems up and the other the notes with stems down. If only one vibraphone is available, it should play ALL of the eighth notes. Timpani (1 player) Requires two drums ...29* and 26". If additional (23" and/or 32") drums are available, it will facilitate tuning changes.ABOUT THE COMPOSER Johnnie Vinson is Director of Bands and Professor of Music at Auburn University in Auburn, ‘Alabama. He received Bachelor of Science and Master of Education degrees in Music Education from Auburn, and a Doctor of Arts degree in Music Theory from the University of Mississippi. ‘At Auburn since 1970, Dr. Vinson previously served as Assistant Band Director, then as Associate Director and Director of the Marching Band before becoming Director of Bands in 1991. Prior to joining the Auburn faculty, he taught in the public schools of Columbus, Georgia, and worked {as a Graduate Assistant with the bands at the University of Texas and University of Mississippi. At ‘Auburn, he supervises the overall band program, conducts the Symphonic Band, and teaches ‘conducting, band arranging and music theory. He is also faculty sponsor to Auburn’s Theta Lambda Chapter of Tau Beta Sigma. With nearly 300 published works to his credit, Dr. Vinson is an internationally recognized arranger/composer of music for band, writing for Hal Leonard Corporation. He has served as an adjudicator and clinician throughout the United States. Dr. Vinson is active professionally as a member and officer in a number of organizations. He presently serves as the National Professional Relations Officer for Tau Beta Sigma, is a Past President of the Alabama Music Educators Association, and is former Alabama State Chair for the College Band Directors National Association. He is also a former member of the Board of Directors of the National Band Association and is a Past President of Rho Chapter of Phi Beta Mu International Bandmasters Fraternity. In addition, he is a member of the World Association for ‘Symphonic Bands and Ensembles, Music Educators National Conference, Phi Mu Alpha Sinfonia, and Kappa Kappa Psi. In 1994, Dr. Vinson was elected to membership in the prestigious American Bandmasters ‘Association. He has been presented the National Band Association's Citation of Excellence, and in January of 1998, was elected to the Alabama Bandmasters Hall of Fame.Commissioned by and Detcnted to the Homerwood Middle Scho! Band, Homewood, AL, Chris Cope, Director VARIANTS ON A SHAPED NOTE TUNE JOHNNIE VINSON (ASCAP) ‘Moderately (= 112) FlatePccote B Clarinet 1.2 At Clarinet Base Clarinet 1 Tenor Sax. © Bark San. Moderately (= 112) 8 Trumpet 1B Trampet2.3 Trombone 1.2 ‘Taba (String Bas) Percussion trues. caus acl Ast Tse Tyas orn 1,2 er, Tangle ‘Mak Tee| mp = inp.aurrues. cua cus sete ped Tees Horn 1.2 Taba Pore.2Pure. Aa. mc. ASL? tet Tee 23 Hora 2 Tea? Toba Pere te Pere, Tin. z = v 26 2 »Fes. as Act mc Ase? Tye Tpe2.s Hoen 1.2 Toa bar Pere. Tier.[36] Fast, with Spirit d= as ac. mec, Tse St (3a) ise, with Spirit = 132) pet p23 Morn 2 Toa t.2 Toba ere ere.2 mn, Pers, Tip.Fue. cua aus aa. Bsn. ‘pet pens Horn 2 ‘Toba Pere.t Pere? Timp. otan Tye 23 Toa? ar, Toba Pere. 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