= 5 Condensed Conductor Score bi o@geee <0 8 eee eee PROFane NY I. May Danse Il. Danse Macabre Il. Estampie Ay, (A onalatn at ZZPERFORMANCE SUGGESTIONS The thee movements may be played as a suite or will stand alone for concert or festival performance. Please check the manner in which the cueing for harp and xxlophone has been done, The work Is quite effective with the cueing a8 well 2 with the eriginal scaring, |. MAY DANSE Try to achieve excitement from the opening note in the French Homs, making a very pronounced crescendo. Take plenty of time for the pauses. The hom gissandt two ‘measures before B are merely an effect, and if the high D {S not reached In the fist hom it will not destroy what the composer Is trying to achieve, Immediately slowing the let ter B, start softly at C, then play the two eighth notes at the phrase fortissimo. ‘This can be very dramatic and effec: tive, When I have performed this work myself, 1 start con: ducting the last five groups of sixteenths in the fute cadenza, setting the tempo for E in the last two groups. ACE the flute solo should be double-tongued if possible and there are several ways of performing this 1. As written. 2, With the ossta as it appears on the part 3.Dividing the part between two players and ‘overlapping some of the measures. 4.Have the entire section do it, although [ really feel it is more effective with one solo fute representing, of course, a solo dancer. Care should be taken at J to achieve proper balance and. the hymn tune should be played very quietly. One measure after L the “subito faster” should be quiet except for the tom-toms mi‘) and then immediately slow again two measures before M. At N begin the tempo as fest as the performers can execute the sixteenth notes at O. Make certain the trumpet parts come through at Q. The move: ‘ment should end with a slight ntard and a eather long fer mata, I DANSE MACABRE “The clusters at the opening must be evenly played (Le. all notes should be of equal strength). Let the gong support the sound but not overbalance it. At A try fo fuse the sound between the Mute, clarinet, bassoon, and trumpet, letting the marimba only support the sound, At B the style should be with weight on the notes played in a very pesante style, Please observe the p before C. After the clarinet cadenza, the tempo begins to pick up. Accent the last three eighth notes in the phrase and bring out the ‘melody in the opening instruments. At the repeat sign the volume and tempo should increase and continue to in crease until F, then retum to the original tempo. Balance the last three measures carefully and play them very softly. IM, ESTAMPIE you do not have a harp, orchestra bells will work very nicely, A piano may be used in place of the celeste: The trumpet solo should be played in a very lytic ste. At C the style should be more detached with much attention sven to the tempo markings. Bring out the bass line four ‘measures after C, Make an immediate crescendo one measure before D as marked, Throughout the time signature changes after E the eighth notes remain cons- tant, Pay careful attention to the dynamics. An acceleran: do (6 measures before H) must be made to the new tempo four measures before H. At H bring the French hom line through in a marcato style, making a ritard into the fer- mata before I At I, begin a new tempo in a very slow, almost casual manner and slow down even more at K with atitard into the final measure PROGRAM NOTES These danses are based ether on medieval legends or danse forms from the 12th and 13th centuries, The solo instruments in the eadenzas of each movement represent solo dances, and the wind ensemble represents the sup portive chonis. While borowed malodies are not used in their exact oF orginal form, there is enough basis to say the movernents are bult pon a “canis. flmus” even though it snot always present L MAY DANSE ‘This was a secular celebration dating from the Vestls in the Romen limes. After Christendom, May became the month to pay homage to the Blessed Virgin Mary. The sectlar holiday also stil prevaled. The secular danse in this fret movement is intemupted by a Hymn to the Vien, IL DANSE MACABRE ‘This movement is based on the “Melody of Death’ sung and danced to hopefully ward off the plague during the 13th century, This stately dance became quite frenzied and was danced in front of every doorway. IIL ESTAMPIE AA secular danse based on a 14th century melody set only ‘once in the original thythm of the danse, then put into contemporary harmonies and meters. It has a rather abrupt coda, ending with a re-statement of the ESTAMPIE, foe xylophone and harp. THE COMPOSER Me, Wiliam Hill is curently the Director of Bands at Califoria State University, Los Angeles, He Is an active freelance composer in the Los Angeles ares and has a ‘number of published compositions to his credit. One of bis most recent works, SONITUS REVELATIONIS was the Fiest Runner-Up in the 1976 ABA Ostwald Band Com: position Contest, DANSES SACRED AND PROFANE was the Grand Prize Winner in the 1977 ABA Ostwald ‘competition. Mr. Hill received bis B.A., BM,, and M.A, from the University of Norther Colorado and has done advanced graduate work at U.C.LA,AMERICAN BANDMASTERS ASSOCIATION - Ostwald Award Composition Grand” Prize’ Wi 7 DANSES SACRED and PROFANE er tee aoe ee PANS wis per — eI i Se Xyto, Tots 1486 ee i we Timp, wt in Bin shoe 4 ; 7 =| =a ot & baked t 2604 Qeepyrisht 1077 by CL. Barhguse Co, Oskaloosa, tows 92977 International Copyright Seoured "Made in U.S.A ‘AL Rights ResorvedHoste Bl slightly slower (Xylo, to Marimba) FF rep. B PRC BTrom.StB,Taba BY se rite cag, | ok, (® fe te at 2504Lolo FL © e,. Fast oa [F] 1 Sol Plate f fo eaythiny Double tonaue Cs, EH, Bass'ns + Macitaba pee 4 mie t osia , Vy 2 7 Tula Bitton. ce ar amen ee ee i i a *9-a0 ete. Performers playing original part breatho as marked with commas Performers playing ossia part will not need to breathe at commas ake 2504Mod, slow Hina only ‘Teom.. Bar, P Tube Ell, x Slow as before — iE | 2504 motFaster Cla. Fins. Bin. & e : . 4 : es Gil Stow as faster Fis, Obs. EI SS z Pos Ju as ty Chines i Pips, Tino, aS PS j = SSS kA tattle rpg ty gp ff Merokes prom | = + - sy208le BBL w.w. z WW. Ryo, be oe et SEES = eel 7 = *$——-—_ fare pte ee Poet te ailoro vit Has, UL, Bain poco vit Bln PE Slowly J=76 Cte, EH. Hos = Trott “ HET pasa. bl Buy Siies “Tew CBassn fn Gong “fr rt ot ta re rpcb ¢ a cg ee : Fe ae et A] is Fr.) 5 is » ve Ser WF racinva F HG Gong Change to Cymbalsnf TH) pn ‘Toe tt f <<, a2(Fle) ae 7 ‘Mar, Rolle =~ an : RRP ere Bosemey — Bc Sten it [ Prue So. eRe E Basen ee + Fim Ro oa Bs = Xo. = z : = Pris goss Soe = ea : = = ee i— ea = E + 8 iE ‘Troms, Bar. ‘Tots, ie ALCL, BCL BEER Totus i— - BSE tap, Be 2g in Fld | hehe Coes f eS ty & F8xcK.0, fa T5LD Treen ut Gxtacto X9t03 Cbason C.B.CL,Tuba, St Base TEL 5 4 pe (7 Gong) i aan le Be etn ase. = = rE BS Bigie Feat S—=s iE oy, Toms, Be = ae SS 1b re SS O° fim ms 3 itTuba St.B. Low W.W. Plano in ave Beant See seeeaeeaeEEELECE es cong f 4 t } 4. 20418, Ch I Cadenza eee S4e45-5- = rapid aerate © stightty faster J~100 Fee aS Tromso Ss be . ae [eit —Gnerdaaeinltume ana tempo 3 £ = eS ar. TS16 Fis, continue 30) aves “Xylo, contioues same pattace ead = Tepe 8a 5 a, EE EG Bw eG ee = Ee : 2504a [F)Slow (Tempo 1 J-76) peppuevascnsaeaeeseunatas aa = Even slower J=54 Ok. bir \p Bis, Ob. Tots, Hos, Troms, Bor. Fe SS = Eow Ww, ‘so a a $ Kone faeh Tube L Loy PP ce eo Il, ESTAMPIE Moderately slow J-88 2, ‘Vibes (Rotor on Lete e Hr. agp (UE no Harp. substitute orchestra Beis) te — ymbals r 7 a 250438 2508Paster _f ee hen, it areue Seaurg ues a = ee a Vee ioe Change © lo. | HE ————— SDeam oe Poorer en ooo 4S] L. z Pilg Sg he F terete rts Sot aro Seer it = = 7 é ef al = wr f —_ —f (eam ee a 20420 Fh Tins ‘Sxs. a st ye “4 DeDite. 06.08 pape pee SSS c== etn =e + = pps We Fe a wy | val. F 0b.Cia, Xylo. = — Ria : sass pe | PSs = = 4 \o Bee: = = AL Sx. [=I BRB Sa. a vee =e P Tom [=U Ee pp Ly a ps pp2 f Hox (cue Sxs.) Cl, Bin, Soh = P ns, Bass’ ns, = cl, BCt P eo oe) Qn ie O18 ls. ne basso ows. Sal Bn, Xie ze 2604Fast J-1s4 fl eee FFs, 800. Obs., Cis. A. Sx. IIT XylosPieeos, 7 a ert ga 4. Bsiow 4-29 — P Xylo, (Use Piccolo24 [i Slower 1-66 2504