Composition Amaranthine

Composer Julie Giroux

Measure # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36

Form Introduction A Section B Section

Phrase
Structure

Tempo Legato, con passione; Quarter note = 72 bpm

Dynamics mp mf mp mf p

Meter/Rhythm 3/4

Tonality B-Flat Major A-Flat Major F Major B-Flat Major

Harmonic Eb Gm7 Eb Bbadd6 Eb Bbadd6 Eb F/Eb Bbadd9 Ebadd4 F/Eb F/Eb Bbadd9 Ebadd4 Bbm/Ab Ab F Gm/C F F/Eb Ebadd4 F/Eb F/Eb Fadd4 Ebadd4 Bb Fadd4 Bb Cm7 Fadd4 Eb
Motion
Add
Flute, oboe, clarinets, All except trumpet 2, Bass clarinet and Clarinets, all
Flutes, oboe, clarinets, euphonium, and flute,
Timpani, bells, alto 1, trumpets, horns, horns, trombone 2, bassoon drop out. saxophones, trumpet 1 All except bari sax, tuba,
Add clarinet 1 All except flute, oboe, and vibraphone drop out. Add Bass clarinet, oboe, All except trumpet 2, horns, low brass,
Orchestration vibraphone, and bass
solo. suspended cymbal.
All except trumpet 2 and suspended cymbal. trombones, euphonium,
bassoon, other saxophones, timpani, and
timpani, bells, and Trumpet 2, horns,
suspended cymbal, and bass drum.
solo, trombones, suspended cymbal, and bass
and
drum only. tuba, bells, and bass drum. Trumpet trombone 2, and euphonium, timpani, drum.
suspended cymbal. clarinet
vibraphone. 1 solo playing. bells enter. and vibraphone only.
2.

General Serene, reflective, mellow Tranquil, nostalgic, restful Hopeful, yearning, calm
Character
Percussion open the A clarinet 1 solo The remaing voices are added in,
A clarinet soloist and a The end of the B section
piece, establishing a is added to the which aid in allowing for the The melody of section A is placed in the higher woodwinds, The melody is passed around between upper woodwinds and a trumpet soloist. The tonal
trumpet solist are begins to build towards the
mellow and serene texture, also reflective nature of the while the remaining voices offer a tranquil, calming The new melody presented in the A section is played primarily by trumpet 1, center shifts a couple of different times, before returning back to the original tonal center.
Means for playing in unison, at a transition, as more voices are
introduction. The motifs adding to the introduction. The suspended accompaniment underneath. Many suspensions are provided supported by a similar accompaniment that was provided previously. The These new tonal centers, along with the passing of the melodic figures, add to the hopeful
Expression calm, piano dynamic, added to the texture, and the
found in mallet serene quarter notes slurred to half in the accompaniment figures, which add to the nostalgic feel decrescendo leading into the B section adds a restful and calming effect. character of the B section. As the section progresses, voices become more active also
supported by a limited accompaniment becomes
percussion allow for this character of the notes in many voices help in of this section. adding to this character.
accompaniment. more active.
character. introducion. making this character possible.

Breathe with the ensemble and

Conducting pattern
cue the entrance of the Pattern should remain small and style should be very smooth Provide a decrescendo Facial expressions to show the changing Conducting pattern should be slightly larger to Cue trumpet and clarient soloists in measure 31 -
should be small to Shift attention to the Cue the new voices. Provide
Conducting Cue the clarinet remaining voices in measure 5. and legato to reflect the legato melodic line. Provide small and cue the entering tonal centers! Cue the trumpet soloist in show the increasing dynamic - not too much! breathe on beat 2 and cue on beat 3. Cue the
reflect the soft dyanmic trumpets, as the melody a "lift" on beat 3 of measure
Concerns 1 solo. Provide direction in pattern in emphasis on downbeats before melody has offbeats sto melodic voices in measure 24 - breathe on beat 1 and cue Reinforce the tenuto articulations in conducting remainder of the ensembe in measure 34, but keep
and light texture moves to trumpet 1. 20.
measure 8 to reflect the moving reinforce the offbeat entrances. meausre 22. on beat 2. style. pattern small, as dynamic is still marked piano.
provided by percusison.
quarter notes.

Balance the clarinet

Many textures are being
Intonation, blend, and balance of and trumpet solo with
Address the tonal center shifts with the Dynamic level should be higher, but still introduced at once, so work
Bass drum triplet figure the remaining ensemble Note lengths will need to be addressed, especially in the the remaining
Balance the Work to tune and balance the chords in the accompaniment figures. Balance the enssemble. Special attention should be incredibly controlled. Work to manage this with to balance each of these to
should be rehearsed to members should be examined. melodic line. Note length will become especiallly important in ensemble. Addresss
Rehearsal clarinet solo melodic line with accompaniment. In measure 20, address the articulation. The made to any accidentals, as these are the ensemble. Articulations should be ensure they can be heard
ensure it is played Slurred quarter note/half note measure 16, when the rhythm changes slightly to a dotted articulations with the
Consideration with the tenuto eighth note should be held for full length, but there should be an obvious especially important to the tonal center addressed, as many voices occasionally have equally, especially any
accurately. Balance all figures should have slightly more eighth note sixteenth note figure. Address the notated soloists, such as the
percussion. break at the given eighth rest immediately following. shifts. Balance the trumpet solo with the tenutos. These should be held through barlines, moving notes. Intonation
percussion parts. weight on the beginning quarter articulation in measures 11 and 15 - a slurred staccato. staccato eighth note
rest of the ensemble. such as in measure 28. should be addressed with
note. that is tied to the
sustained lower winds.
previous quarter note.

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Composition Amaranthine
Composer Julie Giroux

Measure # 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65

Form Transition A' Section Transition Coda

Phrase
Structure

Tempo

Dynamics mp f mf p pp

Meter/Rhythm

Tonality

Harmonic Ebadd
Dmadd6 Fm7 Ab/Bb Eb Bbadd9 Eb Bbadd9 Eb F/Eb Bbadd9 Ebadd4 F/Eb F/Eb Bbadd9 Ebadd4 F/Eb Bbadd9 Ebadd4 F/Eb F/Eb Bbadd9 F7add4 Bb
Motion 4

Add
All except Add timpani All except
suspended Only percussion
timpani and and All except flute, oboe, clarinets, suspended All except trumpet 2, horns, trombone 2, euphonium, and tuba. flute, oboe,
Orchestration suspended suspended
Full ensemble
cymbal, and bass drum.
cymbal
Trumpet 1 and trombone 1 solos. and clarinets
except suspended
and bass cymbal.
cymbal. cymbal. 1/2.
drum.

General Building, suspense, tension Grand, expresssive, soaring, impactful Calming, nostalgic, diminishing Restful, calm, relaxing Serene, reflective, mellow
Character
The remaning winds diminish to
The transition builds tenssion
The return of the A section brings about an impactful and nothing, allowing percussion to take
and suspesnse leading up to the This calming transition offers thematic material previously
expressive climax to the piece. The full ensemble is playing, Instruments begin to drop out of the texture, causing a dimishing over with the return of what they had
Means for return of the A section. With the introduced throughout the piece, while the dynamics are slowly
with more individuals playing the soaring melody. Thematic effect as the A' section draws to a close. The softening dynamics at the beginning of the piece.
Expression rising melodic figures and becoming softer until the coda. Instruments are taken out of the
material is passed about between instruments and instrument allows for the nostalgic nature of the section to return. Percussion also dimishes to nothing,
building accompaniment, texture and the pacing of the piece becomes much more restful.
families to support and accompany the grand melody. leading to a final attack in the last
suspense becomes higher.
measure.

Start pattern small, but grow a Provide a Pattern size should be

Pattern should be at the peak of the size for Continue to decrease size of pattern. Cue trumpet and trombone
great amount in size to reflect Show decrescendo, at its smallest.
the piece - this is the climax of the Pattern size should return to a smaller size. In measure 52, show a solisits in measure 56 - breathe on beat 1 and cue on beat 2.
Conducting the building character of the decrescendo - leading to Continue to provide a
composition. Melodic figure is the same as "lift" to reinforce the tenuto eighth note with an eighth rest following. Reinforce the tenuto articulations in measure 56. Sow the
Concerns transition. Crescendo begins in make pattern nothing, for decrescendo. Cue the
measure 9, so it should be conducted the Decrescendo should be given in 54. decrescendo in measure 60, leading to a cutoff in the following
39 - pattern should be large by size smaller. the remaining last measure and let it
same, but with a larger pattern size. measure.
the end of the transition. voices. ring.

Percussion should
Work to build throughout these Voices that
work to achieve
4 measures, while also saving decrescendo
This is the peak of the piece, so the dyanmics should be at Address note lengths, especially in measure 52. The tenuto eighth note The trumpet and trombone solos should blend with each other and appropriate balance
the peak for measure 41. A should fade to
the highest. However, work to blend throughout each section should be held for full value, but there should also be an obvious break soar over the ensemble, while still remaining soft. This will require and blend while
Rehearsal consistent, steady, and even air nothing.
and among the ensemble to achieve a "full" sound, rather where the eighth rest is given immediately following. As voices drop the other members of the ensemble to play very quietly while executing the written
Consideration stream should be addressed Intonation,
than a blasting sound. Blend, balance, intonation, and note out, balance and blend the remaining members of the ensemble while supporting their sound. Address this with all members of the decrescendo. The final
through the eighth notes and balance, and
lengths should all be addressed throughout this section. successfully achieving a decrescendo into the next transition. ensemble. Decrescendoing voices should fade out to nothing. note should be struck
sixteenth notes to ensure an blend should
and left to ring - do
even tempo is maintained. be addressed.
not dampen.

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