David Well: Well Done!: Fanfare Band: Score & Parts

SKU: GI.G-6902

ISBN 9781579995980. English.

“Those who study communication say that humor is the shortest distance between two people. If there is a shred of truth in that statement, you will quickly connect with Trey Reely’s latest contribution to the band director’s library, Mr. Holland on the Edge. Prepare yourself for some hearty laughing, you’ll quickly identify with many of the anecdotes by an author who walks his talk.” --Tim LautzenheiserJoin band humorist Trey Reely for a fresh and sometimes poignant look at the life of a band director. Having problems with marching band season? Read “Everything You Wanted to Know about Football But Were Afraid to Ask a Cheerleader” for an instant “fix.” Need some advice on matters musical and otherwise? Make sure to turn to “From the Files of Dear Abby.”The veritable Dave Barry of band, Trey Reely can tell a tale that hits just the right note—keep a copy handy for an instant laugh! Quality paperback, extensively illustrated, with a Foreword by John Knight.Trey Reely is Director of Bands at Paragould High School in Paragould, Arkansas. His other books include Mr. Holland Strikes Back: More Tales from the Musical Podium and Move Over Mr. Holland: Insights, Humor, and Philosophy on Music and Life. He has a regular column in The Instrumentalist magazine.“Most school band directors have a love/hate relationship with their profession. Most of the time they couldn’t imagine doing anything else--except when they have ‘one of those days.’ When you suffer from one of them, I highly recommend taking a couple of doses of Trey Reely before bed, and you won’t be calling anyone in the morning. His medicine will go down smoothly, and, at the dawn of a new day, you will realize that you are not alone. Trey has been there and done that and sees these shared experiences with a truly wicked sense of humor. At other times he is serious and philosophical with terrific suggestions that can help you as you labor in one of the most important jobs on the planet.” --David Newell, author and arranger A fresh and sometimes poignant look at the life of a band director.

SKU: CF.CM9735

ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.

Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spider”), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,” the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart” or “Jack Smart,” was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lamb”] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r” is flipped; use “s” instead of “z” on endings such as “phosa,” “cosa,” and so on; the Latin “o” is a cross between “oh” and “aw”; in the transliteration above, I chose to simply use an “o” for consistency. The director will blend the “oh” and “aw” in the rehearsals to his/her own preference. Lastly, “tarantula” is pronounced “tah-rah-n-too-lah” (avoid “teh-ran-choo-luh”) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.