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Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy theScore & Parts for the sole and specific use of their students and/or musicians residing in the organization whichinvested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing orexcerpting for any other purpose, including transport to another location or organization is prohibited by law.Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music stillin effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com
#705 at 5:33 for Band M3by © Stephen Melillo IGNA 8 June 1993
Commissioned by Mr. Stephen L. Hand& The Barbe High School Honors Band
STEPHEN MELILLO, COMPOSER
STORMWORLD.COM
Dear Conductor... Thank you for believing in, and investing in the body of work called STORMWORKS. Once you’ve tasted the possibilities and experienced the reactions from your students and audiences, a large body of interrelated work awaits you. If you’ve invested in the whole package or Suite... Bravo. It was the best way to go. The STORMSite at www.stormworld.com provides up-to-date info on all that is happening with STORMWORKS®. Thanks so much for championing this Music and Godspeed in the journeys ahead.
SYSTEM REQUIREMENTS
One wouldn’t think of buying software without having the appropriate hardware. With this same common-sense thinking, conductors rendering “Storm” Works should be properly equipped.
In the Band of the 3rd Millennium, the orchestration employed in the body of work called Stormworks, we fi nd the standard wind and percussion ensemble augmented by the use of 2 synthesizers. A seemingly innocent leap, it is replete with functionality. The generic sounds ascribed to the synthesizers are: PAD Bass, (sometimes Piano and/or Chorus) and Harp. Comments about the types of sounds and manner of interpreting the varied notation may be found in the Brief Intro to the Music of Stephen Melillo... with FAQs residing on the STORMSite at stormworld.com.
In 1980, the cost for such an undertaking was signifi cant. Now, for a cost-effective, multi-useful investment, your program can be readily equipped. Of course, this is only if you are completely un-equipped right now! Most music programs will have at least one student who owns a synthesizer, or at least knows someone who does. In the early 1980s, I was able to recruit a great number of students simply by suggesting that there was a place for them in the “electronics” section! I invite you, now with Music that calls for it, to be champions of a wider and fuller Music Education.
On the STORMWORKS CDs, you will hear how these sounds, placed in a stereo fi eld around the band... as in the diagram on the seating chart page... enhances the overtone hierarchy and resonance of the band while remaining somewhat “traditional” in its orchestral usage. Two speakers, lying fl at on the fl oor, should be placed so that the sound is directed back into the ensemble.
As we approach all of the new tomorrows, students need to play Music, that while serving the cause and purpose of Music Education, excites them... Music which sonically competes with the inundation of supremely produced sounds they hear in their every day lives.
A vast variety of interrelated and graduated pieces as well as accompanying Teaching Tools await you.
Now, as always, it’s up to you. Only you can be the guide your students need, and only you can deliver this Music to that limitless realm we refer to as Music. To that Quest, noble and honorable, Godspeed!
∕¤‹›
Stephen Melillo, Composer
Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specifi c use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Stephen Melillo/STORMWORKS® 2nd & 3rd Millenniumwww.stormworld.com
P A T R I C K ' S R U N EP A T R I C K ' S R U N EP A T R I C K ' S R U N EP A T R I C K ' S R U N EP A T R I C K ' S R U N E#705 @ 5:33 by © Stephen Melillo 1993
IGNA 8 June 1993If Edited, by Cutting m115-m149... app. 4:33
TECHNICAL
Patrick’s Rune places many simultaneous demands on the student Musician. Because the pieceinvolves Music in 2’s and 3’s in both 4/
4 and 12/
8, and because of the dynamic possibilities joined by the
need for great speed and dexterity in fingering, this work can be rendered by quite accomplished groupsor by younger Musicians needing a work which, when rendered as intended, will represent a significantaccomplishment.
Should some of your students find the long winded eighth note passages too difficult to phrase aswritten, you can have those students take any one of the repeated eighth notes and replace it with abreath.
Example: or this:
On some of the slurred intervals, certain instruments at certain times may find the slur too difficult. Ifthis is the case, a relaxed, legato tongue will work just as well. The trombones, for instance, may wantto interpret the slurs in that manner.
could become:
Eighth notes are accented as grouped throughout, as described in the Brief Intro to Melillo MusicOverview. Patrick’s Rune also offers the opportunity for the Percussionists to learn and understandhow their dynamics work with the woodwinds and brasses. Because they are playing in the same“frenzied” sections, they will have to remain quieter much longer... before erupting to the point ofarrival. Again, please see the diagrams in the Brief Intro.
Contrast between various moods and, of course, dynamic swelling and falling, are always critical to asuccessful rendering of this Music. Follow the line shapes for swells. Though many times, the notationmay ask for a mezzo-piano, by all means, change these to piano to exaggerate any of the suddenchanges or dynamic contrasts you wish to achieve.
• If the students lack alacrity, or are unable to sustain the roller-coaster energy of the Storm/Danceconflict section, an edited version of the piece may be rendered by cutting measures 115 to 149. Thepiece will have a better chance at having its intended impact if the students are able to manifest arelentless swelling, building, and final arrival at the triumphal prayer theme. Remember, we arealways “building” and it is this energy which needs its chance to Live!
MUSICAL
The two percussion strikes which begin and end the piece depict Saint Patrick’s striking of the staff onthe ground of Ireland, beckoning the snakes to be cast out. Contained within are themes for SaintPatrick, the staff he uses to strike the ground, the storm and religious faith of the Rune as well as Musicto depict the dance, struggle and joy of the Irish people. In PATRICK’S RUNE, the faith of theRune... the Light of hope and a new day, triumphs over “the powers of darkness!” The work istherefore a “stormwork” in that it bears the continued message of Light’s eventual triumph, beyondlife’s struggle. The Irish dance theme comes directly from the INTO the STORM movement of theSTORMWORKS Trilogy. This was the DNA, the seed of the composition. This was done to onceagain draw each of the separate works into a larger whole, a single and continually expanding statement.
Godspeed with PATRICK’S RUNE and all Stormworks! ⁄¤‹›
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Page 1
Patrick's
Rune© STEPHEN
MELILLO
1994
2nd&3rd
MILLENNIUM
Euph
Crash/ Bass Drum
Field Drum
Chimes
Glock
PAD Bass
Ten 2
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Tb 1
Tr 3
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