Ancient voices
Michael Sweeney - Grade 2
About the music
Ancient Voices is a composition suggesting the moods and sounds of an early civilization. Since there has not been an attempt to depict any specific culture, this piece may conjure thoughts of early peoples of this continent. Or it may bring to mind even earlier populations who used the bones of Mammoths and other animals as musical instruments tens of thousands of years ago. Encourage the players to use their imaginations as they listen to and perform this music.
Tempo & style
Mysteriously (QN=76)
With Intensity (QN=152)
With Intensity (QN=152)
Ranges
Flute
|
Clarinet 1
|
Clarinet 2
|
Trumpet
|
Trombone
|
instrumentation
WOODWIND
Flute Oboe (opt.) Bassoon* Clarinet 1-2 Bass Clarinet* Alto Sax Tenor Sax Baritone Sax* |
BRASS
Trumpet 1-2 French Horn (opt.) Trombone* Euphonium* Tuba* *One or more will provide an adequate bass line. |
PERCUSSION
Snare Drum Bass Drum Castanets Wind Chimes Suspended Cymbal Medium Tom Shaker Triangle Gong Bells (opt.) |
teaching concept categories
teaching considerations
There are a few unusual techniques that should be addressed and practiced ahead of time before attempting to perform this piece:
1. Blow air through instrument while rapidly fingering random pitches.
The effect here should be that of a "swirling wind." The players should be careful not to play any actual pitches, however, there will be sound of moving keys.
2. Tone clusters.
These are found in the beginning section played by the clarinets and saxes. Be sure to balance these chords carefully so that no individual part of pitch sticks out above the others.
3. Recorders.
If possible, have your entire flute section play recorders where indicated. This will dramatically enhance the overall effect. The recorder part is very simple and these instruments are readily available and inexpensive. (Optional flute cues are provided if recorders are not available.)
4. Singing.
Most parts contain a short chant-like vocal section. To make it easier for the players to find their pitch, the vocal notes are transposed to match each transposing instrument. Two pitches are always given (concert G and D) and each player should sing whichever note best fits his/her vocal range.
5. Pencil tapping.
Use wooden pencils (or recorder cleaning rods) to tap lightly on the edge of the metal music stands. Metal stands will produce a better effect than wire stands, however, the rhythm is doubled in the percussion parts.
1. Blow air through instrument while rapidly fingering random pitches.
The effect here should be that of a "swirling wind." The players should be careful not to play any actual pitches, however, there will be sound of moving keys.
2. Tone clusters.
These are found in the beginning section played by the clarinets and saxes. Be sure to balance these chords carefully so that no individual part of pitch sticks out above the others.
3. Recorders.
If possible, have your entire flute section play recorders where indicated. This will dramatically enhance the overall effect. The recorder part is very simple and these instruments are readily available and inexpensive. (Optional flute cues are provided if recorders are not available.)
4. Singing.
Most parts contain a short chant-like vocal section. To make it easier for the players to find their pitch, the vocal notes are transposed to match each transposing instrument. Two pitches are always given (concert G and D) and each player should sing whichever note best fits his/her vocal range.
5. Pencil tapping.
Use wooden pencils (or recorder cleaning rods) to tap lightly on the edge of the metal music stands. Metal stands will produce a better effect than wire stands, however, the rhythm is doubled in the percussion parts.