Embed Size (px)
Citation preview
Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for thesole and specific use of their students and/or musicians residing in the organization which invested in an original copy of the work fromSTORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another locationor organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining toprinted Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.
© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com
Chapter 1
1. The STORMQuest!2. Journey Through Shadowood3. The Search for Truefire!4. Revenge of the Darkseekers!5. Courage... at the Wall of Fire!6. Forbidden Fortress!7. Escape from BA-TAAN!8. Truefire!9. Flight of the Truefire Raiders!10. The Defenders of Truefire!11. Battle for OneWorld!12. Time in the Balance!13. By Love Compelled...
at the Hour of Shadows14. Last Outpost of Freedom!15. Triumph at CHO-SIN!16. Scenes from STORMQUEST
1. The STORMQuest!2. Journey Through Shadowood3. The Search for Truefire!4. Revenge of the Darkseekers!5. Courage... at the Wall of Fire!6. Forbidden Fortress!7. Escape from BA-TAAN!8. Truefire!9. Flight of the Truefire Raiders!10. The Defenders of Truefire!11. Battle for OneWorld!12. Time in the Balance!13. By Love Compelled...
at the Hour of Shadows14. Last Outpost of Freedom!15. Triumph at CHO-SIN!16. Scenes from STORMQUEST
#823 at 3:00 by © Stephen Melillo IGNA 7 September 1996from material originally composed on 27 July 1987... the year of Storms
Dedicated to “those undaunted by first-steps”by The Palo Duro High School Band of 1996-97
Keith Riley & Terry Baker, Directors, Amarillo, Texas“The Journey of a Thousand miles, begins with a single step...” Lao-Tzu
THE STORMQUESTTHE STORMQUESTTHE STORMQUESTTHE STORMQUESTTHE STORMQUEST
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
The S
TORM
Quest
!
Jour
ney T
hroug
h Sha
dowo
od
The S
earch
for T
ruefir
e!
Reven
ge of
the Da
rkseek
ers!
Coura
ge... a
t the W
all of
Fire!
Forbi
dden
Fortr
ess!
Escap
e from
BA-TA
AN!
Truefi
re!
Fligh
t of th
e True
fire R
aiders
!
The D
efend
ers of
True
fire!
Battle
for O
neWo
rld!
Time in
the B
alanc
e!
By Lo
ve Co
mpell
ed... i
n the
Hou
r of S
hado
ws
Last O
utpost
of Fr
eedom
!
Trium
ph at
CHO-
SIN!
1
23
45
67
89
1011
1213
1415
S T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TS T O R M Q U E S TSystem Requirements
You are about to embark on a Quest... a STORMQuest!
One wouldn’t think of buying software without having the appropriate hardware. With this same common-sense thinking, conductorsrendering STORMQuest should be properly equipped.
In the Band of the New Millennia, the orchestration employed in STORMQuest, we find the standard wind and percussion ensembleaugmented 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 Harp. Comments about the types of sounds andmanner of interpreting the varied notation may be found in the Brief Intro to the Music of Stephen Melillo... with FAQ’s residing at theSTORMSite... www.stormworld.com.
In 1980, the cost for such an undertaking was high. Now, for under $700 you can be equipped with 2 mother, or controlling keyboards and a16-bit, stereo CD quality, synth-module with digital effects built in and more!
Of course, this is only if you are completely UN-equipped right now! Most band programs will have at least one student who owns asynthesizer, or at least knows someone who does. In the early 1980’s, I was able to recruit a great number of students simply by suggestingthat 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 andfuller Music Education.
On the STORMQuest CD, you will hear how these sounds, placed in stereo around the band... as in the diagram on the seating chart page...enhances the overtones of the band while remaining somewhat “traditional” in its orchestral usage. The speakers, lying flat on the floor,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 which excites them... Music which competes with the inundation ofsupremely produced sounds heard on the radio, on the TV set and in the movies.
That was our mission... to offer an alternative. Now, it’s up to you, as it always is. Only you can be the guide your students need, and onlyyou can deliver this Music to that limitless realm we refer to as Real Music. To that Quest, noble and honorable, Curt and I leave you our bestwishes. Godspeed!
COMMISSIONERS: I think back, the romantic that I am, and wonder how many great and Timeless works would not have been set to penwere it not for those individuals who demonstrated their faith and support by commissioning someone they believed in. To these fine people,individuals who believe in us, Curt and I offer our most heartfelt thanks. You are heros!
Keith Riley from TexasJohn Kelley from Indiana
Michele Frankl from Focus on Excellence in IllinoisKappa Kappa Psi from Southwest Texas State University, Texas
Mickey Stisher from IndianaJohn Spitler from South Carolina
Phil Min from AlabamaDouglas Fletcher from Indiana
Egil Lysbo from NorwaySigma Alpha Iota from Ball State University, Indiana
Scott Rogers from NorwayJohn Lace from Minnesota
James Picolla from New YorkRaymond Primm from Arkansas
Rob Bryant from Kentucky
Chapter 1
S T O R M Q U E S TThe STORMQuest!
#823 at 3:00 by © Stephen Melillo IGNA 7 September 1996from material originally composed on 27 July 1987... the year of Storms
Dedicated to “those undaunted by first-steps”by The Palo Duro High School Band of 1996-97
Keith Riley & Terry Baker, DirectorsAmarillo, Texas
“The Journey of a Thousand miles, begins with a single step...” Lao-Tzu
TECHNICAL
Your kids can play this piece... well!
This piece, as do all pieces, calls for careful balancing and tuning. The range of this piece falls within a grade 2 workfor younger band. The first Trumpet going to the concert Eb may be a stretch, but he or she will get it! The secondclarinets stay below the break, and the orchestration stays within the somewhat normal and expected parameters of the“young” band.
There are some deviations, however. These reside in the notes employed. There’s nothing so ominous about a Gb...it’s just another note to be learned. Approach the piece that way. Look at its vocabulary, determine the notes the kidswill need to know, troubleshoot first and then enjoy the piece. Remember my favorite quote from Abraham Lincoln.“If I had 8 hours to chop down a tree, I’d spend six sharpening the axe.”
Dynamics should follow the contour of the line.
In any event, the group will sound professional and full. There is no difference in these sounds and the sounds thatwould be written for professional musicians. That is our whole approach to STORMQuest!
Feel free to adjust octaves in any part if necessary. The Orchestra Bell part may be performed by 2 players if oneplayer cannot handle the double-stops. The part may also be played with just the top line.
I have composed a PAD Bass part to be played by a keyboard player. The PAD Bass part should sound an octavebelow what is written. This adjustment can be made quite easily on any keyboard or synth module. Please be sure toread “A BRIEF INTRO TO MELILLO MUSIC”. The ensemble of the new millennium requires an awareness ofand an appreciation for the electronic component.
MUSICAL
Your kids can play this piece... well!
STORMQuest! What is a STORMQuest?
That, I shall leave to you.
The character of this piece, this briefly and simply stated theme is one of nobility and dignity. It represents thebeginning of our STORMQuest Journey!
The tempo should be determined by the ability of your ensemble to maintain a well supported and ever-reaching line.
The STORMQuest is but one part of a larger work called STORMQuest... and STORMQuest is but one part of apersonal mission called STORMWORKS. Within its musical boundary of 3:00, musical themes connect it to many ofits other parts, wherein lies the greater, single message. That message is for you to discover.
Godspeed. Sincerely,
⁄¤‹›
&
b
b 4
4
1
With Dignity at mm=88
2 3 4Solo
5 6All 7
Long & Full
L. Hand Thumb
8 9
10
&
b
b 4
4
&
b
b 4
4
?b
b4
4
&
4
4
&
4
4
&
4
4
&
4
4
&
#4
4
&
#4
4
&
4
4
&
#4
4
&
b4
4
&
b4
4
&
4
4
&
4
4
&
4
4
?b
b4
4
?b
b4
4
?b
b4
4
?b
b4
4
?b
b4
4
&
b
b 4
4
&
b
b 4
4
&
b
b 4
4
?b
b4
4
Crash CymBass Drum
Sus Cym
Chimes
Orch Bells
PAD Bass
Timpani
Tuba
Trombone 2Baritone
Trombone 1
Trumpet 3
Trumpet 2
Trumpet 1
Horn 2
Horn 1
Bari Sax
Tenor Sax
Alto Sax 1
Alto Sax 2
B. Clarinet
Clarinet 3
Clarinet 2
Clarinet 1
Bassoon
Oboe
Flute 2
Flute 1
The STORMQuest! ... by © Stephen Melillo IGNA 7 September 1996 ... Page 1...
∑
∑
∑
˙
P
b ˙
˙
P
b ˙
˙
P
˙
˙
P
b ˙ _
˙
P
b ˙
˙
P
n ˙
˙
P
˙
˙
P
˙
˙ _
P
b ˙ _
˙
P
b ˙
˙
P
˙
˙
P
b ˙ _
˙
P
˙
˙
P
b ˙
˙
P
˙
˙
P
b ˙
˙ _
P
b ˙ _
∑
˙
P
b ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ b ˙
˙ b ˙
˙ ˙
˙ b ˙ _
˙ b ˙
˙ n ˙
˙ ˙
˙ ˙
˙ _ b ˙ _
˙ b ˙
˙ ˙
˙ b ˙ _
˙ ˙
˙ b ˙
˙ ˙
˙ b ˙
˙ _ b ˙ _
∑
˙ b ˙
∑
∑
∑
∑
œ œ
P
˙ _ .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ b ˙
˙ b ˙
˙ ˙
˙ b ˙ _
˙ b ˙
˙ n ˙
˙ ˙
˙ ˙
˙ _ b ˙ _
˙ b ˙
˙ ˙
˙ b ˙ _
˙ ˙
˙ b ˙
˙ ˙
˙ b ˙
˙ _ b ˙ _
∑
˙ b ˙
∑
˙
P
b ˙
∑
∑
œ œ
P
œ œ
œ _ œ _ _ œ
_ _
œ
_ _ _
œ œ
P
œ œ
œ œ œ œ
œ
P
œ œ œ
œ œ œ œ
˙
<
˙
˙
<
œ œ œ œ
˙
<
œ _ œ œ œ
˙ _
<
œ _ œ œ œ
˙
<
˙
w
<
w
<
˙
<
˙
˙
<
˙
˙
<
˙
˙
<
˙
˙ _
<
˙ _
w
<
w _
<
˙
<
˙
˙
<
˙
˙
<
˙
w
<
æ
w
<
œ
P
œ œ œ
œ œ œ œ
œ
F
œ
˙
w æ
p
∑
w
_ _ _
F
`
w
F
`
w
F
`
˙
F
œ œ œ
œ
F
,
œ
œ œ
œ
F
,
œ
œ _ œ _
œ
F
,
œ œ œ
˙ _
F
œ _ œ _ œ _
Œ œ
F
œ œ _
Œ œ
F
œ œ
˙
F
œ œ œ
˙
F
œ œ œ
Œ œ
F
œ œ
Œ œ
F
œ œ
Œ œ
F
œ œ
Œ
œ _
F
œ œ
Œ
œ _
F
œ _ œ _
˙
F
œ œ œ
˙
F
œ œ œ
˙ _ _
F
œ _ _
œ _ _
œ _ _
w
F
w
F
w
F
∑
œ
F
Œ Ó
w
w
F
w
_ _ _
µ
w µ
w µ
œ ˙ œ
œ œ œ
œ
œ _ œ _
œ œ
œ œ œ
œ
œ _ ˙ _ œ _
œ _ _ œ _
œ
œ
œ œ œ œ
œ ˙ œ
œ ˙ œ
œ œ œ
œ
œ œ
œ œ
œ œ œ
œ
œ œ œ
œ _
œ _ œ _ œ _ œ _
œ ˙ œ
œ ˙ œ
œ _ _
˙ _ _
œ _ _
∑
w
∑
∑
∑
∑
œ
_ _ _
µ
Œ Ó
œ µ
Œ Ó
œ µ
Œ Ó
œ ˙ œ
œ œ
˙
œ œ ˙
œ œ ˙
œ ˙ œ
œ œ
˙ _
œ œ
˙ _
œ ˙ œ
œ _ ˙ _ œ _
œ œ
˙
œ œ ˙
œ œ ˙
œ _ œ _
˙
œ _ œ _
˙
œ ˙ œ
œ ˙ œ
œ _ ˙ _ œ _
∑
w _
∑
∑
∑
∑
∑
∑
∑
œ œ
>
œ
> œ >
b
w
w
w
œ œ
>
œ
>
œ
>
b
w _
w _
œ œ
>
œ
>
œ
>
œ _ œ _
>
œ
>
œ
>
b
w
w
w
w
w
œ œ > œ
> œ >
œ œ
>
œ
> œ >
b
œ _ œ _
>
œ
>
œ
>
b
Ó
˙ æ
˙ _ œ œ b
∑
∑
Ó ˙ æ
∑
l l l l l l
!
l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l
!
l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l
!
l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l
!
l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l
!
l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l ! l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l ! l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l l l l l l ! l l l l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
l
!
!
!
l
l
l
l
l
l
l
l
l
l
l
l
