Score of Commonwealth

8/2/2019 Score of Commonwealth

1/16

Tim Benjamin

Common Wealth(2012)

Commissioned by

The London Borough of Barnet

for theDiamond Jubilee of Her Majesty The Queen, 2012


2/16

Copyright 2012 Tim BenjaminAll rights reseved. http://www.timbenjamin.com

p mf p p f mp f

mp

mf f

mf f mf

mplegatof

f mf mp p

f mf f mf f f

mfvery legato f mp

mf f

mf mf -p mp mf

f

Sustain the "drone" throughout.Always play the grace note when re-taking.

pp"bagpipe" drone

Stately: q = 60

p

CALL

A CALL GROUP is positioned in the centre of the performance space.Ten RESPONSE GROUPS are positioned at locations around the edge of the performance space.The CALL GROUP performs the CALL repeatedly, quietly at first, becoming stronger.Each RESPONSE GROUP performs A in response to the CALL, beginning in sequence after the first CALL.Each group repeats as necessary while moving towards the CALL GROUP.Harmony and variations ad lib may be introduced by each group after the first response, and all music should be performed at the appropriate octave for the instrument.

Common Wealth

1. Greensleeves

Graceful, calm: h. = 48

A. RESPONSE

2. Sai Gn

Bright: q = 116

3. Scots Wha Hae

Bold: h. = 88

4. The Young Man's Dream

Slowly: q = 60

5. Linstead Market

Rhythmic: q = 126

6. O Canada

Broadly: hhhh = 56play twice

7. Jana Gana Mana

Smoothly: qqqq = 76[gliss. all grace notes]

8. Waltzing Matilda

Cheerful: q = 104

f

9. Now Is The Hour

Warmly: hhhh. = 48play twice

10. Nkosi Sikeleli Afrika

Proudly: q = 88


3/16

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc.

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

mfcresc. ff

molto rit.

Sustain the "drone" as before fsempre

B. CADENCE

Each group performs B when they reach the CALL GROUP. The order in which the groups arrive does not matter.Once the first RESPONSE GROUP reaches the CALL GROUP, the CALL GROUP performs both A and B.Once all RESPONSE GROUPS have reached the CALL GROUP, the CALL GROUP performs only B.All groups play the repeated section as many times as desired, maintaining a crescendo. Cadential harmony and variations ad lib. may be introduced.

When ready to finish, all groups perform the coda ( ) section in sequence. Groups not yet playing their coda should carry on playing the repeated section.The CALL GROUP plays their coda last, after which the final chord is held for a short time, and all should finish playing together.

1. Greensleeves

2. Sai Gn

3. Scots Wha Hae

4. The Young Man's Dream

5. Linstead Market

6. O Canada

7. Jana Gana Mana

8. Waltzing Matilda

9. Now Is The Hour

10. Nkosi Sikeleli Afrika

3


4/16


p mf p p f mp f

p mf p p f mp f

p mf p p f mp f

(drone continues, crescendo)ff

molto rit.

in Eb

Drone "bagpipes"

Sustain the "drone" throughout.Always play the grace note when re-taking.

ppcresc. poco a poco, non troppof

The CALL GROUP is positioned in the centre of the performance space.Ten RESPONSE GROUPS are positioned at locations around the edge of the performance space.The CALL GROUP performs the CALL repeatedly, quietly at first, becoming stronger.Each RESPONSE GROUP performs A in response to the CALL, beginning in sequence after the first CALL.Each group repeats as necessary while moving towards the CALL GROUP.Harmony and variations ad lib may be introduced by each group after the first response, and all music should be performed at the appropriate octave for the instrument.

Tim Benjamin

Common Wealth"Call" Group

in C

ppcresc. poco a poco, non troppof

in C

Call: continue playing these "calls" as the other groups respond.

Stately: q = 60

p

A. CALL and RESPONSES

in Bbp

in C

p

Groups 1-10 start in sequence and move towards you

in C

Group 2: Cadence - play in combination with A when the first group reaches you.When all groups have reached you, play this only.

fsempre

To Coda after Group 10

in C

Call Group: Coda

(drone endsff)

B. CADENCE

Each group performs B, a "Cadence" figure when they reach the CALL GROUP.When the first group begins their "Cadence", the CALL GROUP plays both their "Call" and their "Cadence" together.When all other groups have arrived, the CALL GROUP plays only the "Cadence".

When ready to finish, each group performs the coda ( ) section in sequence beginning with Group 1 to Group 10.The CALL GROUP plays their coda last, then the final chord is held for a short time, and all should finish playing together.

in Bb

in Bb

in C

in C


5/16


mp

mp

mp

mfcresc.

mfcresc.

mfcresc.

ff

molto rit.

ff

ff

"Bagpipe" drone

Call starts


A CALL GROUP is positioned in the centre of the performance space.Ten RESPONSE GROUPS are positioned at locations around the edge of the performance space.

The CALL GROUP performs the CALL repeatedly, quietly at first, becoming stronger.Each RESPONSE GROUP performs A in response to the CALL, beginning in sequence after the first CALL.Each group repeats as necessary while moving towards the CALL GROUP.Harmony and variations ad lib may be introduced by each group after the first response, and all music should be performed at the appropriate octave for the instrument.

Tim Benjamin

Common Wealth

Group 1

Group 1: Response - Greensleeves

in CGraceful, calm: h. = 48

in Eb

in C

Slowly walk (while playing) towards the CALL GROUP...

Group 1: Cadence - play when you reach the CALL GROUP

in C To Coda on signalB. CADENCE

Each group performs B when they reach the CALL GROUP.Play the repeated section as many times as desired, maintaining a crescendo. Cadential harmony and variations ad lib. may be introduced.

When ready to finish, perform the coda () section when given the signal. Groups 2-10 will play their coda in sequence after you.The CALL GROUP plays their coda last, then the final chord is held for a short time, and all should finish playing together.

in Eb

in C

in C

Group 1: Coda

Groups 2-10 coda Call Group coda

in Eb

in C


6/16


mf f

mf f

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts



Tim Benjamin

Common Wealth

Group 2

Group 2: Response - Sai Gn

in CBright: q = 116

in Bb



in C To Coda after Group 1B. CADENCE


When ready to finish, perform the coda () section in sequence after Group 1 - carry on playing the repeated section until your turn to play the coda.The CALL GROUP plays their coda last, then the final chord is held for a short time, and all should finish playing together.

in Bb

Coda - Group 1

in C

Group 2: Coda


in Bb


7/16


mf f mf

mf f mf

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts



Tim Benjamin

Common Wealth

Group 3

Group 3: Response - Scots Wha Hae

in C Bold: h.= 88

in F



in C


B. CADENCE



in F

Coda - Groups 1-2

in C

Group 3: Coda


in F


8/16


mplegato f

mplegato f

mfcresc.

mfcresc.

molto rit.

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts

Group 3 starts



Tim Benjamin

Common Wealth

Group 4

Group 4: Response - The Young Man's Dream

in C Slowly: q = 60

in Bb






in Bb

Coda - Groups 1-3

in C

Group 4: Coda


in Bb


9/16


f mf mp p

f mf mp p

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts



Tim Benjamin

Common Wealth

Group 5

Group 2 starts

Group 3 starts

Group 4 starts

Group 5: Response - Linstead Market

Rhythmic: q = 126FLUTE: play one octave higher




B. CADENCE



Coda - Groups 1-4

Group 5: Coda



10/16


f mf f mf f f

f mf f mf f f

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts



Tim Benjamin

Common Wealth

Group 6

Group 2 starts

Group 3 starts

Group 4 starts

Group 5 starts

Group 6: Response - O Canada

in EbBroadly: hhhh = 56

play twice

in Cplay twice



in Eb To Coda after Group 5B. CADENCE



in C

Coda - Groups 1-5

in Eb

Group 6: Coda


in C


11/16


mfvery legato f mp

mfvery legato f mp

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts



Tim Benjamin

Common Wealth

Group 7

Group 3 starts

Group 4 starts

Group 5 starts

Group 6 starts

Group 7: Response -Jana Mana Gana

Smoothly: qqqq = 76[gliss. all grace notes]

[gliss. all grace notes]




B. CADENCE



Coda - Groups 1-6

Group 7: Coda



12/16


mf f

mf f

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts

Group 3 starts



Tim Benjamin

Common Wealth

Group 8

Group 4 starts

Group 5 starts

Group 6 starts

Group 7 starts

Group 8: Response - Waltzing Matilda

in Bb Cheerful: q = 104

f

in C

f



in Bb To Coda after Group 7B. CADENCE



in C

Coda - Groups 1-7

in Bb

Group 8: Coda


in C


13/16


mf mf -p mp mf

mf mf -p mp mf

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts

Group 3 starts



Tim Benjamin

Common Wealth

Group 9

Group 4 starts

Group 5 starts

Group 6 starts

Group 7 starts

Group 8 starts

Group 9: Response - Now Is The Hour

in C Warmly: hhhh. = 48play twice

in Bb

play twice Slowly walk (while playing) towards the CALL GROUP...





in Bbbbb

Coda - Groups 1-8

in C

Group 9: Coda

Group 9 coda Call Group coda

in Bbbbb


14/16


f

f

mfcresc.

mfcresc.

ff

molto rit.

ff

"Bagpipe" drone

Call starts

Group 1 starts

Group 2 starts

Group 3 starts

Group 4 starts



Tim Benjamin

Common Wealth

Group 10

Group 5 starts

Group 6 starts

Group 7 starts

Group 8 starts

Group 9 starts

Group 10: Response - Nkosi Sikeleli Afrika

in C Proudly: q = 88

in Bbbbb






in Bbbbb

Coda - Groups 1-9

in C

Group 10: Coda

Call Group coda

in Bbbbb


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Common Wealth Performance Notes

Call group

In general the Call group should include (not necessarily exclusively) instruments that cannot be moved while

being played. The bagpipe drone would be best played by lower instruments capable of sustaining for some time,although the grace note marked for a re-take is a vital part of the bagpipe sound. The call motif should be played

by one or two pairs of instruments with a penetrating quality so that it will still be heard even when all the other

groups are playing.

Bagpipe: cello, contrabass, tuba, organ

Call motif: trumpet, trombone, oboe (in pairs for the two-part writing)

Other groups

In general there should be a variety in timbre and pitch (octave) between the groups, but consistency within each

group. The maximum contrast should be between groups that enter consecutively. The precise instrumentation

could reflect the markings given for each response. The following examples give suggestions from two or three

instrument families that might be appropriate:

1. Greensleeves: Graceful, calm flute in lower octave, single viola, tenor horn.2. Sai Gan: Bright flute in upper octave, violins, trumpet with straight mute.3. Scots Wha Hae: Bold French horn, violins, cor anglais.4. The Young Mans Dream: Slowly baritone or euphonium, single violin as fiddle, clarinet.5. Linstead Market: Rhythmic trombone in a jazz style, flute, recorder; steel drums would be ideal but are

not very portable!

6. O Canada: Broadly bassoon, French horn, euphonium.7. Jana Gana Mana: Smoothly requires instruments capable of glissing the grace notes, e.g. violin, viola.

Unison strings would be a sound reminiscent of traditional Bollywood soundtracks and therefore somewhat

appropriate.

8. Waltzing Matilda: Cheerful clarinet, bassoon, cornet. This response would benefit from a more rag-taggrouping of very different-sounding instruments, with at most just one string instrument.

9. Now is the Hour: Warmly in contrast to no. 8, would benefit from a group of the same or similarinstruments, e.g. cornet, tenor horn, euphonium, baritone, or clarinets.

10.Nkosi Sikeleli Afrika cornet, trombone, clarinet, several strings.


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Performance Choreography

The Call group is situated at the centre of the performance space. For example, if in a traditional concert

auditorium, the group would be placed in the centre of the stage. In a church, they could be placed at the altar or on

the chancel steps, or (depending on the layout), at the centre of the building if there are several routes to the centre

(for example, under the dome of a cathedral).

The Response groups should start in different locations around the performance space, and as they begin to play,

move towards the Call group. Therefore, they should all begin at a good distance away from the call group. In atraditional auditorium, the response groups could begin in the aisles and off-stage in the wings. In a church the

response groups could begin in the aisles, main nave, at the high altar, in the porches, or in the choir, depending on

where the call group is placed.

It does not matter when each response group reaches the call group; they may arrive roughly the same time or

in any sequence. Avoid any group moving quickly the impression should be of a stately procession.

The intended effect is for audible antiphony between calls and responses, for the response groups to be visibly

beating a path towards the call group, and for the final group of all musicians to be able to perform effectively

together for the audience. Overall, the piece should have a fun, uplifting and celebratory feel rather than be overly

serious, pompous, or grandiose.

Performance Sequence

The sequence of performance is as follows:

1. The Call group begins playing the bagpipe drone, followed by the call motif (CALL at figure A in thescore). The motif is played quietly at first but becomes stronger over the course of the first half of the piece.

2. At a suitable moment after the call motif has been played at least once, the first Response group beginsplaying (1. Greensleeves) and moving towards the call group.

3. Each subsequent response group (2-10) joins in turn and begins moving towards the call group after thepreceding response has been played at least once.

4. The performers in the response groups may optionally introduce some harmony and melodicembellishments , depending on the capability of the musicians. The harmony should keep to the key of G

major (concert) with accidentals only as are present in the response itself (e.g. D sharp in Greensleeves).

5. When each response group reaches the call group, they should complete their response then begin thecorresponding cadence figure (at B in the score). When this starts to happen, the call group should

introduce the additional motif (at B), but continue their original call motifs until all response groups have

reached them.

6. When all the response groups have reached the call group, the call group should only perform thecadence music (at B). All groups should perform the repeated section as many times as desired,maintaining a constant crescendo. Cadential harmony and variations ad lib. may be introduced.

7. When ready to finish, all groups perform the indicated coda section in sequence (beginning with the callgroup, then groups 1 to 10).

8. The final chord is held for a short time, and all should finish playing together on some agreed signal.

Tim Benjamin

Documents

Score of Commonwealth