The Ides of March
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Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2 and more. - Grade 3 .
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Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world."The Ides of March" is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup d’etat happened in the Roman government. "Et tu, Brute?" is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup d’etat or overthrow of the government in power.The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35.The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
SKU: CF.CPS142F
Composed by Sean O'Loughlin. Concert Performcnace Series. Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS142F. Published by Carl Fischer Music (CF.CPS142F).ISBN 9780825892899. UPC: 798408092894. 9 x 12 inches. Key: Eb minor.
Sean O'Loughlin's The Ides of March is pulse-pounding and haunting; a dramatic composition for band. This work celebrates the composer's love of modern film music and is an exercise in economy of musical material while remaining wonderfully melodic and elegant.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. The Ides of March is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup detat happened in the Roman government. Et tu, Brute? is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup detat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. The Ides of March is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup daetat happened in the Roman government. Et tu, Brute? is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup daetat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. "The Ides of March" is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup daetat happened in the Roman government. "Et tu, Brute?" is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup daetat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world. "The Ides of March" is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup d'etat happened in the Roman government. "Et tu, Brute?" is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup d'etat or overthrow of the government in power. The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35. The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.
Pulse-pounding and haunting are two very distinct characteristics in The Ides of March. This dramatic compo- sition for string orchestra celebrates my love of modern film music and is an exercise in economy of musical material. This economy is often referred to as minimalism, although I would not go so far as to include this composition in that world."The Ides of March" is a phrase that first appeared in the play Julius Caesar by William Shakespeare and rep- resented the time when a coup d’etat happened in the Roman government. "Et tu, Brute?" is the famous line recited by Julius Caesar at the climactic scene. The music reflects this heart pounding pace and the events leading to the coup d’etat or overthrow of the government in power.The music starts with a three note idea that permeates the entire composition. The first section of the piece from mm. 1-35 is essentially one big crescendo. Different elements get added to the core three-note idea to increase its complexity. The swells in the low strings provide a grounding element to the rhythm above. The rhythm starts to break away from itself at m. 13 with the addition of a counterrhythm in the first violin. This counterrhythm becomes the main driving force at m. 21 with some melodic material introduced in the lower strings. The two eighth-note rhythmic ideas unite once again at m. 29 with a third rhythmic idea brought into the lower strings to provide the final push into m. 35.The rhythmic cycle starts up again at m. 36, but this time it welcomes a lyrical line in the first violins. The piz- zicato notes in the celli and basses should have a light and spirited quality to them. A counterline joins the lyrical line at m. 46 with several intriguing moments of dissonance. The rhythm lets up a touch at m. 54, but quickly returns at m. 62 with the same three note rhythm displaced by one beat between the violins and the viola and celli. A build-up follows that releases into the big lyrical and haunting moment of the piece at m. 74. The sound here should be broad, rich and triumphant. Bring out the eighth notes at mm. 80-81 while hav- ing the sustained notes pull back a bit. The soft dynamic at m. 90 signals a return to the rhythmic cycle. As before, layers of rhythms keep being added to increase the intensity of the moment. This crescendo finally releases itself at the end. Be mindful of the two beats of tutti rest in m. 117 that sets up the final climactic gesture in the following measure.