Download set (Score & Parts)
Piccolo
Flute (optional div.)
Oboe
Bassoon
Eb Clarinet
Bb Clarinet 1
Bb Clarinet 2 (div.)
Bb Bass Clarinet
Eb Alto Saxophone 1 (doubling Bb Soprano Saxophone)
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpet 1
Bb Trumpet 2
F Horn 1/2
Trombone 1
Trombone 2
Euphonium
Tuba
String Bass
[Percussion 1] Timpani, Spring Drum, Maracas, Suspended Cymbal, Low Tom
[Percussion 2] Vibraphone, Glockenspiel, Hi-Hat, Snare Drum, 3 Wood Blocks, Marimba, Suspended Cymbal, Wind Chime
[Percussion 3] Tam-tam, Bass Drum
Sizzle Cymbal, Suspended Cymbal, Chime
[Percussion 4] Glockenspiel, Suspended Cymbal, Marimba, Ribbon Crasher, Vibraslap, Flexatone, Whip, Chime, Tam-tam, Crash Cymbals, Vibraphone, Cabasa, Finger Cymbal, 4 Toms, Xylophone
[Percussion 5] Chime, Wind Chime, Vibraphone, Glockenspiel, Suspended Cymbal, Xylophone, Ratchet, Marimba, Triangle
Program Note:
Commissioned by Kibougaoka High School Wind Orchestra (Nakama City, Fukuoka), and premiered in February 2017 at the Nakama Harmony Hall.Following Makam Dance and Makam Spiritus, this is the third and final installment of the Makam series. In addition to utilizing the makam scale, I incorporated contemporary musical styles, Middle Eastern rhythmic patterns, and playful elements. The fast-paced sections feature sudden scene changes, and I believe recognizing these shifts as a characteristic of the piece will enhance its appeal.
As a personal message, I named this work Passionato to reflect my desire for performers to express passionate music, and to bring the makam series to a close with that sentiment.
Kibougaoka High School premiered every work in the series - starting with the ensemble version of Dance, followed by the wind ensemble versions of Dance, Spiritus, and finally Passionato. I will never forget their dedication, filled with dreams and hope, and the wonderful musical expression they brought to life.
Performance Notes:
For the opening long tone (concert C) in the clarinet, carefully listen to the percussion resonance and aim to create a rich, deep sound.
In measure 9, the keyboard solo should come in with the feeling of cutting sharply into the flow.
From rehearsal letter A, the woodwind ensemble should pay close attention to phrasing and line direction.
From measure 19, the melody should be played with a sense of elasticity and flowing undulation to bring out a rich and expressive atmosphere.
From measure 35, the sixteenth notes in the woodwinds are technically demanding; begin practicing at a slow tempo to ensure clarity and expressive control.
From measure 41, bring out the rhythmic excitement with a bold and vivid tone.
This also applies to sections G through I.
From rehearsal letter N, aim for tone colors and expressiveness that match the character of the music.
The middle section should be played cantabile, with beauty and lyricism.
From rehearsal letter R, rather than simply following the conductor, prioritize ensemble cohesion and strive for unity in performance.
From rehearsal letter S to the end, aim for a performance that is tight, energetic, and full of momentum.
(Hiroaki Kataoka)
World Parts Download
