Journey Above the Tundra Dance of the Willow Ptarmigan Concert Band - Sheet Music

SKU: PR.495001500

ISBN 9781491139561. UPC: 680160695034.

Journey Above the Tundra: Dance of the Willow Ptarmigan was inspired by a life-changing expedition to Lake Clark National Park as part of the 2023 Composing in the Wilderness program. Immersed in Alaska’s pristine landscape, I struggled at first to compose something “light, humorous, or playful” in such a grand and spiritual setting—until a snowy willow ptarmigan appeared, clucking boldly from a nearby tree. That unexpected moment of levity became the key. This piece captures the playful spirit of that ptarmigan, portrayed by the bassoon, and the vibrant, intertwining voices of Alaskan birds dancing above the tundra.
Journey Above the Tundra contains two different types of aleatoric techniques: world-building andbirdsongs. It is important to establish the environment before introducing the birdsongs to place theaudience and the performers in the proper mindset. Although it’s not notated the conductor may treatthe first measure as a fermata until the environment is firmly established. The world-building techniquesare the following:Rain drops on canvas Performers should snap their fingers starting quietly and slowly increasing both dynamicand rate of snaps emulating a small rain shower starting from a sprinkling to a light andsteady drizzle. If performers are unable to snap their fingers, then they should pat theirlegs softly.Leaves rustling in the windPerformers should lightly crumple a piece of scrap paper to emulate leaves rustling in thewind. Communicate, listen, and follow the Percussion 5 player as they are playing thewind machine. If they increase the wind speed increase the rustling leaves and vice versa.Cool water lightly washing up on shoreThe Percussion 3 player should rotate the ocean drum with varying speed and dynamic toemulate the sound of cool lake water lightly washing up on the shore. The written dynamicis only meant for projection purposes. If one ocean drum is not being heard, then a secondocean drum should be used by either an extra percussionist or by a rain drops performer.Light gusts of windThe Percussion 5 player should vary the speed of the wind machine emulating light gustsof wind. Think of cool breezes rather than strong gusts. The written dynamic is only meantfor projection purposes. If a wind machine is unavailable, then a tam-tam can be used byscrapping brushes across the surface.Bears and moose stepping on twigs (starting in m. 191)The Percussion 4 player should very sparingly hit the castanets to emulate woodlandanimals stepping on twigs. The player has the freedom to increase and decrease thedynamics to give the effect of an animal approaching and leaving.The birdsong techniques are the following:PiccoloThe players should repeat this figure out of time with the conductor until the end of thearrow. It is important to not play this figure too fast and to give space in between eachiteration of the figure. Be sure to not vary the tempo during the figure. Once the playerbegins the figure stay with that tempo.2nd Flute and OboeThe players should repeat this figure out of time with the conductor until the end of thearrow. The eighth notes are to be performed legato with a consistent tempo. The sixteenthnotes are to be performed staccato and as fast as possible without compromising clarityand space. The notes in parentheses can either be played or omitted with every iterationof the figure. Be sure to give space in between each iteration of the figure.1st B♭ ClarinetThe players should repeat this figure out of time with the conductor until the end of thearrow. Using only the mouthpiece and the barrel players should play the upperunspecified pitch and slowly insert a finger into the barrel while blowing to lower thepitch. Players should not be in unison and should vary the tempo with each iteration ofthe figure. Be sure to give space in between each iteration of the figure.BassoonThe player should repeat this figure out of time with the conductor until the end of thearrow. Using only the reed the player should blow into the reed first lowering theembouchure to play the lower unspecified pitch. While blowing raise the embouchure toscoop up to the upper unspecified pitch and articulate this note four times as fast aspossible without compromising clarity and space. These four notes should be playedstaccato. Be sure to give space in between each iteration of the figure.Alto SaxophoneThe players should repeat this figure out of time with the conductor until the end of thearrow. Using only the mouthpiece players should play the upper unspecified pitch andslowly insert a finger into the barrel while blowing to lower the pitch. Players should notbe in unison and should vary the tempo with each iteration of the figure. Be sure to givespace in between each iteration of the figure.Percussion 2The player performs the figures in the brackets at Q = 152. Be sure to start the figures onthe beat, it begins on in the corresponding measure.