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23075546
Sesenta
23075546
23075546
23075546
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Concert band Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Bells, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabass Clarinet, Crash Cymbals, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallets 1, Mallets 2, Oboe and more. (Piccolo, Flute 1, Flute 2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabass Clarinet, Alto Saxophone 1, Soprano Saxophone, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb ) - Grade 4
SKU: CF.SPS105F
Composed by Quincy C. Hilliard. This edition: saddle-wire stitch. Allegro Vivace (q=144). Full score. Composed 2025. 36 pages. Duration 0:07:15. Carl Fischer Music #SPS105F. Published by Carl Fischer Music (CF.SPS105F).ISBN 9781491169346. UPC: 798408101916. 9x12 inches. Key: Bb major.
Sesenta was commissioned by the Michigan City (Indiana) Municipal Band to honor Dr. Guy Foreman, who conducted the band for sixty years! Hence the title of the composition, which means "sixty" in Spanish.Performance Notes Sesenta opens with excitement and should be played this way throughout the composition. The director should be extremely careful to make sure that the tempo of q = 144-152 is maintained. The percussion should not cover the wind instruments at any time throughout the piece. The first theme is first presented in m. 7 and the second theme in m. 22. Measure 36 marks the first climax of the opening section. The Andante at m. 48 should be played in a fanfare-like style. The Allegro beginning in m. 62 brings back the bold and exciting style introduced at the beginning of the piece. Measure 98 begins the second Andante section; this section should be played in a beautiful and singing manner (rubato tempos are welcome during this section). Solos featuring soprano saxophone, flute, and euphonium start in m. 123. Measure 139 marks the end of the Andante section and a return to the first theme. The second theme re-enters in m. 154. The Coda begins in m. 162 and should be played in a majestic and fanfare-like style to conclude the piece.
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