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Double Play

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Cindy McTee

Cindy McTee


General Info

Year: 2011
Duration: c. 17:00
Difficulty: V (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Bill Holab Music
Cost: Score and Parts - Rental


Movements

1. The Unquestioned Answer - 7:10
2. Tempus Fugit - 8:55


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II-III
Bassoon I-II-III
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Contra Alto Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
C and B-flat Trumpet I
B-flat Trumpet II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium I-II
Tuba
String Bass
Harp
Timpani
Percussion I-II-III-IV-V, including:

  • Bass Drum
  • Bongos
  • Castanets
  • Conga
  • Cowbell (4)
  • Guiro
  • Hi-Hat
  • Marimba
  • Mark Tree
  • Rainstick
  • Ratchet
  • Shakers
  • Sizzle Cymbal (medium)
  • Snare Drum
  • Suspended Cymbal (large and small)
  • Tambourine
  • Tam-Tam (medium)
  • Temple Blocks (5)
  • Tom-Tom (4)
  • Triangle (large)
  • Vibraphone
  • Vibra-slap (mounted)
  • Wood Block (2)


Errata

None discovered thus far.


Program Notes

Originally commissioned by the Detroit Symphony Orchestra and Leonard Slatkin in honor of Elaine Lebenbom, Double Play consists of two continuous movements, each of which can be performed separately. The wind symphony version was commissioned at the request of Eugene Corporon with funding from a consortium of ensembles including the Lone Star Wind Orchestra, Ohio University, Rutgers University, and the University of North Texas. Generous support for this project was also provided by the Institute for Advancement of the Arts at the University of North Texas.

The composer writes,

“I have always been particularly attracted to the idea that disparate musical elements -- tonal and atonal, placid and frenetic -- can not only coexist but also illuminate and complement one another. I can think of no composer more capable of achieving these kinds of meaningful juxtapositions than Charles Ives. As in Ives’ Unanswered Question, my Unquestioned Answer presents planes of highly contrasting materials: sustained, consonant sonorities in the strings intersect to create dissonances; melodies for the principal players soar atop; and discordant passages in the brass and winds become ever more disruptive. The five-note theme from Ives’ piece is heard in both its backward and forward version throughout the work.

Tempus Fugit, Latin for “time flees” but more commonly translated as “time flies,” is frequently use as an inscription on ciocks. My Tempus Fugit begins with the sounds of several pendulum clocks ticking at different speed and takes flight about two minutes later using a rhythm borrowed from Leonard Slatkin’s Fin for orchestra. Jazz rhythms and harmonies, quickly moving repetitive melodic ideas, and fragmented form echo the multifaceted and hurried aspects of 21st-century American society.”

- Program note by Seth Wollam for the Lone Star Wind Orchestra concert program, 20 December 2012


Media


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by This Composer


Resources

  • Cindy McTee website Accessed 28 May 2016
  • The Horizon Leans Forward…, compiled and edited by Erik Kar Jun Leung, GIA Publications, 2021, p. 417.