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Fountains (adaptable)

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Derek M Jenkins

Derek M Jenkins


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Subtitle: For Variable Instrumentation Band


General Info

Year: 2014 / 2020
Duration: c. 3:00
Difficulty: (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Derek M. Jenkins
Cost: Score and Parts (print) - $20.00; (digital) - $10.00


Instrumentation

Full Score
Soloist

  • Flute
  • Oboe
  • B-flat Soprano Clarinet
  • E-flat Alto Saxophone
  • B-flat Trumpet

Part 1

  • Flute
  • Oboe
  • B-flat Soprano Clarinet
  • B-flat Trumpet

Part 2

  • B-flat Soprano Clarinet
  • E-flat Alto Saxophone
  • B-flat Trumpet

Part 3

  • Bassoon
  • B-flat Bass Clarinet
  • B-flat Tenor Saxophone
  • F Horn
  • Trombone
  • Euphonium

Part 4

  • Bassoon
  • B-flat Bass Clarinet
  • E-flat Baritone Saxophone
  • F Horn
  • Trombone
  • Euphonium
  • Tuba

Percussion

(Percussion detail desired)


Errata

None discovered thus far.


Program Notes

Kansas City and Rome are considered by many to be the cities of fountains. I have lived in Kansas City for many years, and I pass several fountains every day. For me, they stand as reminders that I need to slow down and relax more often. In his iconic Fontane di Roma (Fountains of Rome), composer Ottorino Respighi depicts the majestic fountains in Rome. Respighi’s music has had a profound effect on me as a composer, and as a small homage, snapshots and fragments reminiscent of his Fontane di Roma have been interspersed throughout my piece. This work takes Respighi’s Roman fountains and integrates them with the serenity I have experienced while viewing the Kansas City fountains. Essentially, Fountains merges two cities half a world apart.

The original version for string orchestra was commissioned by Steven D. Davis and the Youth Symphony of Kansas City for their performance at the 68th Annual Conference of The Midwest Clinic.

- Program Note by composer


Performance Notes

Ideally, the mallet instruments should be marimbas and vibraphones. glockenspiels and crotales are also permissible. However, xylophones and chimes would detract from the desired character. There are four notated percussion parts. If using fewer than four percussionists, use the following parts:

  • 1 percussionist – Percussion I (using the alternate part mm. 28 -46)
  • 2 percussionists – Percussion I & IV (using the alternate part mm. 28 -46)
  • 3 percussionists – Percussion I, III, & IV (using the alternate part mm. 28 -46)

•An “X” time signature indicates “free time.” Throughout these free time sections, triangles containing numbers are used. These indicate the number of cues in each larger section. Dashed barlines separate cues.
•If less than three mallet percussionists are used, adjust number of cues accordingly and make the duration between cues slightly longer.
• Timing indications in free time are simply guidelines.
• Double whole notes in the “free time” sections indicate the note begins at the cue and lasts for the full duration of that cue or until the horizontal line ends.
• Single line staves denote that the player is not playing.
• The percussion motives in the boxes should be played freely and asynchronously. An approximate tempo range is provided. Each player is free to play these boxes at whatever tempo they like within the provided range.
• Players do not have to play at the same for every repetition.
• Boxed notation continues for as long as the horizontal line indicates.
• There are two solo moments in this piece. The first at Rehearsal A and the second at Rehearsal D. Separate soloist parts are included for Flute, Oboe, Clarinet, Alto Saxophone, and Trumpet. The conductor decides which performer is best suited for these solo moments. The same soloist or same instrument does not need to be used in both occurrences.
• The soloist does not play until Rehearsal A. They join their respective sections at m. 19 (for players joining Part I) and m. 28 (for players joining Part I). These moments are marked with “tutti.”
• In measures 51-55 in Percussion I-III, there is an expression stating that “players should start dropping out slowly.” This is to be done freely and asynchronously, as long as all the indicated players have ceased playing by the end of these sections and the overall dynamic shape seems to diminuendo. There is a diminuendo provided in the score only as a reminder.


Media

(Needed - please join the WRP if you can help.)

State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of South Carolina Aiken Wind Ensemble (Hayes Bunch, conductor) - 2 December 2021


Works for Winds by This Composer

Adaptable Music

  • Fountains (Adaptable Band) (2014/2020)
  • Kolo (Flex instrumentation) (2015/2020)
  • Solar Flare (Flex instrumentation) (2019/2020)


All Wind Works


Resources

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