Max The King!
(1994) 6:00
(Wind Band: pc 2,2,3 bcl, 2, 2atb sx/4,4,3,euph,tb,6 perc.)
Commissioned by the Westlake High School Band, Kerry TaylorDirector, and the Westlake Band Parents
Level: Advanced high school/ college
Westlake High School band members asked that I write some music based on the famous children's book, Where the Wild Things Are by Maurice Sendak. While this piece is not a literal translation of the book into music, the general progress of the music is suggested by the antics of Max, the problem (normal?) child and king of the wild things.
The piece begins with a regal fanfare, rhythmically equivalent to the flourish that accompanies any presidential appearance (Hail to the Chief). The harmony, however, is somewhat more complicated, being constructed of intervals of the tritone, the minor third (from the octatonic scale's main chord of the full diminished seventh), perfect fourths, and augmented chords (from the whole-tone scale). The frenetic activity of the young boy is represented by whirling woodwind passages and brass punctuations. Throughout the opening section, one hears the familiar children's taunt of Na, na,na, na, na, na (m. 8, etc.), set in a variety of instrumental colors and with different technical requirements each time. Tantrum #1 begins in m. 10, again with brass punctuation and spurts of woodwinds. The timpani glissandi may call to mind a young child bouncing on the bed or couch; percussion add a glorious clatter of pots and pans (the youngster has decided to find amusement in the kitchen cabinet?); the tantrum grows, and ends in m. 22 with a spill of some sort (marbles into metal pail). There is a brief hiatus from the craziness and then the frenetic activity begins again (m. 26). The youngster tires a bit (m. 37) or perhaps, anticipating parental reaction, calms down slightly, but gives way to youthful impulse (mm. 41-45), which generates the parental response (m.46). After a knock on the bedroom door (m. 46), there is a lecture. Mom lectures in mm. 47-48, youngster responds - Yes, mom (m. 49); however, as happens with children, there is one more episode of misbehavior (mm. 51-54)!. Then comes the lecture from Dad (mm. 55-59). Obviously defeated and exiled to the bedroom for the evening, the youngster has the final tantrum and, after hopping around, heads for the bedroom (mm. 71-73); gloomily accepting the punishment with one final "Yes, Dad" (m. 75).
The youngster falls asleep and has wonderful dreams a garden springs up in the room (mm. 77-95); there is a journey to a far-off fantasy land in a boat (mm. 95-106 - yes, you do hear the strains of a sideways version of Flying Dutchman - mm. 96-104); and the first of the beasts in the imaginary land appears in m. 107. The beasts have their tantrums (mm. 107-110) but are soothed and entranced by the youngster (mm. 110-114). Having prevailed (having become the parent figure in the dream!), the youngster then calls for a Bacchanalian dance, and off they go in a whirling festival of roars, growls, and wonderfully dissonant child/monster noise (mm. 114-148). The youngster's revelry is broken by the sound of a dinner triangle ("come and get it," m. 147) and the childlike motives begin to reappear within the bestial setting. Gradually, the youngster returns (from sleep) to reality, having had this wonderful fantasy (mm. 149-151). The now-calm and subdued child-motive is be heard with an accompaniment of a roar (mm. 152-157) here and there (the fantasy is over but not forgotten), and, as a now-faded monster quietly squeals a final fanfare or two, the child-motive is set so as to indicate contentment, or is it capitulation? Lest the situation seem too unreal, the final two measures allow for the imp in the youngster to surface, a quick na, na, na, na, na, na - and a final roarpromising that this episode of quiet is only temporary; the beast is only resting.
Available from Ludwig Music
(1994) 6:00
(Wind Band: pc 2,2,3 bcl, 2, 2atb sx/4,4,3,euph,tb,6 perc.)
Commissioned by the Westlake High School Band, Kerry TaylorDirector, and the Westlake Band Parents
Level: Advanced high school/ college
Westlake High School band members asked that I write some music based on the famous children's book, Where the Wild Things Are by Maurice Sendak. While this piece is not a literal translation of the book into music, the general progress of the music is suggested by the antics of Max, the problem (normal?) child and king of the wild things.
The piece begins with a regal fanfare, rhythmically equivalent to the flourish that accompanies any presidential appearance (Hail to the Chief). The harmony, however, is somewhat more complicated, being constructed of intervals of the tritone, the minor third (from the octatonic scale's main chord of the full diminished seventh), perfect fourths, and augmented chords (from the whole-tone scale). The frenetic activity of the young boy is represented by whirling woodwind passages and brass punctuations. Throughout the opening section, one hears the familiar children's taunt of Na, na,na, na, na, na (m. 8, etc.), set in a variety of instrumental colors and with different technical requirements each time. Tantrum #1 begins in m. 10, again with brass punctuation and spurts of woodwinds. The timpani glissandi may call to mind a young child bouncing on the bed or couch; percussion add a glorious clatter of pots and pans (the youngster has decided to find amusement in the kitchen cabinet?); the tantrum grows, and ends in m. 22 with a spill of some sort (marbles into metal pail). There is a brief hiatus from the craziness and then the frenetic activity begins again (m. 26). The youngster tires a bit (m. 37) or perhaps, anticipating parental reaction, calms down slightly, but gives way to youthful impulse (mm. 41-45), which generates the parental response (m.46). After a knock on the bedroom door (m. 46), there is a lecture. Mom lectures in mm. 47-48, youngster responds - Yes, mom (m. 49); however, as happens with children, there is one more episode of misbehavior (mm. 51-54)!. Then comes the lecture from Dad (mm. 55-59). Obviously defeated and exiled to the bedroom for the evening, the youngster has the final tantrum and, after hopping around, heads for the bedroom (mm. 71-73); gloomily accepting the punishment with one final "Yes, Dad" (m. 75).
The youngster falls asleep and has wonderful dreams a garden springs up in the room (mm. 77-95); there is a journey to a far-off fantasy land in a boat (mm. 95-106 - yes, you do hear the strains of a sideways version of Flying Dutchman - mm. 96-104); and the first of the beasts in the imaginary land appears in m. 107. The beasts have their tantrums (mm. 107-110) but are soothed and entranced by the youngster (mm. 110-114). Having prevailed (having become the parent figure in the dream!), the youngster then calls for a Bacchanalian dance, and off they go in a whirling festival of roars, growls, and wonderfully dissonant child/monster noise (mm. 114-148). The youngster's revelry is broken by the sound of a dinner triangle ("come and get it," m. 147) and the childlike motives begin to reappear within the bestial setting. Gradually, the youngster returns (from sleep) to reality, having had this wonderful fantasy (mm. 149-151). The now-calm and subdued child-motive is be heard with an accompaniment of a roar (mm. 152-157) here and there (the fantasy is over but not forgotten), and, as a now-faded monster quietly squeals a final fanfare or two, the child-motive is set so as to indicate contentment, or is it capitulation? Lest the situation seem too unreal, the final two measures allow for the imp in the youngster to surface, a quick na, na, na, na, na, na - and a final roarpromising that this episode of quiet is only temporary; the beast is only resting.
Available from Ludwig Music