Page 1
ANDREW DAVID PERKINS (ASCAP)
FOR CONCERT BAND
Composed for the Traverse City West HS Wind Ensemble, Rachel Linsmeier, Director, to honor those who built, worked and lived in the Traverse City State Hospital.
FULL SCORE / 3 1 1 1 (+Contra) 3 (+Bass, Contra Alto, Contra Bass) Soprano, Alto (2), Tenor, Bari / 3 2 3 1 1 1 / Timp Perc (3)
DURATION: Approximately6:00
GRADE: 4
Copyright © 2017 APOLLO STUDIOS. All Rights Reserved. www.andrewdavidperkins.com
Page 3
PROGRAM NOTE The Traverse City State Hospital in Traverse City, Michigan (previously known as the Northern Michigan Asylum) is the last Kirkbride Building in the state. Completed in 1885, it was listed on the National Register of Historic Places in 1978 and designated a Michigan State Historic Site in 1985. Dr. James Decker Munson was a firm believer in the "beauty is therapy" philosophy. Patients were treated through kindness, comfort, pleasure, and beautiful flowers provided year-round by the asylum's own greenhouses and the variety of trees Munson planted on the grounds. Restraints, such as the straitjacket, were forbidden. Also, as part of the "work is therapy" philosophy, the asylum provided opportunities for patients to gain a sense of purpose through farming, furniture construction, fruit canning, and other trades that kept the institution fully self-sufficient. Changes in the law and mental health care philosophies brought on the decline of the institution, and it was closed in 1989. Over the next decade, the community struggled with plans for reuse of the hospital grounds, until 2000, when the Grand Traverse Commons Redevelopment Corporation secured an agreement to renovate the historic buildings. Their efforts have led to the gradual but successful preservation and re-use of the former Building 50 as part of The Village at Grand Traverse Commons, a residential and commercial development. The beautiful complex now houses condominiums, stores and shops, bakeries, art galleries and gourmet restaurants. ASYLUM is a tone poem that that attempts to reflect the complex beauty, pain, and healing of both the people who lived and worked here, as well as the incredible architectural achievement of the Kirkbride building itself.
BIOGRAPHICAL NOTE
A GRAMMY nominated music educator and accomplished multi-instrumentalist, conductor, and composer, Andrew David Perkins (b.1978) holds a specialist certificate in Orchestration from the Berklee College of Music, a Master of Music degree from the University of Michigan, and a Bachelor of Fine Arts degree from Michigan State University. He is an active arranger, composer and conductor, and a regular clinician and educator, nationally and abroad. Born in Royal Oak, Michigan into a musical family, Perkins began composing on the piano in his early childhood. His orchestral training accelerated at the Interlochen Arts Academy, and soon thereafter he began undergraduate studies focusing on music education and composition. Mr. Perkins spent several seasons as a marching member and conductor of the Phantom Regiment Drum & Bugle Corps from Rockford, Illinois. He especially enjoys writing music for younger musicians, on which he has focused for the past few years. Perkins has served as an adjunct professor of Film Scoring at Madonna University in Livonia, Michigan, and is currently the Director of Instrumental Music and Music Technology at Fenton High School in Fenton, Michigan. He additionally serves as the Music Director and Conductor of the Fenton Community Orchestra. Mr. Perkins is a member of the American Society of Composers Authors and Publishers (ASCAP) and his music is exclusively published through APOLLO STUDIOS (ASCAP). Andrew David Perkins currently resides in Michigan with the love of his life whom he married in 2010, and their daughter. His interests include theology, photography, cinema, vintage instruments, gear, gastronomy, and craft-brewing.
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PERFORMANCE NOTES
The harmonic structure of ASYLUM is such that most major sonorities include either an augmented fourth or minor third interval layered upon the major triad. It is important that all of the voices are equally heard in the chord, so as not to focus too much on the strongly dissonant notes. The non chord-tones are allegorical to the complexity of the subject matter, and require excellent intonation and dynamic presence to be effective and not overpowering. All solos are optional, and can be performed soli if preferred, or for balance reasons. Careful attention should be paid to dynamics throughout the piece, specifically the subtle micro-phrasing (often two-measure crescendo/decrescendo sets). Dynamically tapering the lyrical lines in and out of silence should be a priority. Scattered throughout the piece are several ornamental phrases, repeated both in solo and soli counter-melody lines. These figures are either a dotted eighth note followed by a sixteenth note and a longer note, or a pair of sixteenth notes leading up to a longer note and then another pair leading back, in a swaying, listing rhythm. These should be brought out of the texture, and performed freely, not in perfect metric subdivision. Tempo fluctuation at the discretion of the conductor is highly encouraged, particularly at cadences, and especially at rehearsal marks 78 and 92. Rubato, expressive interpretation is ideal. The soprano saxophone part can be omitted entirely if Oboe is present, as much of the oboe part is therein cued. The String bass part mostly doubles the tuba, with the exception of the pizzicato playing. If desired, in the absence of a String bass, the part can be performed on a marimba with soft heavy mallets. Percussion should be played with soft, heavy mallets. As large a gong as possible is preferred, specifically a “wind gong” (a Tam Tam that does not have the curved lip at the edge). Suspended cymbals should be 16” to 18” and preferably have a long decay and dark tone. Research on the rich history of the Traverse City State Hospital is highly encouraged, and will enhance the performance experience.
FORMAL STRUCTURE
EXPOSITION 1 Statement of main theme (A) in four voices, F Maj, A min, Ab Maj 11 Restatement and expansion of (A) theme, countermelodies enter, texture thickens. 21 Harmonic tritone motif, modulates to Bb 25 (B) theme, (A) theme persists in fragments 33 (B) theme restated in fuller orchestration, establishing Bb as sub-dominant, (A) theme DEVELOPMENT 43 (C) theme in F min, interpolating harmonic triton motif 51 (C) theme continues, statement of (A) theme in new key as modulation device to D min 59 Development continues, sequence of secondary dominants, D min, A min, G min, D min 67 Development continues, leads to original harmonic tritone motif RECAPITULATION & FINALE 78 (B) theme is restated in fullest voicing, re-establishing Bb as sub-dominant, propelling towards 84 (A) theme in final form, moving from D min, F min, leading to Eb Maj. 92 Final statement of (A) theme, as in the beginning, now Eb Maj, G min, Gb Maj and finally Bb Maj.
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INSTRUMENTATION 1 FULL SCORE 2 Flute 1 2 Flute 2 2 Flute 3 1 Oboe 1 English Horn 1 Bassoon 1 Contrabassoon 4 Clarinet 1 8 Clarinet 2/3 2 Bass Clarinet 1 Contra Alto Clarinet in Eb 1 Contra Bass Clarinet in Bb 1 Soprano Saxophone 2 Alto Saxophone 1 2 Alto Saxophone 2 1 Tenor Saxophone 1 Baritone Saxophone 3 Trumpet 1 6 Trumpet 2/3 2 Horn 1 2 Horn 2 2 Trombone 1 4 Trombone 2/3 1 Euphonium T.C. 1 Euphonium 3 Tuba 1 Contrabass Viol 1 Timpani 1 Bass Drum 1 Suspended Cymbal 1 Large Gong
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Copyright © 2017 APOLLO STUDIOS. All Rights Reserved.
www.andrewdavidperkins.com
Full Score
Flute 1
Flute 2
Flute 3
Oboe
English Horn
Bassoon
Contrabassoon
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
in Bb
Contra Alto
Clarinet in Eb
Contrabass
Clarinet in Bb
Soprano Saxophone
Alto Saxophone 1
Alto Saxophone 2
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2, 3
Horn in F 1, 2
Trombone 1
Trombone 2, 3
Euphonium
Tuba
Contrabass
Timpani
Bass Drum
Sus. Cymbal/Large Gong
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solo
ANDREW DAVID PERKINS (ASCAP)
ASYLUM
Composed for the Traverse City West HS Wind Ensemble, Rachel Linsmeier, Director,
to honor those who built, worked and lived in the Traverse City State Hospital.
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ASYLUM
Page 8
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ASYLUM
2
Page 9
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Fl. 2
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Full Score
ASYLUM
3
Page 10
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ASYLUM
4
Page 11
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Fl. 1
Fl. 2
Fl. 3
Ob.
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Cl. 2, 3
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Full Score
ASYLUM
5
Page 12
°
¢
°
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°
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°
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°
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°
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Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
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Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
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Full Score
ASYLUM
6
Page 13
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¢
°
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Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
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Cl. 2, 3
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Cb. Cl.
Sop. Sax.
Alto Sax. 1
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Bari. Sax.
Tpt. 1
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Euph.
Tba.
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Full Score
ASYLUM
7
Page 14
°
¢
°
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Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2, 3
Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
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Timp.
B. D.
Perc.
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Full Score
ASYLUM
8
Page 15
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Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
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Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
mf mp mf
67
mf mp mf
mfmp mf
mp mf mp mf
mp mf mp mf
mp f
mp mf mp mf
f
mp f mf f mf f
mp f mp mf mp mf
mp mf mp mf
f
mp f mf f mf f
mp f mf f mf f
mp f p
mp mf mp mf
mp mf mp mf
mp f p mf mp mf f mp
mp mf mp mf
mp mf mp mf
mp mf mp mf
mp mf mp mf
63 64 65 66 67 68 69 70
&
∑ ∑ ∑
&
∑ ∑ ∑
&
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b
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arco
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˙ ™˙™
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œ˙ ™
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˙
˙
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˙
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˙™
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˙™
Œ˙
˙Œ
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˙
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˙
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˙
b
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™˙
˙
b
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™
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˙b ™ ˙ ™
˙
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˙b
œ
˙™
˙b ™ ˙ ™
˙b™
˙™
Full Score
ASYLUM
9
Page 16
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2, 3
Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
mf mp mf p mf
poco rall.
q = 7678
mp mf mp mf mp mf p mf
mp mf mp
mf
mp mf p mf
mp mf mp
mf
mp mf p mf
mf mp mf p mf
mp f
mp
mf f
mp mf mp mf p mf
mp mf mp mf
mf
mff
mf
mp
mf f
mp mf
p mf
mp mp mf p mf
mp mp mf p mf
mf
mf
mp mf mp mf mf p mf
mp mf mp mf mp mf p mf
mf
mf f
mf
mf f
mf f mf
mp
mf f
mp
mf f
p mp pp
71 72 73 74 75 76 77 78 79
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
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w
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Full Score
ASYLUM
10
Page 17
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2, 3
Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
mf f
molto rall. accel.
q = 88
84
mf f
mf f
f
f mf f mf f
mf f f
mf ff mp
f mf f f
f
mf f
f
f
f mf f f
mf
ff
mp
f
mf
f
f mf f ff
f
mf
f
ff
mp
mf
f ff f
f mf f f
f
ffmp
f
ff
mp
mf
f ff
mf f ff
mp
mf f ff mp
f mf ff f
mf
ff
mp
mf ff mp
p ff mf ff
p ff mf ff
p ff mf ff mf
80 81 82 83 84 85
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w
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w
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w
w œœ
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w
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bw
wb w
w
b œ
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w
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w
Œ
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w
Full Score
ASYLUM
11
Page 18
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2, 3
Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
ff f
poco rall. molto rall.
q = 54
ff f
ff f
ff mf
ff
ff p
ff f
ff
p
ff f
ff mf
p
ff p
ff f
ff
p
ff mf
fff mf
fff mf
ff p
ff p
ff mp ff
f
ff f
ff mp ff
f
ff mf
fff mf
ff mp
ff p
ff mp
ff p
ff p
ff f
ff p
ff f ff p
mf ff mf ff p
mf ff mf ff sfz p
ffmf
ff
mf fff ff
86 87 88 89 90 91
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Full Score
ASYLUM
12
Page 19
°
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Fl. 1
Fl. 2
Fl. 3
Ob.
Eng. Hn.
Bsn.
Cbsn.
Cl. 1
Cl. 2, 3
B. Cl.
C. A. Cl.
Cb. Cl.
Sop. Sax.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2, 3
Hn. 1, 2
Tbn. 1
Tbn. 2, 3
Euph.
Tba.
Cb.
Timp.
B. D.
Perc.
mf mp p pp
q = 66
poco rall. 92
mf mp p pp
mf mp p pp
mf mp p pp
p mp ppp
mp mf ppp
mf mp p pp
p mp ppp
p mp ppp
mp mf ppp
mf mp p pp
mp p pp
p mp ppp
p mp ppp
mp mf ppp
mp mf ppp
mp mf ppp
mp mf ppp
mp mf ppp
92 93 94 95 96 97 98 99
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Full Score
ASYLUM
13
Page 20
Please visit www.andrewdavidperkins.com for Additional works for Wind Band:
GRADIENTS (2017) Grade 2.5
ASYLUM (2017) Grade 4
CONSPIRACY THEORIES (2016) Grade 3+
PRAYERS IN VILLEFRANCHE (2016) Grade 3
SOUTHEAST BY NORTHWEST (2016) Grade 5
TRIP THE LIGHT FANTASTIC (2015) Grade 5
ALCATRAZ (2014) Grade 4
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