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Strange Humor (score)

Strange Humor (score)

  • Grade: 4
  • Duration: 5:30
  • Genre: Concert Band
  • Publisher: Osti Music
  • Item No: GOMS-90005A


$44.00
Score
Piccolo
Flute 1
Flute 2
Oboe
English Horn (cued or doubled in other instruments throughout)
Bassoon 1
Bassoon 2
Contrabassoon
Clarinet in Eb (preferred, but alternate Bb Clarinet 3 part is provided)
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3 (Eb Clarinet Cue)
Bass Clarinet in Bb
Contrabass Clarinet in Bb
Soprano Sax (preferred, but alternate Alto Sax 2 part is provided)
Alto Saxophone 1
Alto Saxophone 2 (Soprano Saxophone Cue)
Tenor Saxophone
Baritone Saxophone

Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
Bb Trumpet 4
French Horn 1
French Horn 2
French Horn 3
French Horn 4
Trombone 1
Trombone 2
Trombone 3 (Bass)
Euphonium
Euphonium (Treble Clef)
Tuba
Double Bass

Percussion, 5 players:
Player 1 : Djembe *
Player 2 : Bass Drum, muted (or a very deep hand drum to reinforce bass tone of djembe) **
Player 3 : Vibes & Snare Drum
Player 4 : Marimba
Player 5 : Xylophone, Crotales, Suspended Cymbal

Commissioned by the American Bandmasters Association.

World premiere on March 1, 2006, at the ABA convention in Richardson, Texas. Performed by the Baylor University Wind Ensemble, conducted by Richard Floyd.
"Strange Humors" is dedicated to Richard Floyd.
This work is on the Texas UIL Prescribed Music List, classified as Grade 4.

Strange Humors represents another of Mackey's works (after "Redline Tango") that has been transcribed for wind ensemble. The first version of "Strange Humors" was a student piece for string quartet and djembe that Mackey wrote while pursuing his graduate degree at The Juilliard School. It was later adapted for use by the Parsons Dance Company, with choreography by Robert Battle. Its transcription came at the behest of Richard Floyd on behalf of the American Bandmasters Association. The piece represents a merging of musical cultures -- the modal melodies and syncopated rhythms of middle Eastern music with the percussive accompaniment of African drumming.

At the heart of the work lies the pulse of the djembe, which remains from the original version. The djembe, an hourglass-shaped drum played with bare hands, is a major part of the customs of west African countries such as Mali and Guinea, where djembe ensembles accompany many functional celebrations of society.

The piece opens with a sultry English horn solo, a line laced with Phrygian influence representing the "typical" melodies of the most northeastern parts of the African continent -- most notably Egypt, but also parts of the Arabian peninsula. Later, the saxophones emulate the snaking lines of the English horn. The addition of brass and auxiliary percussion to the original orchestration makes for particular impact during the shout sections of the piece, and the groove of the djembe combined with the quirky rhythms throughout leave an impression that lingers in the listener's mind long after its conclusion.

(John Mackey)