2. Musical Journey Anthology
Introduction
The Musical Journey Anthology has been commissioned as an educational and musical
resource for creative music practitioners who work in second level schools and in the wider
musical community.
The Anthology is a collection of musical possibilities reflecting just some of the many
instrumental tastes, interests and activities in school music making.
We hope practitioners and young people alike will enjoy these possibilities offered in this
musical journey!
Contents
Piece 1: Hard times here again no more: Foster/Daniel Dunne (C Major version).
Dunne/ PDST.
Piece 2: Hard times here again no more: Foster/Daniel Dunne (D Major version).
Dunne/ PDST.
Piece 3: Classroom Concertino: Michael Cummins. Cummins/ PDST.
Piece 4: Circle, Pattern, Line: Jonathan Nangle. Nangle/ PDST.
Piece 5: With or Without You: U2/Sue Furlong. Music by U2. Words by Bono. Published
by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK), Mother Music
(Irl.). Furlong/ PDST.
Piece 6: With or Without You: U2/Darragh O'Toole. Music by U2. Words by Bono.
Published by Universal Music Publishing B.V. except Blue Mountain Music Ltd (UK),
Mother Music (Irl.). O'Toole/ PDST.
Piece 7: Piece: Marian Ingoldsby. Ingoldsby/ PDST.
Commissioned by the Professional Development Service for Teachers (PDST) in
partnership with Music Generation and the County Cork School of Music.
3. Index of Scores
Hard times here again no more (C Major): Foster/Daniel Dunne! ! Page 4
Hard times here again no more (D Major): Foster/Daniel Dunne! ! Page 11
Classroom Concertino: Michael Cummins! ! ! ! ! Page 17
Circle, Pattern, Line!: Jonathan Nangle! ! ! ! ! ! Page 58
With or Without You: U2/Sue Furlong! ! ! ! ! ! Page 69
!
With or Without You: U2/Darragh O'Toole! ! ! ! ! Page 95
!
Bach meets Mozart and Friends: Marian Ingoldsby! ! ! ! Page 107
62. | circle |
becomes a
| pattern |
which contributes to forming a
| line |
63. circle/pattern/line
How to Prepare your Part
1) Choose one of the two pages featuring a diamond shaped score.
The score can be turned through 180˚; either orientation is valid as there are no clefs
2) As a group choose 6 notes that will form the harmony of the piece, numbered 1-6,
from low to high, for example
3) Each circle is notated on a 6-line stave
64. 4) Performers use the 6-line stave as a key to ordering the harmonic material
5) Each performer chooses their own route through the score
6) By following these steps, each performer will produce their own
performance part
& œ
œ
5 1
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3
&
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6
&
œ œ
2 4
œ œ
2 4
œ
3
œ
1
œ œ
5 6
œ
œ
4 1
œ
2
œ
6
œ œ
3 5
œ
œ
6 1
œ
4
œ
5
œ œ
2 3
œ œ
3 2
œ
5
œ
1
œ œ
6 4
œ œ
5 6
œ
3
œ
1
œ œ
2 4
œ œ
5 3
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6
œ
2
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1 4
circle / pattern / line
Jonathan NanglePerformance Score
ª
65. Performing the Piece
One or more players provide a steady, rhythmic pulse that starts and ends the
piece. This could be on a drumkit or other un-pitched percussion instrument(s) or
could be one or more pitches played steadily on a tuned percussion
instrument(s).
Each player performs from the score they prepared in advance.
Parts are rhythmically free, while adhering to the rhythmic pulse.
Players can perform each circle either clockwise or anti-clockwise, and are free to
change direction at any time.
Each player repeats their circle until cued to either stop or move onto their next
selection.
The conductor cues each player to begin and end a circle, thus crafting the overall
structure of the piece.
96. With Or Without You
(how to use this score)
This arrangement is designed to be as adaptable and flexible as possible. There are
suggestions here to help to steer various approaches to performance based on the
number of players and variety of instruments available.
The overall approach is that the performance should be fun, exciting and all-
inclusive. The structure is built on simple rhythmic figures working together, and
this includes body-percussion parts, such as hand-claps and foot-stomps, so that
even students who do not play an instrument can get involved. In fact, the more the
merrier.
Explanation of Score & Parts:
All transposing instruments are written in C in the score. But the individual parts are
transposed correctly for each instrument.
The staves are numbered instead of being named for specific instruments. So, for
example: the first staff line is no.1 and this is the melody. Staves 5,6,7 & 8 are
percussion lines, etc.
Below is a detailed description of how to use each line. Again, the numbers
correspond to each staff line.
Line 1.
This is the melody and therefore requires the most consideration. It is not the
intention that all instruments play from beginning to end, but rather it is an
opportunity for the teacher and students to experiment with blend and tone colour
using the instruments they have available. For example, the first verse could be
played by woods (or one section of the woods) or recorder alone, then at the chorus
the brass could join in or perhaps take over, etc.
This approach should be experimented with throughout the piece. Of course as the
dynamic level increases it will eventually require all instruments playing in unison in
order to maintain a strong melodic presence, when this happens is, yet again, a
choice to be made once the ensemble has got a sense of their own overall balance.
N.B The melody line is written in it's entirety in each of the individual parts. It is up to the teacher to
instruct each player when they are to play and when they are to rest.
Woodwinds/Brass/Recorder
97. Line 2.
This is the melody an octave lower (with the exception of the section titled Bridge
Pt.2 (rehearsal mark G) where it fulfils it's own harmonic role). It is particularly
useful as reinforcement when the dynamic level gets louder. Like line 1. It is up to
the individual ensemble to decide when it is best employed and in which particular
instrumental grouping.
Lines 3 - 4.
The strings are divided into a treble clef and bass clef in the score but the parts are
given individually as Violin 1, Violin 2, Viola and Cello. Although the Viola and Cello
parts will help to make the sound fuller they are not essential. And if there is an
abundance of violins but no violas, a section of violins can easily play the viola part
if the sound needs to be filled out.
Lines 5-8: percussion
This is where there is considerable room for creativity. The following are
suggestions for each line depending on the numbers available, but as long as each
line is performed clearly and distinctly, all manner of found percussion can be used.
Line 5.
If there is a reasonably sizeable number of students available to perform in each
percussion section then the most recommended approach to this line would be
using hand tapping. That is, as opposed to clapping where both hands move
towards each other, this should be performed the following way: one hand is held
stationary at a comfortable angle and is then patted with the other hand. This can
become clapping later on in the song if it is being completely drowned out as the
dynamic level increases. But this line should never be louder than lines 6 or 7.
There should be a very slight accented feel on every crotchet beat if possible.
With smaller groups a hi-hat, or side drum with brushes may be used. Or try
experimenting with different surfaces and objects.
When using hand-taps or multiple surfaces and instruments, it is important to strive
for a crisp defined sound. If too much of a flam sound occurs the whole piece will
sound muddy and ill-defined.
Woodwinds/Brass
Strings
Percussion 1
98. Line 6.
This should be performed with hand-claps (and/or a side drum with sticks). It should
be strident and enthusiastic. Yet again, other 'found' objects can be used if you wish
to make it distinctive or unusual.
Line 7.
This should have as equally an enthusiastic feel as line 6. It can be played using any
low unpitched percussion instrument, such as a low tom or a small bass drum.
Foot-stomps would also work if they are not too tiring for the performers (or they
could perhaps be added over the bass drum or tom towards the climax of the piece
to create some drama.) Yet again other objects may be used, as long as they
produce a deep, percussive sound.
Line 8.
This line is completely optional as it may too difficult to perform at certain levels.
Ideally it should be played by a competent performer shaking a tambourine. Or if it
can be done without sounding too harsh or mechanical, a mounted tambourine (or
similar) can be hit with sticks.
Line 9.
As the name would suggest, an electric bass is most suitable for this line. But in the
absence of a bass guitar a keyboard with bass sounds would work perfectly well.
Other than that a second piano may be used (transposed down an octave). Or if
there is only one piano/keyboard the performer playing the piano part should
maintain the eight-note bass line throughout, ignoring the left hand piano part as it
is written, and if they find it manageable should also play in octaves from the point
where the electric bass would have made its entry.
Piano.
The piano part is ideally suited for the teacher to play while guiding the performers
as it introduces the tempo. It also doubles with other instruments when they have to
Percussion 2
Percussion 4
Electric Bass (or other)
Percussion 3
99. play slightly trickier timings. That said, if there is a capable student they may play
the part and free up the teacher altogether.
In addition: if there are multiple keyboards available, a pad or string sound can be
used to double up with the real strings, and the rapid, repeated right-hand figure on
the piano at rehearsal mark C could be played using a light chime or bell sound (and
could even be introduced again over the bridge or final chorus).
