11
8/9/2019 Walvisbaai - Ralph Ford http://slidepdf.com/reader/full/walvisbaai-ralph-ford 1/11 Please note: Our band and orchestra music is now being collated by an automatic high-speed system.  The enclosed parts are now sorted by page count, rather than score order. BEGINNING BAND PROGRAM NOTES Walvisbaai (Walvis Bay) is a Namibian harbor town located on a wide lagoon that contains many natural wonders: thousands of sea birds, pelicans, and flamingos inhabit this unique environment. Surrounded by the massive dunes of the Namib Desert, the natural deep-water harbor has been a haven for sea vessels for centuries, protected by Pelican Point. These waters bordering the Atlantic Ocean are rich in marine life that has encouraged many whales, along with whalers and other fishermen, to reside. Originally named “Ezorongondo” by the Herero people, it remains a vital habitat and resource. NOTES TO THE CONDUCTOR  This piece provides many opportunities for soft, sensitive, nuanced playing with an emphasis on tone production and control. There is ample cross-cueing throughout the score to provide as many options with regard to instrumentation. Feel free to experiment with different combinations, using the cues to provide additional support where needed in the ensemble.  The top two notes on the Percussion 2 part are intended for tenor toms tuned a third apart, or optional congas can be substituted.  Tenuto marks are intended to indicate added emphasis (not an accent, but heavier in weight) to the given note(s). Exaggerate dynamics, particularly the softer indicators.  Two terms that are worthy of discussion in preparation of this piece are: Dolcezza, which is Italian, indicating sweetness, softness of tone, and expression, and Niente, which is abbreviated in the notation as n., appearing like a dynamic marking indicating that the sound dies away to nothing at the end of the decrescendo.  The intention of this piece is to project a delicate/unique environment that grows into the full sweeping grandeur of this part of the world (emboldened and majestic). It is strongly recommended to take some time and resources investigating this fascinating part of the world. Walvisbaai The Gateway to Namibia RALPH FORD (ASCAP) Grade 1½ INSTRUMENTATION  1 Conductor  10 Flute  2 Oboe  10 B  Clarinet  2 B  Bass Clarinet  6 E  Alto Saxophone  4 B   Tenor Saxophone  2 E  Baritone Saxophone  8 B   Trumpet  4 F Horn  6 Trombone/Baritone/Bassoon  2 Baritone Treble Clef (World Part Trombone in B   Treble Clef)  4 Tuba  1 Mallet Percussion (Bells)  2 Percussion 1 (Tenor Toms [2] or Optional Congas, Large Floor Tom)  3 Percussion 2 (Triangle/Crash Cymbals, Suspended Cymbal)  1 Optional Timpani (Tune: A, E) WORLD PARTS  Available for download from www.alfred.com/worldparts Horn in E   Trombone/Baritone in B  Bass Clef  Tuba in E  Bass Clef  Tuba in E   Treble Clef  Tuba in B  Bass Clef  Tuba in B   Treble Clef 

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Page 1: Walvisbaai - Ralph Ford

8/9/2019 Walvisbaai - Ralph Ford

http://slidepdf.com/reader/full/walvisbaai-ralph-ford 1/11

Please note: Our band and orchestra music is now being collated by an automatic high-speed system.

 The enclosed parts are now sorted by page count, rather than score order.

BEGINNING BAND

PROGRAM NOTES

Walvisbaai (Walvis Bay) is a Namibian harbor town located on a wide lagoon that contains many natural wonders:

thousands of sea birds, pelicans, and flamingos inhabit this unique environment. Surrounded by the massive dunes of

the Namib Desert, the natural deep-water harbor has been a haven for sea vessels for centuries, protected by PelicanPoint. These waters bordering the Atlantic Ocean are rich in marine life that has encouraged many whales, along

with whalers and other fishermen, to reside. Originally named “Ezorongondo” by the Herero people, it remains a vital

habitat and resource.

NOTES TO THE CONDUCTOR

 This piece provides many opportunities for soft, sensitive, nuanced playing with an emphasis on tone production and

control. There is ample cross-cueing throughout the score to provide as many options with regard to instrumentation.

Feel free to experiment with different combinations, using the cues to provide additional support where needed in

the ensemble.

 The top two notes on the Percussion 2 part are intended for tenor toms tuned a third apart, or optional congas can

be substituted.

 Tenuto marks are intended to indicate added emphasis (not an accent, but heavier in weight) to the given note(s).Exaggerate dynamics, particularly the softer indicators.

 Two terms that are worthy of discussion in preparation of this piece are: Dolcezza, which is Italian, indicating

sweetness, softness of tone, and expression, and Niente, which is abbreviated in the notation as n., appearing like a

dynamic marking indicating that the sound dies away to nothing at the end of the decrescendo.

 The intention of this piece is to project a delicate/unique environment that grows into the full sweeping grandeur

of this part of the world (emboldened and majestic). It is strongly recommended to take some time and resources

investigating this fascinating part of the world.

WalvisbaaiThe Gateway to Namibia

RALPH FORD (ASCAP)

Grade 1½

INSTRUMENTATION

  1 Conductor

 10 Flute

  2 Oboe

 10 B  Clarinet

  2 B  Bass Clarinet

  6 E  Alto Saxophone

  4 B  Tenor Saxophone  2 E  Baritone Saxophone

  8 B  Trumpet

  4 F Horn

  6 Trombone/Baritone/Bassoon

  2 Baritone Treble Clef(World Part Trombone in B   Treble Clef)

  4 Tuba

  1 Mallet Percussion(Bells)

  2 Percussion 1(Tenor Toms [2] or Optional Congas,

Large Floor Tom)

  3 Percussion 2(Triangle/Crash Cymbals,

Suspended Cymbal)

  1 Optional Timpani(Tune: A, E)

WORLD PARTS Available for download from

www.alfred.com/worldparts

Horn in E  

 Trombone/Baritone in B  Bass Clef 

 Tuba in E  Bass Clef 

 Tuba in E  Treble Clef 

 Tuba in B  Bass Clef 

 Tuba in B  Treble Clef 

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&

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ã

ã

b

b

 

b

b

b

b

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Flute

Oboe

Bb Clarinet

Bb Bass Clarinet

Eb AltoSaxophone

Bb TenorSaxophone

Eb BaritoneSaxophone

Bb Trumpet

F Horn

Trombone   /  Baritone  / Bassoon

Tuba

Mallet Percussion(Bells)

OptionalTimpani

Percussion 1(Tenor Toms [2]* orOptional Congas,Large Floor Tom)

Percussion 2(Triangle/Crash Cymbals, Suspended Cymbal)

 

œ

œ

œ

.

.

 

.

.

.

 

.

.

 

1

 

Dolcezza Π= 76

Dolcezza Π= 76

p

p

p

p

p

p

Bsn. only

Tune: A, E

 

.

.

œ

 

œ

.

 

.

 

2

 

P

P

P

P

P

P

 

œ

œ

œ

 

œ

.

.

  œ

 

œ

 

3

 

p

p

p

p

p

p

 

.

.

œ

œ

œ

œ

œ

œ

œ

 

.

 

4

 

P

P

P

P

P

P

œ

œ

œ

  œ

œ

œ

œ

.

 

œ

.

.

 

.

 

5

.

p

p

p

p

p

p

p

p

p

Triangle

42138S© 2014 BELWIN-MILLS PUBLISHING CORP.,a division of ALFRED MUSICAll Rights Reserved including Public Performance

By Ralph Ford (ASCAP)

WalvisbaaiThe Gateway to Namibia

FULL S ORE

Approx. Duration - 2:30

NOTE: Percussion 1 - *2 Toms tuned a third apart

or optional Congas.

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&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

 

œ

 

œ

 

œ

œ

œ

œ

 

œ

œ

œ

œ

 

œ

œ

œ

 

6

 

œ

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œ

œ

œ

.

.

.

.

 

.

 

7

.

P

P

P

P

P

P

P

P

P

œ

œ

œ

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œ

œ

œ

  œ

  œ

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  œ

 

œ

 

8

 

œ

œ

œ

œ

 

œ

.

œ

œ

œ

.

.

 

.

 

9

 

F

F

F

F

F

F

F

F

poco rall

poco rall

.

.

.

œ œ

œ

.

.

œ œ

œ

 

œ œ

œ

 

10

.

p

p

p

p

n.

p

n.

p

n.

p

n.

p

n.

p

(Hn.)

4

42138S

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ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

 

Œ

œ

œ

œ

 

œ

 

œ

Œ

œ

œ

œ

  œ

  œ

  œ

 

11

 

11

11

p

n.

n.

(Tbn.)

p

p

p

p

A tempo

A tempo

All

(Tpt.) p

p

 

œ

 

.

 

œ

œ

œ

 

œ

 

.

œ

œ

œ

.

 

12

 

œ

œ

œ

 

œ

 

œ

 

œ

œ

œ

  œ

  œ

  œ

 

13

 

œ

œ

œ

 

œ

 

œ

 

œ

œ

œ

  œ

 

œ

 

œ

œ

 

14

.

æ

 

poco accel

poco accel

Suspended Cymbal

Large Floor Tom

Œ

œ

œ

Œ

œ

œ

Œ

œ

œ

.

Œ

œ

œ

.

.

.

.

.

.

.

 

Œ œ œ

œ

Œ Œ

Œ

œ œ

œ

Œ Œ

15

¿

Œ Œ

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

Emboldened Π= 84

Emboldened Π= 84

Bells (soft mlts.)

Play

Play

Play

Tenor Toms [2]

5

42138S

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ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

Œ

œ œ

œ œ

œ œ

œ

Œ

œ œ

16

 

œ œ

œ

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œ

œ

œ

œ

œ

.

  œ

œ  

œ

œ

œ  

œ

.

.

 

œ œ œ

œ

Œ Œ

Œ

œ œ

œ

Œ Œ

17

 

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

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œ œ œ

œ

œ

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œ

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œ œ

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18

 

.

.

>

.

.

.

.>

.

.

.>

.

.

.

 

œ> Œ Œ

œ œ œ

œ

œ

œ œ

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>

œ œ œ

19.>

Í

Í

Í

Í

Í

Í

Í

Í

Í

Í

Í

f

Í

Crash Cymbals

œ

Œ Œ

œ

Œ Œ

œ

Œ Œ

œ

œ

œ

œ œ œ

œ œ œ

œ

œ œ

œ

œ œ

œ œ œ

œ

œ œ

œ

œ

œ

œ

 

œ

Œ Œ

œ

Œ Œ

œ

Œ Œ

20

 

f

f

f

f

f

f

f

f

f

f

f

f

poco rit

poco rit

f

6

42138S

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?

&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.

.

.

.

.

.

.

 

21

 

p

n.

21

21

 

n.

n.

n.

Tempo I

Tempo I

p

p

p

p

p

p

(B. Cl.)

.

.

œ

 

œ

œ

œ

œ

œ

œ

 

œ

 

œ

 

22

 

F

F

F

F

F

F

F

p

p

F

(B. Cl.)

F

œ

œ

œ

œ

œ

œ

œ

œ

œ

 

œ

œ

œ

œ

œ œ œ

 

œ

 

œ

 

œ

 

23

 

p

p

p

p

p

p

p

.

.

œ

 

.

œ

œ

.

 

.

 

.

 

24

 

F

F

F

F

F

F

F

F

F

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

  œ

  œ

œ

œ

œ

 

œ

œ

œ

 

œ

œ

œ

 

25

 

P

P

P

P

P

P

P

P

P

œ

 

œ

 

œ

 

œ

œ

œ

œ

  œ

 

œ

 

œ

 

œ

 

26

 

7

42138S

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&

&

&

&

&

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?

&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

  œ

  œ

œ

œ

œ

 

œ

œ

œ

 

œ

œ

œ

 

27

 

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

 

œ

œ

œ

  œ

œ

 

œ

 

œ

 

28

Œ

O

æ

poco rit

poco rit

F

 

F

F

F

F

F

F

F

F

Susp. Cym.

.

.

œ

œ

œ

 

œ

œ

œ

 

.

 

29

¿

Œ Œ

29

29

A tempo

A tempo

(soft mlts.)

p

p

p

p

div.

p

p

(Cl.)

.

.

œ

 

œ

 

.

 

30

 

P

P

P

P

.

.

œ

œ

œ

 

œ

œ

œ

 

.

 

31

 

p

p

p

p

8

42138S

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&

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&

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?

?

&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

œ

œ

œ

œ

œ

œ

œ

œ

 

œ

œ

œ

 

œ

œ

œ

 

32

 

œ

œ

.

 

œ

œ

œ

 

œ œ œ

 

œ

Œ Œ

 

33

Œ

±

F

F

F

F

F

F

P

Trgl.

Play

œ

-

 

œ

œ

œ

œ

 

.

 

.

 

34

 

œ

œ

.

 

œ

œ

œ

 

œ œ œ

 

35

Œ

±

œ

-

 

œ

œ

 

œ

.

  œ

 

œ

Œ

œ

œ

.

 

œ

 

œ

 

Œ

œ œ

œ œ

œ œ œ œ œ

36

Œ

O

æ

p

F

F

F

F

F

p

F

poco accel

poco accel

Play

Play

Susp. Cym.

9

42138S

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&

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&

&

&

&

&

&

?

?

&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

-

 

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

 

œ œ

œ

œ œ

œ œ

Œ

37

¿

Œ Œ

37

37

f

f

f

f

f

f

f

f

f

f

f

f

f

f

Majestic Π= 84

Majestic Π= 84

.

.

.

 

œ

œ

  œ

œ œ œ

  œ

.

œ œ œ

  œ

 

œ

œ Œ Œ

 

œ œ

œ œ

œ œ

œ œ œ

38

 

œ

œ

œ

œ

œ

œ

œ

œ

œ

.

.

 

œ

œ

œ

œ  

.

œ

œ

œ

œ œ œ

œ

 

.

œ

œ

œ

 

œ œ

œ

œ œ

œ œ

Œ

39

 

.

.

.

.

œ

œ

œ

.

.

.

œ œ œ

.

.

œ Œ Œ

 

œ œ

œ œ

œ

œ œ œ

40

 

p

œ

œ

œ

œ

œ

œ

œ

œ

œ

  œ

 

œ

  œ

  œ

œ

œ

œ

  œ

  œ

  œ

 

41

 

p

p

p

p

p

p

p

p

p

p

p

10

42138S

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&

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&

&

&

&

?

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&

?

ã

ã

b

b

 

b

b

b

b

Fl.

Ob.

Cl.

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt.

Hn.

Tbn.  /  Bar.  /  Bsn.

Tuba

Mlt. Perc.

Timp.

Perc. 1

Perc. 2

œ

 

œ

 

œ

 

.

.

œ œ œ

.

œ

 

.

œ

œ

œ

.

 

42

 

P

P

P

P

P

P

P

P

P

P

P

œ

œ

œ

œ

œ

œ

œ

œ

œ

  œ

 

œ

  œ

  œ

œ

œ

œ

  œ

  œ

  œ

 

43

 

p

p

p

p

p

p

p

p

p

p

p

œ

œ

œ

œ

œ

œ

œ

œ

œ

 

œ

 

œ

  œ

 

œ

œ

œ

œ

  œ

 

œ

 

œ

œ

 

œ œ œ œ

œ œ

œ œ œ œ

44

.

æ

p

p

œ œ

œ

œ

œ

œ

œ

œ

œ

.

.

.

.

.

.

.

.

.

 

Œ œ œ

œ

Œ Œ

œ

œ œ

œ

Œ Œ

45

¿

Œ Œ

45

45

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

(brass mlts.)

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ œ œ

œ

œ

œ

œ

œ

œ

œ œ œ

œ

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