Provenance for Band

BELWIN

1--

COJYCERT
BAJYD

1---

INSTRUP'If:NTATION
I-

I
6

2
3
3
3
I

Commissioned by and Dedicated to Mr. Reggie Bassette
and the Berkeley Middle School Band of Williamsburg/ VA

PKOVt:NANCt:

1

I
2

ROBERT W. SMITH

PROGRAM NOTt;
The term "provenance" is defined by Webster's Dictionary as the origin, derivation, or source. Drawing
upon an eclectic blend of ethnic and religious musical influences for its inspiration, the composition
PKOVENANCE celebrates the origins of various cultures that merged to form the unique society we a
enjoy in the United States of America.
The piece was commissioned by Mr. Reggie Bassette and the Berkeley Middle School Band o
Williamsburg, Virginia. This talented ensemble premiered the piece in June of 1998 under the baton of thei
gifted director.

NOTt; TO CONDUCTOR
The opening statement should be as majestic and stately as possible. The rallantando in bars 9 and 10
should be carefully interpreted to bring the opening fanfare statement to the appropriate conclusion, set
ting up the style and meter change beginning at bar 11.
The trills beginning in measure 29 should decrescendo over the two bars as if fading into the distance
Be sure to balance the trills as they exchange between the flute/oboe, saxophones, and Iow reeds. The
marimba should be very prominent throughout the trill figures. In the absence of a marimba, a xylophone
with soft mallet may be substituted.
The chant at bar 91 is Iiturgical in its conception. A committed performance is crucial to the overal
effect of this section of the piece. The triangle/bells (inspired by sanctus bells) should be prominent but no
too heavy.
A traditional American hymn was the inspiration for the statement beginning at measure 100. The
clarinet choir should be carefully balanced against the horn/euphonium duet for clarity in both parts
Ethnic influences overtake the hymn at bar 108. Balance between the warmth of the brass against the per
cussion and flute/oboe is of the utmost importance.
The intensity returns at measure 128. Although the woodwind choir begins this restatement, the ener
gy should return with the greatest of intensity. The subito drop in dynamic intensity at 174 should in no
way effect the forward momentum of the performance. The ensuing build should be exaggerated, creating
the strongest possible concluding statement beginning at bar 182. The final trill in bar 188 should be as
fast as possible with a huge crescendo into the final note.
I hope that you and your ensemble find PKOVENANCE to be a musically rewarding experience. I wish
you the best in all ofyour musical endeavors!
Robert W. Smith

I
I
2
2
2
4
2
2
2
2
4
3
I
4

2

Conductor
Ist and 2nd C flute
Oboe
Ist B~ Clarinet
2nd mClarinet
3rd B~ Clarinet
E~ Alto Clarinet
mBass Clarinet
Bassoon
Ist and 2nd
E~ Alto Saxophone
mTenor Saxophone
E~ Baritone Saxophone
Ist B~ Trumpet
2nd B~ Trumpet
3rd B~ Trumpet
Horn in f
Ist Trombone
2nd Trombone
Baritone
Baritone T.C.
Tuba
Mallet Percussion
(Chimes, Beils, Marimba)
Timpani
Percussion I
(Crash Cymbals,
Snare Drum, Bass Drum,
Conga Drums,
Wind Chimes, Triangle)
Percussion II (Suspended
Cymbal, Cabasa)

Commissioned by and Dedicated to Mr. Reggie Bassette and
the Berkeley Middle School Band ofWilliamsburg, VA

CONDUCTOR

PROVENANCE

By ROBERT W. SMITH (ASCAP)

Majestically J = 96

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© 1999 BELWIN-MILLS PUBLISHING CORP. (ASCAP)
All Rights Administered by WARNER BROS. PUBLICATIONS U.S. INC.
All Rights Reserved including Public Performance for Profit

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35

36

37

38

39

40

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p
49

BD9922C

))

1.

...

so

f

...
51

52

53

54

ss

-.....

Conductor - 9
Fis.

1
2

"

I

er

...

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,--

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eJ

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u

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31

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2

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3
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r.P.

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>

Perc. I

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>1"'"""1

-

>

>

-

-

>1"'"""1

Perc. II
56

BD9922C

57

58

59

60

61

62

Conductor - 10
Fis.

.

1
2

...

--

II

Ob.

...

-

>

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Cis.

mp

f

>

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>

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f

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mp

f

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f
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mp

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3

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lf

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f

mp

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f

mp

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A. Saxes.2

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2

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3

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2
I

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f

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f

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f

II

>

f

II

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f

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mp--=
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f

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mp

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I

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f

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f

mp

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f

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f
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Perc. I

f
Perc. Il

1 ..

p
63

BD9922C

j)

1.

...
64

65

66

f

..

..

)

)

67

1.
p
68

f

..

)

69

Conductor - 11
Fis.

:

Ob.

"
"'
"
~

r-

mp

f

....-::----..
mp

--

>

Cis.

2

3

A.Cl.

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>

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:

I
A. Saxes.2

>

f

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V'
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f

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mp

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f

mp

eJ

f

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Bar. Sax.

eJ

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lj

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f

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mp

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mp

f
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T. Sax.

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f

f

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mp

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w

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1.
p
70

f

J

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72

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73

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f

p
71

>

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o;

)

Perc. I

BD9922C

mp

f

>

Perc. li

;:;;;;;---....

f
.......,_

mp

f

Timp.

>

f
2

Mit. Perc.

~

f

mp

Tbns.

Tuba

f

>

:

Bar.

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mp

f

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r- t- ..-

f

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f

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>

r- r-

f

f

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mp

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mp

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mp

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r-

f

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r- r-

f
74

1.

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p
75

76

Conductor - 12
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...

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I'

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Fis.

I

2

tJ

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w

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tr

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tr

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tr

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II

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f

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p

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f

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p

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f

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f

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f

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f

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f

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>

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mp

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y-.

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p

II

Mit. Perc.
tJ

1-1

I

>

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>

f

:

Timp.

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Perc. I

Perc. II
BD9922C

...
1 ..

b.-L

~

~

JJ

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.

'1'

}

}

77

ll

JJ

1.
p
78

f

:
1.

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79

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80

>r-"; #

#

I k-J,.. 1.IJ'

1-

J>

1.

p
81

82

>

f

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.

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83

Conductor - 13
Fis.

2

-

-.1

"

Ob.

Cis.

2

PP

>..__,.

-.1

>..__,.

"
'"'

3

"

A.CJ.

>

>

f

>..__,.

mo/torit.

..

.....__.:=_y

~·~~

~

~~·~~
molto rit.

~

~·~~

~

~~·~~
mo/torit.

-:...._

~·~~
molto rit.

JJ.

>

f

~

1..9

e_

11!1'

..

,

&

11!1'

1

_e

&_

11!1'

>

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PP

molto rit.
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"
'"'

f

PP

mo/to rit.
>

:

Bsn.

...___

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tr.

-.1

B.CJ.

>

moltorit.

>

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"
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"

f

PP

>

>

tr.

>

f
A

1

A. Saxes.2

>

JJ.

-.1

PP
>

f

J

-.1
"

moltorit.

PP

tr.

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T. Sax.

mo/torit.

tr.

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PP
>

JJ.

>

tr.

Bar. Sax.
-.1

>

f

PP

~

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2

moltorit.

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"

f

-.1

J

-

mo/torit.

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1

"

3

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mo/torit.

f
>

"

Hn.

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f
>

>

:

2

>

f

>

mo/torit.
>

>

:

Bar.

>

molton't.

f

Tbns.

>

moltorit.

>

:

f

>

mo/to rit.

:

Tuba

>

>

Mlt.Perc.

Slowly

~~

"

f

"f:·

...

p

p

f

>

mo/torit.

y·

'-':

p

f

moltorit.

:

Timp.

>

>

f

>

11!1'
molto rit.

>,.....,.

~

-

>

f

Windehirnes

~

Perc. I

IL

(.

(.

k-J>

Perc. II

(.

1.

1 ..

84

BD9922C

(.

moltorit.

f

85

86

moltorit.
87

.ij)

p

~

~111f

88

89

90

Conductor- 14

(All except Flute and Baritone Chant "Ah")

-

~ Chant J=SO
Fis.

Pl
~ .ay

fl

1

2

~

-

--

11ff

fl

Ob.
~

"ff Chant "Ab"

-

fl_

11ff

0)

Chant "Ah"

-

fl

Cis.

2
~

3
fl

,......,.__

-

"ff Chant "Ah"

_ll_

0)

,...,.....,_

"ff Chant "Ah"

~"'"'~'--.

,......

II

~

A.Cl.

11ff

OJ

Chant"Ah"

-

fl

B.Cl.
OJ

fl

1

A. Saxes. 2

Chant"Ah"

11ff

Chant"Ah"

11ff

Chant"Ah"

11ff

II

OJ

----

..___..

fl

T. Sax.
OJ
fl

-

-

L ".--.....

:

Bsn.

-

11ff

Chant"Ah"

II

~

-

-

".--.....

Bar. Sax.
~

11ff

Chant"Ah"

~ Chant J=SO
fl

OJ

11ff

Chan! "Ah"

fl

Tpts.

2
OJ

.......

~

-

~

.......

~

"ff Chant "Ab"

fl

3

11ff

I

0)

I

,..

Chant ':Ab"

Hn.
OJ

Chant"Ah"

..___..

11ff

L ".--.....

:

I

L ".--.....

:

2

11ff

Chant"Ah"

-

L ".--.....

:

Bar.

-=

11ff

Chant"Ah"

Tbns.

......._y

-

11ff
L ".--.....

:

Tuba

11ff

Chant"Ah"

Mit. Perc.

Beils

"
OJ

)v

Chant"Ah"

I

I

J

J J J

I

I

I

:

Timp.

Chant"Ah"

Trijngle

Perc. I

J

Chant"Ah"
I

Perc. II
BD9922C

_4

_2

in_
Chant''il.h'
91

92

2
93

94

95

I

4
96

97

Conductor - 15
~ Reverent

...
Fis.
I)

ril.

---......r..

"

Ob.

I)

rit.

---......-

I)

mp

rit.

r..

"

2

I)

rit.

-

I)

-

rit.

" "

r..

tf

:

Bsn.

!=

n"t.

"

B.Cl.

~

mp

r..

.,

A.Cl.

L

~

I)

rit.

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"

T. Sax.

~

«)

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lrd

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~

~

~

J

,./

I

J

J

J

-;--.._

~

-

-

.-

"9'

Reverent J = 80

r..
rit.

"
-.r

rit.

-

"
I)

r..
r..

-

rit.

Duet w/ Baritone

r..

"
I)

:

.t ..

~~

Cue:CI.

r..

~

Hn.

-:o

"'

Cue:CI.

rit.

"
·.r

3

q~

~

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2

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:61

.

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r..

rit.

Tpts.

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c~

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Bar. Sax.

~

r..

r..

" "

A. Saxes.2

.. ..
.. ..

,;;;-

rit.

rit.

I

16

mp

r..

"

3

,........---:--

r..

"

Cis.

J = 80

n't.

l

~

~

~

r..

~

r..

..-----...

r..

..-----...

r..

-

-

"...

::

11ff

rit.

Tbns.
:

2

L

rit.

:

Bar.

L

Duetw/Hom

11ff

rit.
I

:

Tuba

-----·

~

IL

~

~----...........

rit.

"

Mlt.Perc.

0)-

rit.

:

Timp.

n·r.

Perc. I
n't.

Perc. II

..
rit.

98

BD9922C

99

100

101

102

103

104

Conductor - 16

Gently
r;;;;-J

Duet w/Oboe

~
Fis.

2

~

,..

-

~_..:-

+-

-..._,~

"1f

Duet w/Flute _

A

-

tJ

"
tJ

-

--

..:::::-

Ob.

+-~~~ ~

"1f

A

Cis.

2
tJ

*' ~

-""'

"

3

tJ
A

A.Cl.

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d

q~

... d - ~

~

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I~

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~

"

~

A

B.Cl.
~

:

Bsn.
A

1

A. saxes. 2

..1

,.--

J

:

-

~

..---

A

T. Sax.

~

Bar. Sax.

A

--:--..

"-

~

~ Gently

.-::::.....

A

tJ

==

mp

A

Tpts.

2
~

mp

~

mp

~~

'""-

A

3

tJ

"

Hn.

.

~

~

-9

~

~

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:

~

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~

-

",

mp

Tbns.
IL~

:

2

mp

:

Bar.

~

IL

mp

Tuba

,;
Mit. Perc.

...

•

~

.."

~

"

...

:

Timp.

.....,

....,

Congas .....,

.....,

~

_.....,

.....,

....,

Perc. I
lmp

Perc. II

I

I

I

II

I

I

I

I

1 ..

105

BD9922C

I

106

107

108

109

110

111

l

Conductor- 17
Fis.

h ""-~Al=

"

1
2

~

...
"I~

Ob.

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_u

• ,..t,; ..-_. /

...

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II.

~

tutti

-

mp

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mp

t)

Cis.

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::::::,

-

"

2

...

1-9

mp

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"

3

t)

I~

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A.Cl.

I~

..

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Ti_

I""

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II

...

~ •

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"

B.Cl.

...

.;;;--

:

Bsn.

~

mp

-

..,.---

.,.:/1.

tulll

-----

11ff
"

A. Saxes.2

~

II

...

11ff

"

T.Sax.

...
"

Bar. Sax.

-

11ff
II

...

11ff

-

~F~g

"

...

"

Tpts.

-

11ff

-

...

"

...

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~

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~

&

~

&

11ff
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11ff

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1....

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Hn.

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:

.

"

.

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n

-

...

n

11ff

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11ff

Tbns.

ll ,.....---..__

:

~

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11ff

...-----.

:

Bar.

-

11ff
:

Tuba

Mit. Perc

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•

•

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....

Ti

::;,

&

~

~

..

fi7

Beils

"

...

mp

Ti

:

Timp.

.....

.....,

........,

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....,

;I

Perc. I
I

I

I

I

I

II

I

I

Ii

I

-

....,

II

....,

....,
I

I

!I

---""""'~

I

Cabasa

Perc. II

ln

)

112

BD9922C

113

114

115

116

117

Conductor - 18

~

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.

1L

I

-

-

,..;

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•

1>..

--

- :

,.,

--

t!-

"

...

t!
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1-6'

eJ

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1L

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"

A

~

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*

.

~

t!

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~

y

--

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• --.-

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1:9

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-

*

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:

B

"

A.S

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...--;--...

"

~

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----.

II

t!

T.S

i"o..

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eJ

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II

J\

Bar. S

i<t...

II

t!

B

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~

J\

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eJ

"
6

t!

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*

eJ

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