Details page

Title
Lights! for solo horn, horn choir and piano
Original Title
Composer
Schultz, Mark
Year
2003
Editor
Arranger
Year Arranged
Original Instrumentation
Publisher
Jomar Press
Year Published
2003
Catalogue Number
Sheet Music Format
Tall A4, Piano score (23) and A4, parts (9x5=45)
Horns
5
Additional Equipment
Straight mutes
Others
1
Other Instruments
Piano
Duration
9
Structure / Movements
One movement. Bursting, efflourescent
Clefs
Treble
Meters
C, 3/4
Key signatures
None
Range
Solo horn: e1 - ab2 Horn 1 (=5): gb - g2 Horn 2 (=6): f - e2 Horn 3 (=7): a - e2 Horn 4 (=8): B - e2
Creator's Comments
Lights! is based on the 19th Century spiritual song, This Little Light of Mine. The music is dedicated to the notion that each of us carries deep within some small ember of truth that entreats us to fan it to flame. Accordingly, the audience is invited and encouraged to join in the chorus and "Let it shine!" Although Light! is scored for a four-horn choir, it is recommended that eight horns be used in performance (doubling each part; 1/5, 2/6, 3/7, 4/8). Divisi parts are self explanatory beginning at measure 55. If only four horns are being used in the choir, horns 1,2 & 3 will be muted at measure 57 and horn 4 at measure 58. Mutes will then come out in measures 77 (horns 1 & 3) and 78 (horns 2 & 4) as indicated. There is also an improvisatory section for the solo horn at mm. 165-73. It is recommended that the solo horn write out what they intend to play in the open measures provided.
Performance Notes
This work is based on contemporary effects on the horns, but even more so on the piano. Since piano playing is up to others, here are some techniques required from the hornists: - stopped - flatterzunge - rapid double/triple tonguing moving the hand quickly between open and 3/4 stopped (while cresccendoing) - glissando - septuplets - glissando open to stopped - quintuplets - mute - trills - stomp feet and clap hands - triplet syncopation - improvisation As the range is limited, the players can concentrate on all these techniques, which makes the work a lot more accessible than it would have been otherwise. Also, the horn choir parts are mostly homo-rhythmic, so they can be learnt together, and one or two strong players can lead the rest. The effect on the audience is difficult to judge, and so it is up to each ensemble to decide whether something of the kind would be interesting for their repertoire. It is definitely worth having a look at, as it requires different skills than most other pieces for horn ensemble.
Credits
Access to review score: Nancy Joy (NMSU)
Sound
Score