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"Joy" for Mixed Wind Octet, Piano and Marimba.

Digital Sheet Music

By Dan Cutchen

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Large Ensemble Alto Saxophone, Baritone Saxophone, Clarinet, Flute, Horn, Marimba, Piano Accompaniment, Soprano Saxophone, Trombone - Level 3 - Digital Download
Composed by Dan Cutchen and Dan Cutchen. 20th Century, Contemporary, World. Score and parts. 54 pages. Dan Cutchen Music #2920627. Published by Dan Cutchen Music (A0.844263).

Item Number: A0.844263

For 4 to 8 of the following instruments: Flute, Soprano Sax, Bb Clarinet, Alto Sax, French Horn, Trombone, Bassoon, Baritone Saxophone PLUS, Marimba and Piano.

Suggested arrangements of instrumentation (all parts are included in purchase, plus score):
1. All 10 parts.  
2. Flute, Bb Clarinet, Bassoon, Horn, Marimba, Piano.  
3. Soprano Sax, Alto Sax, Bari Sax, Trombone, Marimba, Piano

Time: Approximately 6:42

Thetitle came from the piece being dedicated to the composer’s wife. This composition reminded the composer of her delightful and kind  character and her amazing and creative aptitude for organizing and  resolving complicated issues.


The  composition process began with the opening piano motif. The harmonic  and rhythmic foundation for this work is provided by the piano part. The piano serves a steady percussion with a repeating two-measure  pattern of 8th  notes. It also provides the harmonic foundation with an evolvingarrangement of harmonies, which gradually change as the treble clef  and bass clef harmonic progressions continually shift over time.

The Wind Instruments

This piece is comprised of three  sections. Section A and C are similar in structure and harmony. In  these two sections, the right  hand of the piano part  repeats a six-measure pattern composed of three triads: F, Edim and  Dm. The left hand outlines a repeating eight-measure pattern of four triads: F, Dm, Cm  and Bb. As these patterns repeat, the extra two measures in the bass  clef cause the patterns to shift out of phase. This brings about a  new set of harmonies for each repetition until the patterns begin  again on the F major triad.

Thewind  instruments are employed as a rhythmic and melodic counterpoint  to the piano. Individually, and as a unit, they reinforce theharmony and rhythmic figures of the piano through echoing and  syncopation.

Section  B utilizes the harmonic progressions of the other two sections but  more notes to the triads to extend the  harmony (examples: 9th, 11th  and 13th  chords.) There is also a clear contrast between the rhythms and  harmony of the piano versus the wind instruments. The rhythmic and  harmonic flow of this section decelerates until there is a complete  stop.

Section  C begins abruptly with the wind instruments taking over the piano’s  opening motif. This last section utilizes the same harmonic and  rhythmic patterns as section A but the wind instruments become more  active in their melodic and rhythmic counterpoint. The last part ofthis section is eventually dominated by the saxophone and low brass  with a strong reiteration of the opening motif.

The Marimba
The marimba provides a similar percussion presence as the piano.  The difference is the marimba moves back and forth between piano and wind instruments, providing support and counter melodies to both.  Also, the marimba has a few solo moments.

This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.

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