Illinois (Honors) Digital IWU. Illinois Wesleyan University. Luke J. McLoughlin Recommended Citation

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Illinois Wesleyan niversity Digital Commons @ IW Comositions Outstanding Student Works 015 Illinois (Honors) Luke J. McLoughlin lmclough@iwu.edu Recommended Citation McLoughlin, Luke J.

1 Illinois Wesleyan niversity Digital IW Comositions Outstanding Student Works 015 Illinois (Honors) Luke J. McLoughlin lmclough@iwu.edu Recommended Citation McLoughlin, Luke J., "Illinois (Honors)" (015). Comositions. Paer. htt://digitalcommons.iwu.edu/music_comositions/ This Article is brought to you or ree and oen access by The Ames Library, the Andrew W. Mellon Center or Curricular and Faculty Develoment, the Oice o the Provost and the Oice o the President. It has been acceted or inclusion in Digital IW by the aculty at Illinois Wesleyan niversity. For more inormation, lease contact digitalcommons@iwu.edu. Coyright is owned by the author o this document.

2 Luke John McLoughlin Illinois

3 i. An Exlanation: This work was abstractly insired by the landscae o my home state. I comosed its building blocks while just north o Normal, Illinois, seciically while at various oints along the square ormed by Main Street, E 1800 North Road, N 100 East Road, and W Ziebarth Road. During multile sessions, I visited these locations and wrote down, on sta and loose lea aer, what came to mind. The goal was that, during the comosition rocess, I would ocus more on the develoment o the music in and o itsel. The resultant iece was to avoid relying on some sort o outside narrative to dictate its structure and rogression. I would like to thank Dr. Daniel Swilley, Dr. Mario Pelusi, Dr. David Vayo, Dr. Wes Chaman, and Devon Redlin or their contributions to this roject. My Statement o Aesthetics: This statement is to aly to music in articular to art, in general; these are my current convictions as a student o English and music in the TwentyFirst Century. Art is subjective. Our minds are all unique; we all erceive the world dierently. We have all had dierent lie exeriences. As a result, interretations o Art are quite subjective. Moreover, intentions o the artist, whether writer or comoser, may or may not be conveyed in art, let alone in whole through the work. However, this need not mean the comlete dismissal o the artist s intentions. We create or myriad reasons, many o which we may not be ully aware. However, I think it is immensely imortant to never orget or underestimate Art s ability to convey, to show, to connect us all, to bring us all closer together. This art; that which oints toward something greater; something ar beyond the individual writer or comoser; beyond the reader, the listener, the erormer this is the art that will last, that will remain because o its ability to connect, each o us to the other. As such, I think one should always be aware o this ower as one creates. I believe the greatest art has a goal, a urose, a vision (or all three). The writer, the comoser should have something to say, something to show. Art that does not do this is not inherently lawed, nor is it inherently inerior. However, it tends to not have the same deth, the same ower. During my short time as a writer and comoser, I have ound a recurrent exlanation or why I create. I do not merely wish to dislay mastery o the mechanics and techniques o writing and music. I create because I have visions, moments I want my audience to read, to hear, to eel. Most o what I write and comose begins as some kind o eeling. I ind a moment a chord, a melody, a scene, a hrase, an image that I ind so moving, so immensely beautiul, so ull o imlication that I must cature it as best as I can. I must cature it so that I can immortalize, reeze in a ixed orm, the eeling that moment gives me. Though I understand it is imossible to guarantee that one s audience will get all (i any o) the nuances one may try to lant in one s iece, I create willingly under the delusion that this ga between creator and audience can be bridged quite oten, even. I also realize that, at best, I can give only my ersective o that moment; anyone else s ersective, what one notices or does not notice, might be radically dierent. As long as the audience can gras my ersective o the moment enough to get to the intangible eelings, I consider mysel successul. Whether or not they actually do make these connections is another matter; the goal is that the Art, through its content, aords the audience the oortunity. As long as I believe I have ramed my moments as I believe they must be ramed, such that I eel that they convey the nuances o the eelings as I think they must be conveyed then I am satisied that I have done my work well.

4 ii. Instrumentation: Flute Clarinets in Bb Horn in F Trumet in Bb Trombone Sorano Alto () Tenor Bass Violin (1) Viola (1) Violoncello (1) NB: a tenuto marking is meant as an indication o emhasis, not necessarily as an accent or an indication o length. and do are to be sung as ure oo vowels, as oosed to oh and doh. This work was remiered at my senior comosition recital on 1 Aril 015.

5 Flute Clarinet in Bb 1 Clarinet in Bb Horn in F Trumet in Bb Trombone q = 60 # Sorano Alto Tenor Bass Violin Viola Violoncello b b b J J J q = 60 b b b b J J J w w B b j b j b j b b b J b J J b J J w w b j J

6 Fl. 8 Cl. # Tt. j j b # n b b J b J b b b J J b b n n b b b J J b J b J b b b n n B j j b # n b j b b j b b b J J b j b j b b J b J b b b n b b n n n

7 Fl. 16 Cl. # Tt. <# n b b b b n b # n b n b b b b n b b n b b b n b b n n <# n b b b b n b # n B b n b b b n b b b n b b b b n n b n

8 Fl. Cl. Tt. 5 # A q = 10 5 # # 5 # # # # # # # # # 5 # # # # n 5 5 # # n b b b b 5 5 n # n # # n b n b # b n b b 5 n b b b b A q = 10 5 # # B n # n # n b n 5 b # # b n b b 5

9 Fl. 1 5 Cl. Tt # B

10 6 Fl Cl # w Tt. w w B

11 Fl. 9 q = 100 rit Cl Tt. # w n n n w # # # q = 100 rit. B n n

12 8 Fl. 5 q = 10 Cl Tt. # n n n n # # # # # q = 10 B <n n n n

13 Fl. Cl. Tt # w 9 w.. B

14 10 Fl Cl # w Tt. w w B

15 Fl. 57 rit... q = Cl j Tt. # n n j n # j # J # #.... rit. q = 100 j B n n J n n n # # # n n

16 1 Fl q = 80 Cl. 5 5 # n w Tt. 5 # w 5 w # # do do do do do do do do do do do do do do do do do B # n <n n w q = 80

17 Fl. Cl. 68 accel. q = 90 accel. q = 100 # # cresc. m cresc. # 1 Tt. cresc. m # # do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do cresc. cresc. cresc. m m cresc. # # cresc. m cresc. cresc. B accel. q = 90 accel. q = 100 cresc. m cresc. cresc. m cresc. cresc. m cresc.

18 1 Fl. Cl. 7 # # B q = 80 # accel. # J J n # j # Tt. # # do do do do do do do do do do do do do do do do do do # # B u do B q = 80 accel.

19 Fl. Cl. Tt. q = 80 accel. q = 80 8 q = 80 accel. q = 80 # # # B # n # n # n b n b n # n n # n 15

20 16 Fl. Cl. Tt. 9 # accel. q. = 60 n m n 6 8 # C 6 # 8 m 6 8 m 6 8 m j j j j j j # # C B accel. q. = m 6 8 m 6 b n # 8 m j j j j j

21 Fl Cl Tt. 9 6 # 8 8 j j j j j # j j # j j # 9 6 # # B j j 8 j j j 8 j j j j

22 18 Fl. 10 accel Cl Tt. # <# 9 6 # j j 8 8 j j j j j j # 9 6 # accel J J 8 B j j 8 j j j j j j 8

23 Fl. Cl. Tt. 106 # q. = 80 q. = j j j j j j j n j n n n # 6 9 # B q. = 80 q. = n n J J J 8 J J J n j

24 0 Fl. Cl. Tt. 110 q = 60 accel. q = 100 accel. q = 100 # <n n n n n b n n n n b n n b n b n b b D n n j n n b b b n b n J j n n # n # n # n # n # do do do do do do do do # # do do do do n # n # do do do do do do n # do do do do do do do do do do do do q = 60 accel. q = 100 accel. q = 100 B D J b J b n do do b n b n

25 Fl. Cl. Tt. 118 # # # n n # E accel. q = 80 q = 50 n # # # # # n # # # # # # # # # b n n b # j b 1 # # do do do do do Do do do do do do do do do Do do do do do do do do do do Do do do do n n n n do do do do do do Do do do do # # n # # n # # n # n n u u u u # # n # n n B accel. q = 80 q = 50 E n n n n b n n n n n b w j b w

26 Fl. Cl. 16 q = 60 j w j j w b j j J b J b Tt. # j b # j B q = 60 j b j b w j b J b j w b w b j j bw j j bw w bw b J J

27 Fl. 1 b j F q. = b b J b 8 Cl. b b b b b b b b b J J J Tt. 6 b b b F b b J # # J q. = b B J 6 8 j j j j 6 8

28 Fl. 15 bb b Cl. bb b b b b b b b b b J J J J J J J J Tt. b b b # # B # # n # j j j j j j j j

29 Fl. 19 # # n # 5 bb b Cl. bb b b b b b b b b b J J J J J J J J Tt. b b b # # # # n # B j j j j j j j j

30 6 Fl. Cl. Tt. 1 bb b b b b b J J q = 60 bb b b b b b b b # # b b # # # # J ## j J # # q = 60 # # # # # J B j j # # # J # j

31 Fl. 150 q. = 60 6 bb b # n # 7 Cl. bb b 6 8 b b Tt. 6 bb b b 8 j j j j 6 b b b 8 # # # # # J # # # # j J u # 6 # 8 # # 6 8 B # # # J # J # # # 6 # j # 8 q. = # n # j j j j

32 8 Fl. 155 q = 60 q. = Cl. bb b bb b 6 J J 8 6 n j j 8 b Tt. 6 bb b b j j 8 b b b b 6 J J # # # # # # 6 J J 8 6 # j 8 J j J # 6 # 8 # 6 # 8 q = 60 q. = B 6 j j 8 j j 6 8

33 Fl. Cl. Tt. 160 # n bb b bb b 9 q = 60 q = 50 # J J n n #J b b n b n J J # # n n b n b j J J bb b b b b n n n J J b b b # # # # # n # q = 60 q = 50 # # # j B # # j j j j j j

34 0 Fl. 166 # # < # w q = 90 G b b bb b n n n Cl. bb b w n n n bb b b b Tt. b b b n n n # # b b w # # ẇ # u w # # # w # # # # G q = 90 # # <# # b b w B b b # # # # # # # w b b b b b b b b b b

35 Fl. 17 bb w w 1 Cl. b Tt. b b b b bb b b b b bb Bb b b b

36 Fl. Cl. 181 bb w w w b Tt. b b b b b b b bb b b b b bb b b Bb b b b b b b

37 Fl. Cl. 188 bb b Tt. b b b b bb b b b b bb Bb b b b w w w

38 Fl. Cl. 19 bb b Tt. b b b b bb b b b b bb Bb b b b

39 Fl. 199 bb 5 Cl. b Tt. b b b b b b w b b b b b b bb b b b b bb Bb b b b

40 6 Fl. Cl. Tt. 0 bb b w b b b b Do do do do bb b b b b bb Bb b b b w

41 Fl accel. q = 10 q = 80 bb 5 5 Cl. b b b n b cresc. cresc. cresc. b 5 b 5 Tt. 5 b b 5 cresc. cresc. cresc. 5 b b # # # # # bb b b do do do do do do do b b do do do do do do do do cresc. cresc. do do do do do do do do cresc. do do do do do do do do cresc. # # # do do do do do do do do do do do do do cresc. cresc. cresc. 5 # cresc. cresc. 5 # # # # # # 5 # do do do do bb Bb b b b cresc. accel. q = 10 q = 80 # # # cresc. cresc. # # # cresc. cresc. cresc. cresc. cresc. cresc. 5 # # 5 # # # 5

42 8 Fl. Cl. Tt. 16 bb b b b b b b m m b # n # n H q. = 80 m m m Do m bb n# b b b J b b Do Do Do 6 8 oo oo oo H b b b 6 8 b b b b 6 8 # b b b b 6 8 b b b 6 8 # 6 8 m # 6 8 n 6 8 m # n 6 8 m # b j j j bb # # # # # J # 8 m m q. = 80 Bb b # # 6 8 j j j j m 6 b b 8

43 Fl bb b 8 8 Cl. 9 6 bb b 8 8 bb b b b Tt. b b b b b 9b 6 8 b j j j j j j 8 j j j # 9 6 # 8 8 # 9 6 # B j j j j j j j j j

44 0 Fl #..... # # 6 bb b 8 Cl. Tt. 6 bb b 8 6 bb b b 8 n b b b b b j b J n j b b j n j b n j j b j j j b j j j j # 6 # 8 # 6 # B j n j j b j n j j n b j j j j n

45 Fl. 0. # # # # # # # # # # # # 1 bb b Cl. bb b Tt. bb b b b b b j j j j j j j j j # j # # # B j j j j j j j j

46 Fl. bb b # # # # # # Cl. Tt. bb b b b b b b b b j # j j j j j j j # j # # # B # j j j j j j j j # #

47 Fl. Cl. Tt. 8 bb b bb b b b b b b b b # # # # # dim. # j j j j j j j n j dim. dim. n n bnn j J n j b J b J J n j # # # B # j j j j j j j dim. # j n j n j dim.

48 Fl. Cl. Tt. q = 60 # n# # b n nnn n n n n n bb b n n n j bb b n n n bb b b b j j b n n n n dim. b b b b n n n J b j n j j b b j dim. n n n j b j j j n dim. b j n n n n n n n n # # n n n n # # n n n n q = 60 B n n n n j b j n j j bw dim. n n n n j b j n dim. n n n n bw bw b b b j j J

49 Fl. Cl. Tt. 7 I q = 80 # # J J bw b # # J j # n b j # # # w j bw b j Ah Ah Ah ah ah ah # # ah ah # # ah 5 Ah ah ah bw I q = 80 bw b B J # # # b j b J j # #

50 6 Fl. Cl. Tt. 5 # n # w w w n n n n # # # ah ah # # # ah ah B # w n n n n

51 Fl. Cl. Tt. 59 rit. # w j w w J w j # w w # J Ah # # w w w w j Ah # w # Ah w w J Ah w J w J # w n j w J w w w 7 B rit. w w j # w n w J w j w

MMEA Central District - Jr. Jazz Audition Music. Quabbin Blues

MMEA Central District - Jr. Jazz Audition Music. Quabbin Blues r. azz Audition Music This iece has been commissioned by the or the exclusive use o district schools articiating in the 202 junior jazz auditions. Teachers o auditioning schools may rint and coy these