"Fly To The Stars" is part of a trilogy, that describes all astrological signs in short compositions. These four parts are dedicated to family members and a friend, who passed away much too soon. I took their personalities as basis to depict these signs. "Fly To The Stars", composed in commission by Kunstfactor (Utrecht), consists of: 1. Capricorn-Overture – the reliable Capricorn; 2. Libra Waltz – the skeptical Libra; 3. Cancer – the romantic Cancer; 4. Aries – the never unremitting Aries. To prepare for writing this composition, first I searched for the characteristics of each sign. Then I selected one the main characteristics. Then I looked for family members that fit the description of a certain sign, three of which I found within my own family, and for one part I chose a dear friend who sadly passed away much too young, two years ago. In part one, the Capricorn, I came up with a somewhat English flavored march theme. Traditional in its form, ‘reliable' in its progression and melodic theme-wise. The introduction of this part is a short brass fanfare. Libra's doubts are symbolized in constantly changing 2/4 and 3/4 bars. For a brief moment, Libra seems to have found balance (piu mosso), but not for long. The third part has a simple ABA-form. The romantic character of the Cancer is symbolized as a melodic pop ballad, just as many that are written for today's wind bands. Part four has a constant drive, a continuous tempo, that shapes the energetic, nagging even, character of the Aries. The inevitable occasional knock on his head is depicted in the drum solos that are part of this tune. Teaching aspects: For the band, the following educational elements are to be found. Entire work: Playing in a smaller ensemble. This requires more control of each separate part and also demands individual, solistic playing skills. Specifics: Part 1: The main focus is melodic phrasing, but also shaping the two main contrasts in this part: long, lush melodies as opposed to the rhythmic, fanfare-like fragments. Part 2: Developing delicacy for subtle, thin orchestrated passages and always changing instrumentation. Part 3: Follow the soloist, but also keeping time in slower tempos. Project long, melodic phrases, and making the music flow, despite slower tempos. Part 4: Experience how different articulation can influence music and how these indications can make a melody or rhythmic brick sound more transparent. Conductor's notes This composition is composed for a small band instrumentation. It provides an over-all chamber music-ish sound. This sound determines the character of the entire piece. Part 1: - Introduction Pay attention to the balance between brass players. Try to pay attention on the small dynamic changes. Don't slow down at the transition to the marching theme – the value of the notes ‘slow down themselves'. March: Look after the melodic phrasing. The euphonium is a depth of sound and may not be too dominant – be careful with vibrato in euphonium and sax section – if one plays vibrato to begin with, then it should not sound too wide and too fast. The 44th measure the counter melody should be regarded as ‘solo part'. No standing soloists, but clearly to the forefront. Keep the tempo in the last two bars. At most, one can hold back a little on the last sixteenth note figure. Part 2: This is where the chamber music characteristics most probably are expressed best. Its presentation is not a big cheese balance, but more a small, golden balance with Lady Justice. Only the piu mosso may stand out as ‘excessive'. (Please note: the thriller in the flute really only starts in bar 97). The triangle has a soloistic role. Use a small, high pitched instrument and a thin beater. Part 3: Pay attention to the balance at the brass player's plural instrumentation and have the solo be played only by one alto saxophone player. Measure 156: the piano is important. The clarinet section only provides a different melodic coloring and not dynamic support. Measure 159: take care of a good balance between both melodies. Provide liberty to the soloist in bar 179. Have the band listen, so the chord's entrance ‘slides' in bar 180 Part 4: The recommended tempo is 126 bpm. Tempo may be a little bit faster, but no faster than 138 bpm. The entire part never slows down! The articulation symbols are imperative for a transparent performance. Have fun studying and performing this piece!
