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ERRATA
& FAQ’s The
Music of David R. Holsinger: Hello Friends,
An undeniable fact of the publishing world is that, no matter how
intensely one proofs a score, or meticulously transcribes music to the
page, there will always be mistakes and inadvertent deletions.
An undeniable fact of the composition world is that, even though
you’re sure of the interpretation you desire when you first write the
piece, if you are a conductor also, invariably you discover attributes
about the work while conducting that convince you to change some musical
characteristics to better enhance the performance.
An undeniable fact of the instrumentation world is that, there
are always new instruments being created, especially in the percussion
world, and some are so exotic as to be difficult to locate in the
average American band shop.
This section of my web site will serve as an ongoing collection
of errata discoveries (and solutions), interpretation changes I have
made in my own music, and FAQ’s that pop up in my e-mail, some almost
weekly.
Thank you for playing my music.
I hope this site will help you. ***** IN THIS SECTION: • The “Afro” Crasher / Crusher /
Ribbon Crasher • OTSERF 2: Revenge of the Warrior Prince - Tempo Correction • GEARS PULLEYS CHAINS - Hardware
Instruments • TIL HIS HAND GREW TIRED AND
FROZE / SWORD - Tempo Correction • ADAGIO - Performance Suggestions • LITURGICAL DANCES - Program Notes • ON AN AMERICAN SPIRTUAL -
Errata • SCOOTIN’ ON HARDROCK -
Performance Suggestions • IN PRAISE OF GENTLE PIONEERS - Performance
Suggestions • ON A HYMNSONG OF PHILIP BLISS - Program Notes • The “LION’S ROAR” – Divertimented Dances (2007) *****
I get at least 6 e-mails a month concerning this instrument: What
is it and where can I get it? 
The crasher/crusher was manufactured by the AFRO company, a maker
of exotic percussion for a number of years.
It usually consists of three strips of metal, spring mounted, and
meant to be struck with a drumstick.
The sound is a dry metallic “smash” with absolutely no
reverberation or ring.
The AFRO company was purchased by Pearl Percussion several years
ago and the crasher/crusher was discontinued.
HOWEVER: It is still available. It is now called a RIBBON CRASHER and is made by RhythmTech, a very well known percussion specialist company. If not at your local Rock’n Roll Drum Shop (which is where I first saw it) it can be purchased on line at www.rhythmtech.com. Go to “Products”, into the “Mounted Percussion” and there it is! The Crasher. There are two sizes available. The smaller one is sufficient. •
OTSERF
2: Revenge of the Warrior Prince (2007) The tempo marking at measure 187 SHOULD read: QUARTER NOTE equals 96 - 104. The tempo marking at measure 217 is correct (HALF NOTE equals 96-104) The Half note at 217 equals previous quarter note. I think that the metronome marking of “96” is actually the best tempo here.
Performance suggestions:
There are several “invented” instruments listed in the
PERCUSSION section of this piece. All the equipment needed to MAKE these instruments can be found at any full service “home Repair” store like Lowe’s or Home Depot. Here is a photo journal of the percussion needs entitled “Spin Chain on Pipe”, “Nails on Pipe”, and METAL Claves.
•TIL HIS HAND GREW TIRED AND FROZE
TO THE SWORD (2004)
Errata and Performance
Suggestion: When I
first rehearsed and conducted this work several weeks ago, I found that
I liked the opening section better a little faster than Quarter Note
equals Circa 60.
There is one GLARING mistake in the score and parts.
At Measure 39, the new tempo marking is MISSING!
My fault. I simply
missed the entry while preparing the score.
The tempo marking at
Measure 39 should be Quarter Note = circa 160.
I found that I also jumped the tempo up a notch at Measure 138. It just happens! I
went about Quarter = 176. •ADAGIO (1999) - Performance
suggestions:
I usually add these interpretive markings in the first rehearsal:
A number of interpretative questions about what I expect my music
to “sound”
ERRATA: I understand that there are several block chords where both
major and minor thirds appear in different parts!
Obviously, one of them is wrong.
Now, because I do not necessarily follow symmetrical patterns,
just because there was a harmonic pattern once, doesn’t mean that I
won’t reverse it the next time around.
That was simple enough.
PROGRAM NOTES: Liturgical Dances was commissioned in 1981 by Beta Mu Chapter of Phi
Mu Alpha Sinfonia to honor the chapter’s 75th anniversary at Central
Methodist College. Unlike
many of Holsinger’s other works, Liturgical
Dances is not programmatic, but rather a reflection of the
composer’s memories of his student days as a brother in Beta Mu. The music is both poignant and exuberant, “classic” and
“modern”, rambunctious and reflective.
It pays tribute to Men of Music, not only for their dedication to
a vocation, but also for their passion to the medium.
The composer’s tribute is probably best summed up in the
subtitle, “Benedicamus Socii Domino” - Let us all, as companions,
praise the Lord! •ON AN AMERICAN SPIRITUAL
(1991)
ERRATA: If you’ve played this piece even once, you’ve realized
almost immediately that the metronome marking of Quarter Note = 126 just
doesn’t match up to the prefix “slowly, expressively, rubato”. To this day, no one knows how THAT number got into that
parenthesis! (A demon in
the printing press has been suggested more than once!)
Anyway, the correct tempo
is Quarter Note = ca. 80.
There is a missing two measure crescendo marking in the F Horns
through measures 25 & 26, leading to m. 27.
Horns should have an “sfz”
attack at Number 27.
There are wrong pitches written in the F Horn parts at Measure
76. The pitches should be: B-B-A-A,
in the first horn and G#-G#-E-E, in the second horn.
ERRATA: Speaking of F Horns parts, if you have a very early edition
of this work, the last note of the piece for the FIRST HORN should be
F#. Later editions were
corrected.
Performance suggestions:
As a conductor of this work for the past several years, here are
a couple of “enhancements” I have made to the musical styling:
At Measure 122 (The second section of the piece) I have all those
who play that opening measure, emphasize beat four over all the others. In other words, each measure crescendos to four, backs off,
and does it again, and again, etc.
Every time that figure or one that alludes to that figure
appears, I have the players always make it “lean” toward the fourth
beat.
Measure 143: Melody
insert a “mf/p” and crescendo
for that measure. It’s
just a little “bluesy” thing to do.
I have a friend, Tom Leslie at UNLV who does a neat thing with
the last section.
I invariably put a long “big band” FALL on the last note.
ERRATA: In measures 107, 109, 111, and 113, the third Cornets should
have •IN PRAISE OF GENTLE PIONEERS
(1996)
Performance suggestions:
If I had it to do over, I would mark the opening figures
differently, so as to exploit the tension in those clusters.
Let me suggest that Measures 1, 2 & 3 crescendo to a “mf
” in Measure 4 and decrescendo.
Measures 5, 6, & 7 crescendo to a “mf
“ in Measure 8, and
then decrescendo. That
Measures 13, 14, & 15 crescendo to a “mf
” in Measure 16 and then diminuendo.
Measures 21, 22, $ 23 crescendo to a “mf
”
in Measure 24, and then decrescendo.
Please, no breath between Measures 92 & 93!
And don’t rush through the “breath marks” in measures 99
& 101. Let the ensemble
“step out of time” for a second at those marks. •ON A HYMNSONG OF PHILIP BLISS
- BAND VERSION
Expanded
Program Notes: Horatio
G. Spafford, a Chicago Presbyterian layman and successful businessman,
planned a European trip for his family in 1873.
In November of that year, due to unexpected last minute business
developments, he had to remain in Chicago; but he sent his wife and four
daughters on ahead as scheduled aboard the S.S. Ville du Havre.
He expected to follow in a few days.
On November 22, the ship was struck by the Lochearn, an English
vessel, and sank in twelve minutes.
Several days later the survivors were finally landed at Cardiff,
Wales, and Mrs. Spafford cabled her husband, “Saved Alone.”
Shortly afterward Spafford left by ship to join his bereaved
wife. It
is speculated that on the sea near the area where it was thought his
four daughters had drowned, Spafford penned this text with words so
significantly describing his own personal grief, “When sorrows like
sea billows roll . . “ It
is noteworthy, however, that Spafford does not dwell on the theme of
life’s sorrows and trials, but focuses attention in the third stanza
on the redemptive work of Christ. Humanly speaking, it is amazing that one could experience
such personal tragedy and sorrow as did Horatio Spafford and still be
able to say with such convincing clarity,
“It is well with my soul….”. Hymn writer
Philip Paul Bliss was so impressed with the experience and expression of
Spafford’s text that he shortly wrote the music for it, first
published in 1876. Bliss
was a prolific writer of gospel songs throughout his brief lifetime and
in most cases, he wrote both the words and the music.
This hymn is one of the few exceptions. There
is speculation that this was perhaps the last gospel song written by
Bliss. Bliss and his wife,
Lucy, were killed in a train wreck in Ashtabula, Ohio, on December 29,
1876. Most sources mention
that Bliss actually escaped from the flames at first, but was killed
when he went back into the train to try and rescue his wife.
Neither body was ever found. As
a postscript, Bliss’ trunk was salvaged from the wreckage, and in it,
evangelist D. W. Whittle found an unfinished hymn, which began,
“I know not what awaits me, God kindly veils my eyes….” Program Notes: David Holsinger’s first child, his daughter Haven, was the inspiration for this 1983 composition. Its driving rhythms represent the energy of an eight year old, who was constantly dancing and twirling around the house, dreaming of being a ballerina. The composition undergoes several variations in style, but it is always filled with energy. Some passages evoke the image of a single dancer, with solo pirouettes and leaps; these light efforts grow to draw in the full dance company with an unrelenting, underlying rhythm. HAVENDANCE is the first of three dancesongs honoring the composer’s children; NILESDANCE and GRAYSONDANCE reflect the diverse personalities of his two sons. (Program notes by David Bruce Adams) •
THE “LION’S ROAR” –
DIVERTIMENTED DANCES (2007)
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