SKU: HX.1480630

SKU: HX.437942

SKU: A0.1177418

Grade 3
Duration: 4:47

Flutes 1 & 2, Oboe, Bassoon, Bb Clarinets 1, 2 & 3, Bass Clarinet, Alto Saxes 1 & 2, Tenor Sax, & Baritone Sax
Bb Trumpets 1, 2 & 3, Horns in F 1 & 2, Trombones 1 & 2, Euphonium, & Tuba
Timpani, Bells, Vibraphone, Wooden Steam Whistle, Bass Drum

All the rivers run into the sea, yet the sea is not full: unto the place from whence the rivers come, thither they return again.
—ECCLESIASTES, 1:7

Nancy Cato uses this biblical verse as the epigraph for her most famous novel, All The Rivers Run. This work for concert band takes its title from the first section of Cato’s novel. It is intended for use by a varsity level middle school or non-varsity high school band.

The music is representative of the first few steps taken along a life’s journey from innocent beginnings through first encounters with love, heartbreak, and loss, culminating with the realization that through all of its twists and turns, the river remains a constant source of perpetual renewal. Along the way, there are musical allusions meant to invoke the early days of river paddlesteamers in Australia, including a wooden box whistle and tempo markings such as Dead Slow Ahead, Finished With Engines, and Full Ahead. 

Nancy Fotheringham Cato AM (11 March 1917 – 3 July 2000) was an Australian writer who published more than twenty historical novels, biographies, and volumes of poetry. Frequently associated with the Jindyworobak Movement, Cato was also known for her work campaigning on environmental and conservation issues.

SKU: A0.991803

Description
A delightful, intermediate level work suitable for encouraging students, hobbyists and professionals to improve or show off their performance skills. This lively work engages the audience with a breadth of moods from enlightening to reflective to celebratory. A great recital piece or encore piece to show off the melodiousness, harmoniousness and vibrancy of the tuba. Please send feedback, praises and more to contact@joaba.com.
Total Duration: ~8 minutes

Performance Notes

Prelude The real art of performing this piece is to master its dynamics. With the long pianissimo to forte crescendo at the introduction, the contrasting forte/mezzo piano sections and brisk, shorter crescendos for the cadences, the tubist must be aware of dynamics at all time and use them wisely.

The second aspect to performing this piece is to contrast the 2 eighth note plus quarter note slurs motif against the arpeggiations.  The introduction starts with the slurs and evolves into the arpeggiations by the first forte and the remaining piece explores the contrast between the two.  Performers should feel free to try different dynamics, try different tempos (like zipping through the arpeggiations and slowing for the motif), etc.

The goal is to bring the listener through the pleasantries of introductions to feel fresh and eager for further discourse ahead.

March The rewarding challenge in this piece is to bring out the difference between cheery and con brio.  The former being achieved by emphasizing the swaggering, strutting feel of the one-measure-per-beat feel and the latter by emphasizing the intervallic bounciness with the one-two march feel.

Note that the motif (with the quarter note morphing into an eighth note) along with simpler arpeggiations are brought to play in a new manner reinforcing the positive mood from the prelude.

The goal is to befriend the listener with an engaging, buoyant time.

Air The tubist will exercise great breath control and phrasing to achieve a sublime solemnness counterbalancing the prior two movements.

The motif now takes center stage headlining the main melodic phrases; however, here it is disjointed and conveys the sighing for the solemnness.

After the pleasantness of the march, affableness having garnered friendship, we now open ourselves to share some somber matters and offer consolation.  The intended goal here is to add depth to the relationship by addressing darker aspects in the discourse.

Slip-jig Rondo Harking back to the compound meter of the prelude, this dance adventurously wakens the listener from the solemnness of the air asserting a new grandness and gladness.  This is a slip-jig put into the rondo form so celebrate the main dance theme when it comes around and put fire and character into the transitions to make it worthwhile.

The motif now jumps into the compound meter’s beat and morphs into three slurred, conjoint eighth notes.  Now this motif enables several affects: exciting dance steps, transitions/modulations and concluding the phrases and the piece itself.

The performer should aim to lead and amaze the listener with the waltz-like slip-jig rhythm and astound with the virtuosic transitions as a final send-off.