Convivial Tides

A Festival For Wind Symphony

 New Millennium Version

By Craig Thomas Naylor

duration: 14:10

Instrumentation

2 flutes - 4 players minimum, one to double piccolo*
2 oboes
2 bassoons (optional second double on contra bassoon)
clarinet in Eb
3 clarinets in Bb
bass clarinet
eb contra alto clarinet
2 alto saxophones
tenor saxophone
baritone saxophone
3 trumpets in Bb
4 horns in F
2 trombones
bass trombone
euphonium
tuba
8 percussion
    timpani, vibraslap
    xylophone
    marimba (low A), triangle
    chimes, tam tam, flexitone, maracas
    snare/toms - snare, 3 tom toms
    conga - (2) (timbales OK sub.), suspended cymbal
    djembe (ashiko or other African drum OK), mambo cowbell
    bass drum

    Convivial Tides: A Festival For Wind Symphony by Craig Thomas Naylor is a three movement work without pauses composed on commission for the Music Association of California Community Colleges.  Free tertian relationships and polytonality based on thirds form the basis for all scale, polychordal and contrapuntal material with a polyrhythmic overlaying of textures using variations and derivatives of West African (Yoruba) traditions.  All shapes and structures were inspired by the interplay of ocean cycles where wave after wave and wave upon wave are enclosed within the grand and powerful rise and fall of the tides.
    The original work premiered in 1994.  This revised version was released in 2001.    

Convivial Tides is, on one hand, an etude exploring the interval of the third and second.  The entire melodic and motific material can be seen in the first chord, a major seventh in second inversion, which has two major thirds and a minor second.  All melodic and harmonic material are derived, in some shape of form, from this intervallic germ.
    In the emotive level, however, this work is much, much deeper.  The overall shape is the traditional ABA’ but the first A has eight peaks in an abcadefg form (with peaks at the following measures:
A: 19, 35, 56, 78, 95, 131, 161, 254;
B: 295, 318;
A’ return.
    Each section grows out of the previous in a stream of consciousness manner, with motives in common but not easily recognizable as repeated material.  These building waves, generally lasting longer than the previous section, rise as does the tide to measure 254 where the B section begins.  This A section should be approached as a party, happy but slow to get going due to the small number of players but raucous at measure 254.  The melody and rhythms are often impudent and sarcastic, never elegant.
    The section from measure 162 to 254 is the apex of the party.  The flutes play an African technique of polyrhythm called wua with simple notes in harmonic cross relationships.  The trumpet motive, the background noise of the party, becomes prominent and the low brass and woodwinds rise to a fever of intensity at 251 after building for many minutes.  
    The percussion at 246, including traditional African drums, is a rhumba/high life rhythm and has been building steadily since measure 199.  If one traces the rhumba backwards from measure 246, one will find that each two-measure group receding from 246 progressively leaves out (more or leas) one or two notes from the full rhythm.  Starting at 199, notes are gradually added until the full rhythm is apparent at 246. This section should be wild, raucous and energetic.
    The B section has two waves or tides – the upper woodwind backup to the saxophone solo and the brass chorale leading to the full band tutti.  Contra bassoon is highly desirable at the tutti at measure 318.  In this section, lead to the trombone chord in measure 323, a major seventh in third inversion.
    The return of the A section, much shorter this time, should be wild, filled with joy and irreverent (as the first A section), finishing with a “raspberry” in the woodwind trill and the flexitone.  The final three notes should be conclusive – the party is definitely over.
    In many ways, this is a Romantic work with many sections building on the previous one, long crescendi and simple melodic and harmonic motives repeated at higher and higher intervals.  This work should be treated in such a manner.  In spite of this, however, the modern harmonic and melodic usage brings this to a festive and dance-like atmosphere.
    The numerous waves building upon the tides plus the overall happy feeling of the work gives the title: Convivial Tides.
    
Craig Thomas Naylor