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A note from the composer: joe's last mix always seems to be on the cusp of something. It was Instrumentation composed in the last months of 1999 just before the turn of the millennium on an old pc laptop and on an original lime imac named lily. It was a time of social and musical idealism before the Piccolo attacks of September 11th and their aftermath, a time when i was Flute 1 seeing the end of my long love affair with 'classical' music and entering the world of electronica and algorithmically generated Flute 2 music. Oboe 1 Oboe 2 joe’s last mix was my first attempt at blending the structures of my minimalist upbringing with the sounds of the electronic revolution English Horn that i was witnessing on stages and in recordings in the form of Clarinet in Eb techno, drum and bass, and house music. During its conception, i imagined that joe’s last mix was going to be a structural Clarinet in Bb 1 representation of a live dj mix. In retrospect, i realize that it owes Clarinet in Bb 2 much more of its rhythmic vitality to artists such as Aphex Twin, Bass Clarinet in Bb Square Pusher and Orbital, artists whose vision is much closer to the type of work that i am currently doing with live computing. Contraalto Clarinet in Eb Soprano Saxophone Much of the energy in joe’s last mix comes from the dynamic nature of the time and culture in which it was written. Its Alto Saxophone seemingly out of sync rhythmic structure, the result of simple Tenor Saxophone processes designed with the help of my imac, is often falling apart Baritone Saxophone at the seams. joe’s last mix is an ecstatic dancer, dancing himself to oblivion. Bassoon Contrabassoon My good friend and long time collaborator Stuart Sims commissioned joe’s last mix. It is a celebration of the life of his Horn in F 1 stepfather Joe Sullivan, who passed away in 1994, and it is Horn in F 2 dedicated to Joe and his widow Sue. i hope that it has brought her Horn in F 3 as much happiness as it has brought me. The first performance of joe’s last mix was at the historic Hill Auditorium in Ann Arbor, Horn in F 4 Michigan, and was performed by the University of Michigan Trumpet in C 1 Symphony Band under the baton of Mr. Sims. Trumpet in C 2 i would like to thank Stuart for commissioning, performing, Trumpet in C 3 endlessly promoting, and now publishing joe’s last mix. Without Trombone 1 him, joe’s last mix would remain forever at the bottom of my closet. i would also like to thank H. Robert Reynolds for letting Trombone 2 two young mavericks use his group for performing this then-crazy Trombone 3 work; Dave Glyde for rewriting the very difficult original percussion parts; and Ramiro Barrera, for teaching young students Tuba to play my difficult music with such ease and understanding. Timpani Orchestra Bells Marimba About the composer: Vibraphone tanner menard, composer and sound designer, was born in 1978. He is a member of the San Francisco-based digital media collective Hi Hat/Bass Drum Recombinant, in association with Asphodel Records. A typical Snare Drum/Maracas generation [x]er, he is currently making music for computer Concert Toms networks with his performance partner Logan Hedin. tanner studied music composition and computer music with Dr. Stephen Bass guitar David Beck at Louisiana State University, and was liberated to all Piano sound by Naut Humon. He has also worked closely with Carla Scaleti, the developer of the Kyma language for sound design. His Synthesizer wind music and his music for computers has been heard across the fruited plain, and in Canada. Notes on the instrumentation: joe’s last mix was conceived without additional doubling of parts beyond what is required. However, the conductor may double parts as necessary. About Loose Filter Music: Loose Filter Music seeks to inspire excitement and musical Euphonium may be used to double Trombone parts if dynamic curiosity through the commission and publication of compelling, reinforcement is needed; otherwise, euphoniums should not be original, and accessible works of music. Loose Filter is an attempt used. to do just that, loosen the filters we place upon ourselves as concert musicians, to encourage a broadening of our creative landscape. Trumpet parts in Bb have been provided for ease of performance, Our music will explore uncharted territory, actively seek the but C Trumpets are preferable. strange, unexpected, and highly original, as well as bring the best in orchestral compositional voices to the medium of bands and The sound setting used on the synthesizer is left to the discretion wind ensembles, in works of widely varying technical difficulty. of the conductor. The piano part should either be amplified or joe’s last mix is the beginning of Loose Filter Music, a company performed on a separate synthesizer set to piano sound. whose purpose is to promote new and unusual music that is on the edge of cultural and musical barriers. Loose Filter Music is available exclusively from Shattinger Music Company— 1.800.444.2408. 2 vast, frenetic (h = 96 - 112) joe's last mix for joe and sue tanner menard brahms ][ raga 2 3 4 5 6 7 8 Ï ú Ï ú Piccolo ¡ Ï ú. Ï Ï ú. Ï ú Ï Ï ú. Ï ú. Ï &b C ä J Ï ú Ï Ï. Ï Ï. Ï f J J 1st Flute &b C · · · · · · · · 2nd Flute &b C · · · · · · · · 1st Oboe &b C · · · · · · · · 2nd Oboe &b C · · · · · · · · English Horn & C · · · · · · · · # Clarinet in Eb & #C · · · · · · · · # 1st Clarinet in Bb & C · · · · · · · · # 2nd Clarinet in Bb & C · · · · · · · · Bass Clarinet # in Bb & C · · · · · · · · Contra Alto # Clarinet in Eb & #C · · · · · · · · # Soprano Saxophone & C · · · · · · · · # Alto Saxophone & #C · · · · · · · · # Tenor Saxophone & C · · · · · · · · # Baritone Saxophone & #C · · · · · · · · Bassoon ?b C · · · · · · · · Contrabassoon ? C · · · · · · · · ¢ b 1st Horn in F ¡ Ï ú Ï ú ú Ï j j & C · · ä J Ï ú. Ï ú. Ï ä Î Î Ï Ï. f J Ï Ï. Ï Ï ú 2nd Horn in F Ï ú. Ï . Ï ú . & C ä J Ï ú Ï î · Î ú Ï Ï ú Ï Ï. ä î f 3rd Horn in F Ï ú Ï ú j & C · · ä J ú Ï Ï ú. Ï ú. Ï ä Î Î Ï Ï. j f J Ï Ï. Ï Ï ú 4th Horn in F Ï ú. Ï . Ï ú . & C ä J Ï ú Ï î · Î ú Ï Ï ú Ï Ï. ä î f 1st Trumpet in C &b C · · · · · · · · 2nd Trumpet in C &b C · · · · · · · · 3rd Trumpet in C &b C · · · · · · · · 1st Trombone ?b C · · · · · · · · 2nd Trombone ? b C · · · · · · · · 3rd Trombone ?b C · · · · · · · · Tuba ?b C · · · · · · · · ¢ 2 3 4 5 6 7 8 vast, frenetic (h = 96 - 112) Timpani ¡? C ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ú Ï Ï Ï Ï ú ¢ f Ý Ï Ï Ï Ï ú Orchestra Bells ¡ b C ä Ï Ï ú nÏ Ï ú. Ï J ú nÏÏ Ï ÏÏ ú Ï nÏ Ï ÏÏ Ï Ï nÏ Ï Ï. Ï & J J Ï ú Ï Ï J f Marimba &b C · · · · · · · · Vibraphone b C · · · · · · · · ¢& Hi Hat/Bass Drum ¡ / C · · · · · · · · Snare Drum ?b C · · · · · · · · Concert Toms ? C · · · · · · · · ¢ b Bass guitar ?b C ú ú Ï ú. ú Ï Ï Ï ú. ú ú Ï ú. ú Ï Ï Ï ú. f &b C · · · · · · · · Piano f ?b C ú. Ï ú ú ú ú ú ú ú. Ï ú ú ú ú ú ú ú. Ï ú ú ú ú ú ú ú. Ï ú ú ú ú ú ú &b C · · · · · · · · Synthesizer ?b C · · · · · · · · © 2003 by Loose Filter Music All rights reserved. 3 9 10 11 12 13 14 15 16 Ï. ú Ï Ï. ú Ï Picc. Ï. Ï Ï Ï. Ï. Ï Ï Ï. Ï. Ï Ï. Ï ú Ï Ï ¡ b Ï J Ï Ï. Ï Ï J J J J J Ï ú Ï Ï. & J J J J J J J J 1st Fl. &b · · · · · · · · 2nd Fl. &b · · · · · · · · 1st Ob. &b · · · · · · · · 2nd Ob. &b · · · · · · · · Eng. Hn & · · · · · · · · # Eb Cl. & # · · · · · · · · . # Ï. Ï. Ï. Ï. Ï. Ï. Ï. Ï Ï. Ï. Ï. Ï. Ï. 1st Cl. & · · · · ä ä ä ä î · ä ä ä mp . # Ï. Ï. Ï. Ï. Ï. Ï. Ï. Ï Ï. Ï. Ï. Ï. Ï. Ï. 2nd Cl. & · · · · ä ä ä ä î · ä ä mp B. Cl. # . & · · · · · · · î Î ä Ï mfJ # Ï C. A. Cl. & # · · · · · · · î Î ä J f # S. Sax. & · · · · · · · · # A. Sax. & # · · · · · · · · # T. Sax. & · · · · · · · · # Bar. Sax. & # · · · · · · · · Bsn ?b · · · · · · · · Ï Cbsn ?b · · · · · · · î Î ä J ¢ f Ï. ú Ï Ï. ú Ï 1st Hn ¡ j Ï. Ï ä Î î ä J Ï. Ï. ä î î Î ä Ï ú Ï Ï j j & Ï J J J J Ï ú Ï Ï. 2nd Hn ä Ï. Ï Ï j j j ä Î · î ä Ï. Ï. Ï Ï Ï. Ï. Ï Ï. Ï ú Ï ä Î · & J Ï Ï. Ï Ï J J J J J Ï. ú Ï Ï. ú Ï 3rd Hn j Ï. Ï J Ï. Ï. ä î î Î ä Ï ú Ï Ï j j & Ï J ä Î î ä J J J Ï ú Ï Ï. 4th Hn ä Ï. Ï Ï j j j ä Î · î ä Ï. Ï. Ï Ï Ï. Ï. Ï Ï. 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