Lennie Niehaus $6.00 Ffromrom Ttimeime Toto Ttimeime

Kjos String Orchestra Grade 2 Full Conductor Score JSO292F Lennie Niehaus $6.00 FFromrom TTimeime toto TTimeime

SAMPLE

Neil A. Kjos Music Company • Publisher 2 The Composer Lennie Niehaus was born to a musical family in St. Louis in 1929. As a teenager, Mr. Niehaus started playing the alto saxophone and quickly fell in love with jazz music. By the time he was in his mid twenties, he was performing professionally as a saxophonist with the popular and influential Stan Kenton Orchestra, a position he held from 1954 to 1959. He has also recorded albums as a leader with such jazz greats as Mel Lewis and Shelly Manne.

Mr. Niehaus left the world of jazz performance to concentrate on writing music in 1959. For over forty years, he has won acclaim as a composer of both concert music and music for the screen. A prolific composer of film scores, Mr. Niehaus has had a long and fruitful collaboration with actor/director Clint Eastwood: his music appears in over 20 Eastwood movies, including Bird, The Bridges of Madison County, Space Cowboys, and Unforgiven. In 1994, he won the Emmy Award for “Outstanding Individual Achievement in Music Composition for a Miniseries or a Special” for his score to the Showtime film Lush Life. He has also received numerous honorable mentions at the BMI Industry Awards. Mr. Niehaus continues to actively score music for film and television.

In addition to his career in film music, Mr. Niehaus has over one hundred published compositions to his credit, including works for such diverse ensembles as symphony orchestra, concert band, string orchestra, chamber ensembles, and jazz band. He is an active member in the Academy of Motion Picture Arts and Sciences (AMPAS), American Society of Music Arrangers and Composers (ASMAC), and the Los Angeles Jazz Society.

The Composition From Time to Time begins with a rousing, heroic theme played by the whole ensemble. Students should employ a marcato style until m. 30, where a gentler mood takes over. The calm doesn’t last for long, however – in m. 46, we’re back to the main theme. This first section is written in a quasi-Baroque style, but m. 55 ushers in a dramatic shift to a more modern, “jazzy” harmonic language. It also marks a shift to time, giving inspiration to the title of the piece, From Time to Time. Students should pay special attention to graceful43 bowing, lyrical phrasing, and a warm vibrato in this section. In the recapitulation, the orchestra is back to the original “time” ( , quasi-Baroque). Students will need to watch the director closely in the last two measures of the piece: this parting4 unison needs to be rhythmically clean for a dramatic effect.

I hope your students enjoy the piece!

Instrumentation List (Set C) 8 – 1st Violin 8 – 2nd Violin 5 – 3rd Violin (Viola T.C.) 5 – Viola 5 – Cello 5 – String Bass 1 – Rehearsal Piano 1 – Full Conductor Score

Additional scoresSAMPLE and parts are available.

JSO292 3 From)URP7LPHWR7LPH Time to Time  )XOO&RQGXFWRU6FRUHFull Conductor Score $SSUR[WLPHApprox. time – 3:50 Lennie/HQQLH1LHKDXV Niehaus

 :LWK6SLULW h F   5HSHDWRQ'&                               mf±f 9LROLQV ff                       ±   ff   mff   9LROD                    ff mf±f  &HOOR                       ff  mf±f  6WULQJ%DVV                          ff mf±f :LWK6SLULW h F  5HSHDWRQ'&                   5HKHDUVDO                 3LDQR ff     mf±f                        

                                9OQV                          

9OD         

&HOOR        

6WU%DVV                                                    3QR SAMPLE        

© 2010 La Jolla Music Company, Neil A. Kjos Music Company, Distributor, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A. ‹ 1HLO$.MRV0XVLF&RPSDQ\-XWODQG'ULYH6DQ'LHJR&DOLIRUQLD -62 WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

JSO292 4

                               mf 9OQV                      mf  

9OD                   mf 

&HOOR                 mf  6WU%DVV                mf                                       3QR mf              

                                 f 9OQV

                     f     

9OD                     f  &HOOR                f   6WU%DVV                   f                                       3QR SAMPLEf                        

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JSO292 5

5 22 23 24 25 26 1                      mf f Vlns.  2                   mf  f

Vla.            mf f

Cello                 mf  f

Str. Bass               mf  f 22                            Pno. mf f

              

27 To Coda 30 Smoothly  28 29  31 32 1                  Vlns.  2                mp       Vla.           mp   Cello            mp      Str. Bass                mp  To Coda 30 Smoothly                          Pno. SAMPLE mp                 

JSO292

JSO292 6

                  mf REEOLJDWR 9OQV              mf    9OD                &HOOR           mf  6WU%DVV            mf                  3QR   mf               

                         9OQV

             9OD            mf  

&HOOR          

6WU%DVV          

                     3QR SAMPLE                  

-62

JSO292 7

7 46 45  47 48  49 1                        f Vlns.  2                       f 

Vla.             f     Cello          f  Str. Bass           f 46                                   Pno. f            

53 54 50 1. 2. 51  52 1                             Vlns.    2                            

Vla.                  

Cello                  

 Str. Bass                    1. 2.                                      Pno. SAMPLE

                 

JSO292

JSO292 8

8 55 With feeling (q = c. 84) Rall. 59 A Tempo 56 57 58 60   1                      Vlns. mp    2               mp      Vla.      mp        Cello     mp   

Str. Bass           mp  55 Rall. A Tempo With feeling (q = c. 84) 59                             Pno. mp                   

61 62 63 64 65 66  1                Vlns.

2             

Vla.          

Cello        

Str. Bass           

                      Pno. SAMPLE             

JSO292

JSO292 9

9 67 71 69 70 72  68 1               Vlns.  2                Vla.                  Cello             Str. Bass         67 71                           Pno.               

73 Rall. D.C. al Coda 74 75 76 77 78 1        ( )              mf Vlns.    2 ( )              mf

Vla.   ( )               mf

Cello    ( )         mf

Str. Bass    ( )           mf D.C. al Coda Rall.                  ( )              SAMPLE mf Pno.           ( )     

JSO292

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 &2'$                            9OQV ff                           ff      9OD                    ff     &HOOR                   ff    

6WU%DVV                  ff        &2'$                                3QR ff                        

  5LWDUGGHOLEHUDWHO\                               9OQV                                                9OD                            &HOOR                       6WU%DVV                   5LWDUGGHOLEHUDWHO\                 3QR SAMPLE                                

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