intermediate string orchestra my immortal … · this arrangement is based primarily on the...
TRANSCRIPT
Please note: Our band and orchestra music is now being collated by an automatic high-speed system. The enclosed parts are now sorted by page count, rather than score order.
NOTE FROM THE EDITOR
All Belwin string parts have been carefully bowed and fingered appropriately by level. The Yellow Very Beginning series includes many bowings as well as reminder fingerings for first-time readers. The Red Beginning series includes frequent bowings to assist younger players. Fingerings for altered pitches are often marked. The Green Intermediate series includes appropriately placed bowings for middle-level students. Fingerings and positions are marked for notes beyond first position. The Blue Concert series includes bowings appropriate for the experienced high school player. Fingerings and position markings are indicated for difficult passages.
Bob PhillipsBelwin/Pop String Editor
INTERMEDIATE STRING ORCHESTRA
My ImmortalWords and Music by BEN MOODY, AMY LEE and DAVID HODGES
Arranged by ROBERT GARDNER
INSTRUMENTATION
1 Conductor 8 1st Violin 8 2nd Violin 5 3rd Violin (Viola T.C.) 5 Viola 5 Cello 5 String Bass
Grade 3
PROGRAM NOTES
This arrangement is based primarily on the performance from the 2003 Evanescence album Fallen. The band was nominated for a Grammy in 2005 for this song, and it has been their highest charting single after “Bring Me to Life.” The lyrics portray the heart-wrenching emotions of a person who has experienced the loss or betrayal of a loved one. “My Immortal” is a beautiful, haunting, and compelling, yet powerful song, and it translates very well to the string orchestra setting. Its popularity demonstrates how well it resonates with listeners who have experienced similar emotions in their lives.
NOTES TO THE CONDUCTOR
“My Immortal” is extremely accessible, with all parts in first position and a diatonic tonality in G major. At the same time, this piece will challenge your group with its independent voicing and syncopated rhythms in the melodic lines. The entire piece should be performed with a rich legato sound, in the style of an evocative rock ballad. Students should be taught to use a full bow motion to create a rich tone quality, with enough vibrato to enhance the sound but not be overbearing. This song should be performed at the indicated tempo, but can be interpreted in a rubato style for dramatic expression. The pizzicato sections of the piece imitate the piano part in the original instrumentation, so they should be performed with a strong attack and sustained tone. The melody is usually carried in the first violins, but the seconds and violas often have important harmonies or countermelodies that should also be dynamically prominent. The cello and bass lines emulate the sustained chords and rhythms of the guitar and bass lines in a heavy rock style. The syncopated rhythms in the melodies and accompaniment (e.g., measure 38 in viola, cello, and bass) should be performed with clear articulation, but always with a sustained tone (never staccato). The climax of the song occurs at measures 59–66, and should be performed with soaring intensity. The piece then gradually diminishes in dynamics and intensity to a subdued and ethereal ending, which should be played with a delicate tone and no vibrato. This piece will add variety to any concert and fit nicely in a festival program, especially one that utilizes several different genres.
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44
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44Cello
Violins
Viola(Violin III)
String Bass
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II
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38424S
Words and Music by BEN MOODY, AMY LEE and DAVID HODGES
Arranged by Robert Gardner
My Immortal
© 2003 CHRYSALIS ONE MUSIC PUBLISHING GROUP IRELAND LTD. (IMRO), ZOMBIES ATE MY PUBLISHING (BMI) and FORTHEFALLEN PUBLISHING (BMI). All Rights Administered by CHRYSALIS ONE SONGS (BMI)
This Arrangement © 2012 CHRYSALIS ONE MUSIC PUBLISHING GROUP IRELAND LTD. (IMRO), ZOMBIES ATE MY PUBLISHING (BMI) and FORTHEFALLEN PUBLISHING (BMI)
All Rights Reserved including Public Performance
CONDUCTOR SCOREDuration - 4:15
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Vlns.
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34
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Vlns.
Vla.(Vln. III)
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I
II
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39
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#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
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40
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41
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7
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e
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
œ≤ œ œ œ œ œ œ œ œ≥
.œ≤ Jœ ˙
.œ≤ Jœ œ œ
.œ≤ Jœ œ œ
43
.œ jœ ˙
œ ≈ œ≤ œ œ œ œ œ
Œ . Jœ≤ ˙
.œ Jœ œ œ œ
.œ Jœ œ œ œ
44
.œ jœ ˙
œ≤ œ œ œ œ œ œ œ œ≥
˙ œ œ≥ œ œ œ œ≥
.œ Jœ œ œ
.œ Jœ œ œ
45
.œ jœ ˙
ƒ
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
Jœ ‰ œ≤ œ œ œ œ
œ ‰ Jœ≤ œ œ œ
.œ≥ Jœ œ œ œ
.œ≥ Jœ œ œ œ
46
.œ≥ jœ ˙
.œ≥ œ œ œ œ œ œ œ œ≥
.œ≤ Jœ œ œ≤ œ œ≥
.œ≤ Jœ œ œ œ œ≤
.œ≤ Jœ œ œ œ œ≤
47
.œ jœ ˙
Jœ ‰ œ≤ œ œ œ œ
.œ jœ≤ ˙
.œ Jœ≥ œ œ≤
.œ Jœ≥ œ œ≤
48
.œ jœ ˙
w≥
w≥
w≥
≥̇ .œ œ≥ œ≤ œ œ≥ œ≤
49
w≥PP
8
38424S
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
Previe
w Onl
y
Lega
l Use
Req
uire
s Pur
chas
e
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
Ó œ≤ .œ œ≤
œ Œ Ó
œ Œ Ó
w≥
50
w
Pp
p,
,
..œœ≥ Jœ œ œ
.œ≥ œ œ œ≥ œ œ≥
.œ≥ œ œ œ≥ œ œ≥
.œ≥ œ œ œ≥ œ œ≥
51
.œ≥ jœ œ œ
f
FF
F
F
51
œ≤ œ œ œ œ
.œ≤ jœ œ œ
.œ≤ jœ œ œ
.œ≤ Jœ œ œ
52
.œ≤ Jœ œ œ
.œ Jœ œ œ
.œ Jœ œ œ
.œ Jœ œ œ
.œ Jœ œ œ
53
.œ jœ œ œ
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
œ≥ .œ œ Œ ‰ Jœ≤
.œ Jœ œ œ
.œ Jœ œ œ
.œ Jœ œ œ
54
.œ jœ œ œ
.œ≥ Jœ Jœ œ Jœ
.œ≥ œ œ œ œ œ
.œ≥ œ œ œ œ œ
.œ≥ œ œ œ œ œ
55
.œ≥ jœ œ œ
.œ Jœ œ Œ
.œ œ œ œ≥ œ œ≥
.œ œ œ œ œ œ
.œ œ œ œ œ œ
56
.œ jœ œ œ
,
.œ≤ Jœ œ œ
.œ Jœ œ œ
.œ œ œ œ œ œ
.œ œ œ œ œ œ
57
.œ jœ œ œ
9
38424S
PREVIEW
P
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P
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PREVIEW
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P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
Previe
w Onl
y
Lega
l Use
Req
uire
s Pur
chas
e
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
.œ≥ Jœ œ œ≥ œ œ œ
.œ≤ œ œ œ œ œ≥ œ œ œ
.œ≥ œ œ œ œ œ
.œ≥ œ œ œ œ œ
58
.œ≤ Jœ œ œ
ƒ
ƒ
f
f
f
.œ≥ œ œ œ .œ œ≤ œ
.œ≥ œ œ œ .œ jœ≤
.œ≥ œ≤ œ œ œ œ≤ œ
.œ≥ œ≤ œ œ œ œ≤ œ
59
.œ≥ jœ≤ ˙
59
.œ≥ œ œ œ œ œ≥ œ œ œ
.œ≥ œ œ œ œ œ≥ œ œ œ
.œ≥ œ≤ œ ˙
.œ≥ œ≤ œ ˙
60
.œ jœ ˙
,
,
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
.œ≥ œ œ œ .œ œ≤ œ
.œ≥ œ œ œ .œ œ≤ œ
.œ≥ œ≤ œ œ œ œ≤ œ
.œ≥ œ≤ œ œ œ œ≤ œ
61
.œ jœ ˙
-2 .œ≥ œ≤ œ œ≤ œ≥ œ œ≤ œ
.œ≥ œ≤ œ œ≤ œ≥ œ œ≤ œ
.œ≥ œ≤ œ ˙
.œ≥ œ≤ œ ˙
62
.œ jœ ˙
-3
‰ . Rœ≤ œ œ œ œ œ
.œ≥ jœ œ œ œ
.œ≥ Jœ œ œ œ
œœ>≥ œœ
≤ œœ≤ œœ>
≥ œœ œœ≤ œœ œœ
63
œ>≥ œ≤ œ≤ œ>≥ œ œ≤ œ œ
f
63
div.
10
38424S
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PREVIEW
P
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P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
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P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
Previe
w Onl
y
Lega
l Use
Req
uire
s Pur
chas
e
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
œ≤ œ œ œ œ œ œ œ œ≥
.œ≤ jœ œ œ
.œ≤ Jœ œ œ
œœ> œœ œœ œœ> œœ œœ œœ œœ
64
œ> œ œ œ> œ œ œ œ
sim.
sim.
œ ≈ œ≤ œ œ œ œ œ
œ≥ œ≥ œ≤ œ œ œ
œ≥ œ≥ œ≤ œ œ œ
œœ> œœ œœ œœ> œœ œœ œœ œœ
65
œ> œ œ œ> œ œ œ œ
œ≤ œ œ œ œ œ œ œ œ≥
.œ≤ Jœ œ œ
.œ≤ Jœ œ œ
œœ> œœ œœ œœ> œœ œœ œœ œœ
66
œ> œ œ œ> œ œ œ œ
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
Jœ ‰ œ≤ œ œ œ œ
.œ jœ œ œ
.œ Jœ œ œ
.œ≥ jœ œ œ
67
.œ≥ jœ œ œ
dim.
dim.
dim.
dim.
dim.
.œ≥ œ œ œ œ œ œ œ œ≥
.œ Jœ œ œ
.œ Jœ œ œ
.œ≤ jœ œ œ
68
.œ≤ jœ œ œ
Jœ ‰ œ≤ œ œ œ œ
.œ≥ jœ≤ œ œ≤
.œ≥ Jœ≤ œ œ≤
.œ≥ jœ ˙
69
.œ≥ jœ ˙
.≥̇ Œ
.≥̇ Œ
.≥̇ Œ≥̇ .œ œ≥ œ≤ œ œ≥ œ≤
70
w≥
P
P
P
PP
11
38424S
PREVIEW
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P
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P
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P
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P
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PREVIEW
P
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P
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P
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P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
PREVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
Previe
w Onl
y
Lega
l Use
Req
uire
s Pur
chas
e
&
&B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
Ó œ≤ .œ œ≤
∑
∑
w≥
71
w
rit.
,
w≥
w≥
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
72
w≥
dim.
Fpizz.
dim.
72 A tempo
dim.
Fpizz.
dim.
dim.
ww
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
73
w
ww
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
74
w
ww
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
75
w
&
&
B?
?
#
#
#
#
#Cello
Vlns.
Vla.(Vln. III)
Str. Bass
I
II
w≥
w≥
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
76
w≥
p dim.
p dim.
P dim.
P dim.
p dim.
ww
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
77
w
∑
w
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
78
w≥
≤}∑
w
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
79
w
rit.
ππ
wU≥
wU≥
wU≥
∑U
80
∑U
π
π
πarco
12
38424S
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PREVIEW
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REVIEW
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PREVIEW
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PREVIEW
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PREVIEW
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PREVIEW
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PREVIEW
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PREVIEW
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PREVIEW
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REVIEW
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REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
P
REVIEW
Previe
w Onl
y
Lega
l Use
Req
uire
s Pur
chas
e