Composition: Escape Route

Compser: Todd Stalter

Measure # 1 2 3 4 5 6 7 8 9 10 11 12
Form Introduction/Theme 1
Phrase
Structure
Tempo Allegro dramatico, 152 bpm
Dynamics
f mf f mp f mp mp

Meter/Rhythm

Tonality G minor

Harmonic Scalar Scalar

i i i i i i i i i i
motion motion
Motion
Orchestration Bssn, clarinet, bass clarinet,
Whole band (minus Whole band (minus tenor, bari, trombone, Flute, oboe, clarinet,
bells, perc 1, perc 2, bells, perc 1, perc 2, euphonium, snare, bass Whole band, unison bass clarinet, alto,
timpani), unison Flute, oboe, clarinet, timpani), unison drum, sus. Cym. (minus bells, timpani) tenor, bells, xylo
General
Character Bold, dramatic, but Exciting, dramatic, setting the stage for the chase/escape
Means for still light, not too
Expression heavy, whole band This theme returns Immediate drop to
sound should be Flute, oboe, clarinet, throughout the piece, Different rhythm, but softer, lighter WW
impactful but bells drive forward should be played Drop down from mp, same style as opening material, xylo can
balanced with the 8th notes relatively the same build!!! material, bold come out of texture
Conducting Pattern should be big Look to flute, oboe,
Concerns but controlled, convey clarinet, alto sax
accented style, don't Look to flute, oboe, Keep good time so Cue bells @ m. 12
start too fast or too clarinet, bells, slightly Larger f pattern, Big drop in dynamics, the offbeats can Cue trombone @ m.
slow smaller
Address pattern (mf)
articulations accented big cresc (mp to f) happen successfully 12
Rehearsal in 8th, should not be
Consideration all slurred, Dynamic changes
instrumentatin will should be subito (here
Match style and pitch help with dynamic Match style and pitch and throughout the Match style and pitch Address articulations
of unison change of unison piece), big cresc. of unison and style her

Page 1
Composition: Escape Route
Compser: Todd Stalter

Measure # 13 14 15 16 17 18 19 20 21 22 23 24
Form Drum break Theme 2
Phrase
Structure
Tempo Allegro dramatico, 152 bpm
Dynamics mf
mp mp p
mp

Meter/Rhythm

Tonality G minor

Harmonic i i V i i V i i V i i V i i V i i V
Motion
Orchestration Bassoon, clarinet, bass clarinet, alto, tenor,
Clarinet, bass clarinet, alto, hi-hat, timpani, bari, trombone, euphonium, tuba, hi-hat,
snare snare, timpani
Hi-hat, timpani, snare Flute, oboe, trumpet, bells, xylo @ m. 20 Flute @ m. 24
General
Character Sneaky, "tiptoe" Sneaky, tiptoe, quiet, trying not to be found
Means for
Expression Clarinet, alto sax have melody, should not be
too much accent on dotted rhythms, Lows enter to add support and texture, flute
Drum break should set up m. 17, start out interjections in flute, oboe, trumpet, trill at m. 24 should come out of texture, set
louder and then come down when WWs enter trombone gliss should come out of texture up for unison @ m. 25
Conducting
Concerns
Cue entrance of clarinet/alto sax
Look to flute, oboe, trumpet, bells, xylo for Turn attention back to melody people
Conduct to percussion, keep pattern small interjections
Address articulations, or at m.thereof,
lack 20 do not Cue flute @ m. 24 beat 3
Rehearsal place too much accent on syncopated
Consideration rhythms
The composer is very clear about what
Hear each line played individually, then put articulations he wants and when he wants Balance lows vs. melody line
them back together them Make sure flute knows trill fingerings

Page 2
Composition: Escape Route
Compser: Todd Stalter

Measure # 25 26 27 28 29 30 31 32
Form Theme 1
Phrase
Structure
Tempo
Dynamics
f mp f mp

Meter/Rhythm

Tonality
Harmonic i i V V i i V V
Motion
Orchestration

Whole band, unison (minus bells, Flute, oboe, clarinet, trumpet,

Whole band, unison (minus bells) Flute, oboe, clarinet, alto, triangle timpani) woodblock
General
Character Angry, bold Quiet, sneaky Angry, bold Quiet, sneaky
Means for
Expression
Light WW motif trades with unison
material, pay attention to Light WW motifc, be concious of
Return of opening material articulations Return of opening material articulations, no cresc.
Conducting
Concerns

Subito mp, much smaller pattern,

Subito forte, accented pattern light and staccato
Rehearsal Address articulations, make a
Consideration difference between the slur,
accent, and staccato
Slow down if needed and pick
Match pitch and style in unison tempo back up
Subito forte, accented pattern Return to staccato pattern
Lean into slurred notes, should
lead into the staccato note/next
Match pitch and style in unison bar

Page 3
Composition: Escape Route
Compser: Todd Stalter

Measure # 33 34 35 36 37 38 39 40
Form Theme 1
Phrase
Structure
Tempo Allegro dramatico, 152 bpm
Dynamics
f fp ff f

Meter/Rhythm

Tonality G minor

Harmonic i i III vi i i NC NC
Motion
Orchestration
Flute, oboe, clarinet, alto, xylo
Whole band, unison (minus bells, Whole band (minus bells,
timpani) timpani) @ m. 36 Whole band (minus bells) Hi-hat
General
Character Angry, bold "Close call", tension and release "Tiptoe"
Means for
Expression

Same rhythm as m. 31-32, subito Quasi WW motif, but leads into a full band crescendo and climatic Mini percussion break, hi-hat
forte, be concious of articulations moment only, should be very light
Conducting
Concerns Keep pattern big for hi-hat break
Big decresc.
Show fp @ m. 35, give big cresc. into m. 37 Make eye contact with lows for
Return to accented pattern Arrival point entrance @ m. 41
Rehearsal
Consideration Address articulations
Address fp
Make sure quarter note triplets are in time, match style Make sure hi-hat is performing
Match pitch and style in unison Balance chord @ m. 37 the correct open/closed pattern

Page 4
Composition: Escape Route
Compser: Todd Stalter

Measure # 41 42 43 44 45 46 47 48
Form Theme 3
Phrase
Structure
Tempo
Dynamics mf
p mp mp
mp

Meter/Rhythm

Tonality
Harmonic iv i ii7 V7 iv i ii7 V7
Motion
Orchestration

Bassoon, bass clarinet, tenor, bari, horn, trobmone, euph, tuba, bells, Flute, oboe, bassoon, bass clarinet, tenor, bari, horn, trobmone,
hi-hat euph, tuba, bells, hi-hat
General
Character Tense, "looking for each other", trying not to be seen
Means for
Expression

Light 8th notes, rise and fall on long notes, lows set up WW entrance
@ m. 45, come down at WW entrance Flute, oboe melody, rise and fall phrasing, lows fit under melody
Conducting
Concerns Small pattern
Catch change to 3 Cue flute, oboe entrance
Use staccato pattern, prep for lyrical melody entrance Change pattern to more legato, conduct style of melody
Turn to flute, oboe Show rise and fall dynamics throughout
Rehearsal
Consideration

Match style and length of notes in accompaniment figure Flute line should be very smooth
Match speed of cresc/decresc Pitch may be an issue for the melody, check as needed

Page 5
Composition: Escape Route
Compser: Todd Stalter

Measure # 49 50 51 52 53 54 55 56
Form Theme 3
Phrase
Structure
Tempo Allegro dramatico, 152 bpm
Dynamics mp mf mp mf mp
p mp p mp p

Meter/Rhythm

Tonality G minor

Harmonic iv i ii7 V7 iv i ii7 V7

Motion
Orchestration

Flute, oboe, clarinet, alto, bassoon, bass clarinet, tenor, bari, horn,
trobmone, euph, tuba, bells, hi-hat Whole band (minus perc. 1)
General
Character Tense, "looking for each other", trying not to be seen
Means for
Expression

Clarinet, alto sax enter, bring out quarters while melody holds long Muted trumpet enters, can come out of the texture, trumpets are
notes, flute/oboe should still be main voice, rise and fall dynamics only voice that reaches forte in m. 54, rise and fall dynamics
Conducting
Concerns

Look to clarinet, alto sax for entrance, should not need a formal cue Look to trumpet for entrance, cue
Continue to show rise and fall dynamics Continue to show rise and fall dynamics
Rehearsal
Consideration Double check that all entrances are firm and comfortable
Place the sound, but don't make it obvious that a new entrance has occurred, blend in with texture
Trumpets may have a hard time with the range while muted here
If no access to mutes, cover bell with the hand

Page 6
Composition: Escape Route
Compser: Todd Stalter

Measure # 57 58 59 60 61 62 63 64 65 66 67 68 69 70
Form Transition Theme 2, climax
Phrase
Structure
Tempo Allegro dramatico, 152 bpm
Dynamics f
p f
fff

Meter/Rhythm

Tonality G minor

Harmonic NC V i NC NC
Scalar Scalar
i i i V7 i i i V7
motion motion
Motion
Orchestration

Whole band
Bells, hi-hat, woodblock, timpani (minus bells) Whole band
General Oh no!, escapee/pursuer
Character Tiptoe find each other Escapee/pursuer have encountered each other, chase
Means for
Expression Percussion break serves as transition Two main melodic lines (group 1- flute, oboe, clarinet, trumpet 1, bells, group
between "lyrical" section and return to 2- alto, tenor, trumpet 2, horn), group 2 can come up a bit more since it is
the accented material, solos Big build!!!, whole new material, group 1 plays material from m. 17, trombone glisses should stick
throughout percussion band unison out (fff), unison rhythm @ m. 70 preps for character change
Conducting
Concerns Keep pattern small for percussion Subito forte Keep good time so syncopated rhythms can happen successfully and
break Accented pattern accurately
Cue solos Catch change back Cue trombone glisses @ m. 63
More staccato pattern to 4 Facial expressions!
Rehearsal This should be the loudest point, but exercise control, use good tone
Consideration Break down percussion break, timpani Do not enter early Trombone gliss should stick out of the texture, but still use a good, supported
entrances should be right in time here, listen for bell tone, play in tune and in tone
Make sure all parts are covered, solo to help cue Hear each melodic line separately, put back together
instrument changes entrance Match style/length of notes in m. 70

Page 7
Composition: Escape Route
Compser: Todd Stalter

Measure # 71 72 73 74 75 76 77 78 79 80 81 82
Form Coda
Phrase
Structure
Tempo
Dynamics mp
p mp ff sffz
p

Meter/Rhythm

Tonality
Harmonic i i i i i i i+7 i+7 NC NC i i
Motion
Orchestration

Triangle Whole band (minus

Whole band (minus perc. 1), layered entrances solo bells, perc. 2)
General Close escape, grand
Character Tension, sneaky, light, tiptoe, building tension Tense silence finale
Means for
Expression
Silence, triangle solo Final return of
Lows set up tonic chord, suddenly very quiet, clarinet entrance @ m. 73 with melodic @ m. 80 sets up opening material, full
ostinato, rest of band layers in do add to the harmonic texture, increasing tension unsion finale circle, BIG
Conducting
Concerns Cue triangle solo @ BIG
Immediate drop to piano m. 81 Give downbeat, leave
Cue clarinet and bells @ m. 73 Keep time through out beat two, give
Give clear release at m. 79 silence beat 3
Rehearsal Balance/match tuning in lows Should be complete
Consideration Keep solid time in clarinet, this could easily drag, if needed, take out the ties and then put silence other than Match style and pitch
them back in downbeat in unison
As new entrances occur, the volume will naturally increase, but it should still remain very Make sure triangle is Match length of last
quiet and balanced right in time note

Page 8