An Odyssey for Wind Bands
Composed for the
Seika Girls High School Band, Fukuoka City, Japan
Yoshihisa Fujishige, Conductor
Outlander is a musical odyssey which explores emotions and states in the extreme; fear, total isolation, violence, pain, hope, relief and in the end, tears of joy and triumph. Full of textures and dynamic contrasts this work is extremely descriptive with the help of extensive melodic percussion and piano parts. The percussion and piano pads create a wonderful pallet which at times is dark and foreboding, even primal. Other times it helps creates a melodic texture that is sadly beautiful.
Outlander explores what it is to be both human and alien with an orchestration and form that is totally freestyle.
This work reflects the futuristic musical journey of a young heroine named Nanami who has recently graduated from the Space Academy. Her first mission into space turns into a catastrophic event forcing everyone on the ship to abandon via personal escape pods. Nanami unfortunately gets sucked into a worm hole and comes out
millions of miles away from home.
Low on fuel and supplies Nanami lands on a planet with oxygen and carbon based life forms where she is an alien, captured and treated with hostility at best. Her only saving grace? On this planet, all of the creatures can hear her thoughts and she can hear theirs. The dominant race of this planet does not share this gift. Nanami uses this talent to her advantage and with the help of these creatures escapes, flies back through the worm hole and returns safely to earth.
Notes to the Conductor:
Outlander is full of dynamics which should not be over looked or under played. The melodic percussion sections should not be heavy. Soft mallets should be used most of time with the exception of the opening and possibly the vibraphone throughout. The percussion should always feel present in these sections with lightness and balance and never
overbearing. The solos throughout the various instruments during the “melodic” sections should display finesse and musical expression. The timpani part most of the time is a bass line, much like the contra bass part and should integrate with the band like a melodic instrument as opposed to a drum. At times the timpani carries the melody in short segments and care should be taken that it is loud enough to balance the band. The Kick Bass Drum, or "trap set" drum should have a low, muffled and tight sound.