Of Endless Miles and Empty Rafts

Michele Fernández is extremely precise in her notation. On this piece, doing what’s on the page will get us 90% of the way there. The other 10% will come from listening and realizing what else is happening in the ensemble.

In this piece, think of dynamics not as volume, but as concepts of color. The stronger the dynamic, the brighter and richer the color should be, but always at a volume where the rest of the band can be heard. The writing in this piece is best when it is transparent and all the voices can shine through.

The piece is written in three distinct parts. The first is the opening chorale, which uses slowed down dance rhythms to paint the picture of a treacherous journey at sea. 

Tempos for this section:

m. 1:  = 72
m. 13:  = 64

The next starts at m. 18. The Guaguancó is a subgenre of Cuban rumba. In this case, it represents a flashback to a happier memory at home, when the person now fleeing was able to live peacefully. Our job is to fill this section with warmth and peace to contrast with the outer sections.

Tempo is  = 118 throughout.

The last section, starting at m. 60, paints the urgency of the situation at home and the courage to leave for a new land. At m. 147, it transitions back to the present, portraying the will to thrive and contribute to a new community. The section uses another Cuban style, the Son montuno, to illustrate this with its fast, brash sound. 

Tempos for this section:

m. 60:  = 170
m. 147:  = 180

Errata: 

m. 17  Fermatas are inconsistent in parts.
Flutes, CROSS OUT your fermata on beat 1.
Everyone else, ADD a fermata on beat 3.