This programmatic work depicts the building of the Roman Empire and in particular, Rome itself. Its architecture, its political intrigue and the diverse social status of its people is reflected in this work with its overall tonality and ethnic flavors. In some sections, the percussion section represents Rome’s military strength. At other times, it represents the dancing and celebrations which, in Rome, as with most everything else, were epic in proportion.Throughout the composing process, I envisioned a country peasant going to Rome for the first time, seeing all the sights and even getting enticed into a party or two. J.G. Notes to the Conductor In measures 81 - 146 and 162 - end the percussion should sound highly ethnic in nature. If you have an extra percussionist, then split the maraca and tambourine part and use two players. If you don’t have the players to do so and you don’t have a percussionist who can play both instruments at the same time, the gong part may be omitted. I do not want the bass drum to actually sound like as bass drum. I am looking for a deeper, less identifiable sound, like a huge skin drum. I have suggested a very hard mallet played close to the center of the drum, with the drum turned almost parallel to the floor. I want to hear the attack, but also want to hear it ring afterwards unless otherwise marked. The sleigh bells can be replaced with a tambourine, antique cymbal stick, or possibly another like instrument. The gong is to be played with a wood snare stick (not a mallet), close to the center of the gong during those sections. The tom-toms should be played with a very hard mallet. I suggest using the specific instrumentation already listed until the players know their parts - then you may experiment with optional/alternate sounds/instruments. The ultimate goal is to have those sections sound very ethnic, full and colorful in nature. The bass drum part is the most important. J.G. SCORE PREVIEW (PDF)
