Inchon

As with all of Robert W. Smith's literature, you can be certain that "Inchon" is extremely musical, solidly scored for teaching and performanc, and clearly unique. Patriotically inspired by the 50th anniversary of the Korean conflict and dedicated to Smith's father, a veteran of two wars. This is certain to be Robert W. Smith's newest hit.

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Difficulty 4 on a scale of 1 to 6 with 6 being the hardest.

Technical Notes: The bells/ xylophone part is lableled as "mallet percussion" in the score. The timpani can be substituted for ocean drum. The 1st percussion part is marked for snare drum and bass drum. The 2nd percussion part is marked for triangle and wind chimes. The 3rd percussion part is marked for suspended cymbal, crash cymbals, and gong.

Notes To The Conductor

The opening ocean effect should be staged in various ways depending upon the performance hall. Of prime importance is the audibility of the ocean drum. However, it is crucial that the ocean drum not overshadow the solo flute. For the premier performance of the piece at Troy State University, I placed the ocean drum offstage, allowing greater dynamic control.

Although scored for C flute, I prefer the more delicate sound of the alto flute for the opening and closing solos. The soloist should transpose up a fourth from the written pitch if the alto flute is used. Please note that the solo should be very freely interpreted.

The five cues beginning at measure 13 are designed to create what is notated as the "helicopter effect". Properly staged and equipped, the percussion section will acoustically create the sound of a helicopter flying into the auditorium and landing on the stage. The percussion notes regarding staging and equipment will provide detailed information on the effect and its creation.

I suggest isolating the ostinato figures at bar 25 to ensure the communication between piano/percussion parts and the interacting wind lines. The melodic line at bar 29 in the horns/clarinets/euphonium should "float" over the intensity of the ostinato. The timpani reponds to the melodic line in a rather bombastic fashion (i.e., bar 31). Please adjust the dynamic marking to ensure presence in the timpani as needed. The timpani joins the ostinato at bar 45. Be sure that the melodic responses as noted above are a strong contrast to the ostinato.

The "multiple suspended" cymbals notated at bar 29 should be performed on a collection of metallic sound sources. Please feel free to experiment with all available materials to create the effect.

The balance of the woodwind choir at bar 61 is crucial. Great care should be given to the presence of the lower woodwinds as they crescendo to the brass response in bar 63. The accented quarter notes in the brass at bar 63 should have length in additon to the intensity of the accent.

The trumpet/trombone reponses to the melodic line beginning in bar 73 should be almost brash. The snare response to the full band in bar 89 should be strong and machine gun-like. The lone horn solo, in contrast, provides the transition to the harp. Be sure that the soloist does not release before the harp entrance.

The English horn solo at bar 96 is cued in the alto saxophone if an instrument is not available. However, please use the English horn if at all possible.

Dynamic shaping is crucial for clarity and balance in the statement at bar 114. The piccolo solo at bar 116 may be adjusted dynamically as needed for balance above the ensemble. The build at 122 should lead naturally to bar 125. Please feel free to interpret this as broadly as necesary to create the warmth as intended.

The helicopter returns at bar 134. Please note the information as provided in the notes that follow. The bass drum and snare are asked to crate "distant gun fire" beginning at bar 148. You may wish to use the bass drums positioned throughout the hall to enhance this effect. Please note, however, that the gun and cannon fire should be "distant", as if the helicopter is flying above the combat.

The intensity at 180 should grow throughout the rhythmic statement, getting even stronger beginning at bar 184. The helicopter effect of "flying into the distance" is explained in detail in the following notes. However, please note the percussion crescendo into the full band's final note in bar 187. The helicopter effect should fade out gradually, giving way to the serenity of the ocean drum and flute. The final decrescendo in Station 1 of the offstage percussion must overlap with the entrance of the ocean drum to avoid any period of silence. For the premiere of the work, I added the brass instruments blowing air through their horns to assist with the ocean effect during the final moments of the helicopter. If used, the brass effect should decrescendo, giving way to the solo flute and ocean drum.

Composer(s): "Inchon" was composed by Robert W. Smith.

Publisher: "Inchon" was published by Warner Brothers Publications.

Series: This piece was part of the series "Belwin Symphonic Band Series".

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Front Cover

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Conductor Score

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Conductor Score Page 2
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Conductor Score Page 3
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Conductor Score Page 4
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Instrumentation

Instrumentation Page 1
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Descriptive Page

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Descriptive Page 2
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Descriptive Page 3
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Instrumentation

1	-	Full Score
1	-	Piccolo in C
3	-	1st Flute
3	-	2nd Flute
1	-	2nd Oboe
2	-	1st Oboe / English Horn
2	-	Bassoon
3	-	1st B Flat Clarinet
3	-	2nd B Flat Clarinet
3	-	3rd B Flat Clarinet
2	-	B Flat Bass Clarinet
2	-	B Flat Contra-Bass Clarinet
2	-	1st E Flat Alto Saxophone
2	-	2nd E Flat Alto Saxophone
1	-	B Flat Tenor Saxophone
1	-	E Flat Baritone Saxophone
3	-	1st B Flat Trumpet
3	-	2nd B Flat Trumpet
3	-	3rd B Flat Trumpet
1	-	1st Horn In F
1	-	2nd Horn In F
1	-	3rd Horn In F
1	-	1st Horn In E Flat
1	-	2nd Horn In E Flat
1	-	3rd Horn In E Flat
2	-	1st Trombone
2	-	2nd Trombone
2	-	3rd Trombone
1	-	1st Trombone In B Flat T.C.
1	-	2nd Trombone In B Flat T.C.
1	-	3rd Trombone In B Flat T.C.
1	-	1st Trombone In B Flat B.C.
1	-	2nd Trombone In B Flat B.C.
1	-	3rd Trombone In B Flat B.C.
1	-	Baritone T.C.
2	-	Baritone B.C.
2	-	Baritone B.C. In B Flat
4	-	Tuba
2	-	E Flat Tuba T.C.
2	-	E Flat Tuba B.C.
2	-	B Flat Tuba T.C.
2	-	B Flat Tuba B.C.
3	-	Xylophone & Bells
2	-	1st Percussion
2	-	2nd Percussion
3	-	3rd Percussion
2	-	Timpani
1	-	Piano / Synthesizer

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