WyndSong

WyndSong is named after the flute quartet that commissioned the work. WyndSong Flute Quartet founder Linn Kezer specified the title of the piece, and also sent descriptions of various wind names from which movement titles could be selected. In keeping with the WyndSong theme, the selected names had to include a "y," or an "i" that could be changed to a "y." Visit the WyndSong web site @ http://www.wyndsong.org.

I. HAYATE

The Hayate is a Japanese gale. Wind chimes set the opening mood as gentle pentatonic figures are exchanged by quartet members, as if in a dialogue. The tempo gradually increases until the appearance of the main theme-the melody first appearing in the upper flutes, then in the alto and bass parts. Signaling the Hayate's arrival, wind chimes again accompany the quartet as members exchange sextuplet flourishes. As quickly as it arrived, the Hayate gently fades away.

II. ZEPHYR

In Greek mythology, the Zephyr is the "West Wind." Other cultures describe it as a mild breeze bringing pleasant weather. Alto flutes herald the coming of the Zephyr as the E^b and C flutes allude to this exotic breeze with equally-exotic melodic lines. A whole-tone transitional passage sets the stage for the following imitative section. The lower flutes then provide a closing drone as the movement provides one last hint of the west wind.

III. WYLLY-WYLLY

Willy-Willy is the name for a tropical cyclone that occurs in the seas north of Australia. In more recent common usage, however, a Willy-Willy is simply a dust-devil. Wylly-Wylly incorporates the unique sounds of the aboriginal didgeridoo. The movement gradually builds in intensity to the end, suggesting the excitement of an aboriginal ceremony. Flute flutter-tonguing also contributes to the ceremonial allusions, suggesting bird sounds. Likewise, the didgeridoo sounds the traditional kangaroo hop at the conclusion of the movement.

IV. BAYAMO

The Bayamo is a violent wind blowing from the land on the south coast of Cuba, especially near the Bight of Bayamo. The final movement, Bayamo, has a distinct Latin flavor and its intensity does not subside from beginning to end. The main theme is presented three different times, in a quasi-rondo format. The alto and bass flutes provide bass-line energy in the second half via sonority doubling in octaves. The piccolo soars above the other flutes, providing one final burst of energy to conclude the movement.

About the Composer

The composer wishes to express his sincere appreciation to the WyndSong Flute Quartet for commissioning this work. Sonny Burnette (b. 1952) is professor of music and music department chair at Georgetown College, Georgetown, Kentucky, where he teaches courses in music theory, MIDI computer music, history of rock music, digital audio techniques and woodwinds. He is also director of the college's Foust Artist Series.

Burnette has published a number of major works for flute choir three were winners of the annual James Madison University Flute Choir Composition Competition-and was also the composer of the 1997 National Flute Association Convention's opening fanfare, commemorating the organization's 25^th anniversary. Burnette was the 2001 Kentucky Music Teachers Association Commissioned Composer, for which he composed a trio for soprano, saxophone and piano. In addition, he has published music for flute and piano, saxophone and piano, saxophone quartet, string quartet, piano trio, brass quintet, trumpet choir, wind ensemble, and has had articles published in Down Beat, The Instrumentalist, Saxophone Symposium, The Saxophone Journal, Flute Talk, Flutewise (England) and The Church Musician. He holds degrees from Ball State University, Northwestern University and the University of South Florida.

E-mail: SBurn 1234@aol.com or Sonny_Burnette@georgetowncollege.edu

Web site: http://members.aol.com/SBumPCNW/index.htmi