SKU: CF.YPS217F

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

SKU: CF.YPS217

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

SKU: CF.YPS261F

ISBN 9781491164013. UPC: 680160922802.

Performance NotesA long, long time ago, dragons roamed the countryside and tormented the towns. Our hero has always dreamed about not killing a dragon but riding one. When the hero finds the dragon, it terrifyingly shrieks out warnings. Eventually, the dragon lays down and allows our hero to climb on. Then, we hear as the dragon magically flies with our hero on board. The dragon's shriek themes are still present, but are beautiful now, instead of scary. Having ridden the beautiful creature, our hero triumphantly returns to the village.Conductor NotesThis piece has many tricky accidentals in both keys. When the key changes are on a line break in a part, courtesy accidentals have been added. The conductor may want to explain that courtesy accidentals mean take note of the key signature. The dragon shriek solos (mm. 39–47) should be performed as raucously and loudly as possible. A superball mallet is a rubber bouncy ball on a stick; these can be purchased online. The mallet is rubbed on the instrument to create vibrations. You might also experiment using a superball mallet on the inside of a grand piano plate to be played simultaneously. Feel free to lengthen these measures (41 and 46) and get creative to make your dragon sounds last longer and be as loud and scary as possible. Perhaps these instruments could be staged in front of the band. Search YouTube for Superball mallet drum head or Superball mallet piano, or even How to build your own superball mallets..

SKU: BT.DHP-1155647-030

English-German-French-Dutch.

In this beautiful composition, melodic fragments of the hymn tune Beecher are morphed into a series of variations, showing the melody in various moods from expressive, then quiet and soft, to bright and triumphant in the end. Written as a testpiece in the 4th division for the Dutch Brass Band Championships in 2015, the music features challenging solo parts for cornet, soprano cornet, flugelhorn and euphonium. A great work for the concert stage!

In deze fraaie compositie zijn melodiefragmenten uit de hymne Beecher omgevormd tot een reeks variaties, waarbij de melodie wordt gepresenteerd in verschillende stemmingen, van rustig en zacht tot vrolijk en triomfantelijk tegen het slot. Beecher Variations, dat is geschreven als verplicht werk voor de Nederlandse Brassband Kampioenschappen van 2015, bevat uitdagende solopartijen voor cornet, sopraancornet, bugel en euphonium. Een weergaloos werk voor het concertpodium!

In diesem schönen Werk werden melodische Fragmente des Kirchenlieds Beecher in eine Reihe von Variationen verwandelt, welche die Melodie in verschiedenen Stimmungen von ausdrucksvoll über ruhig und leise, strahlend bis zu strahlend undtriumphal präsentieren. Als Pflichtstück in der 4. Division für die Holländischen Brass-Band-Meisterschaften 2015 geschrieben, enthält die Musik anspruchsvolle Solopartien für Cornet, Soprancornet, Flügelhorn und Euphonium. Ein großartiges Werk fürdie Konzertbühne!

Dans cette composition magnifique, les fragments mélodiques du cantique Beecher sont transformés en une série de variations, démontrant la mélodie en plusieurs ambiances ; expressif, puis calme et doux, et enfin vif et triomphant la fin. Composé comme morceau imposé de la 4e division pour les Dutch Brass Band Championships en 2015, des parties de solos stimulants pour cornet soprano, bugle et euphonium y figurent. Une superbe œuvre pour chaque concert !

SKU: CF.YPS257F

ISBN 9781491161968. UPC: 680160920648.

Break Through is my musical representation of one's struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 'break through' climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor. I hope you and your ensemble enjoy perforinming Break Through.
Break Through is my musical representation of one’s struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 ‘break through’ climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor.I hope you and your ensemble enjoy perforinming Break Through.

SKU: CF.YPS255

ISBN 9781491161531. UPC: 680160920181.

This programmatic work depicts our superhero Daring Dog, as he goes on a journey to conquer the villain. Daring Dog is a superhero, only... not everyone knows it yet. We meet Daring Dog and his sidekick at m. 15 in the beginning section. At m. 24, we hear as his mother gives him a stern lecture to stop messing around and be more serious. Daring Dog tries to explain how he has saved the world numerous times at m. 32. At m. 42, he decides he must do what is necessary to defeat the villain, despite what his mother thinks, and begins planning. At m. 52, we can hear him running in the snare drum, and the villain approaches. Barking and growling (flutter tongue in flute, and growling in brass), at m.78 the fight is on. Measure 82 reveals a huge terrible monster, and Daring Dog is terrified. He sticks out his sword with his eyes closed, and *POOF!* the monster evaporates. (It was probably imaginary the whole time.) The end section is a triumphant celebration that Daring Dog has, indeed, saved the world again! Daring Dog is a fun piece for all ages! Difficult enough to be a wonderful recruitment piece, and easy enough to be playable by young bands, this piece can truly span all levels. Actors might also depict the story while the band plays for even more fun.  .
This programmatic work depicts our superhero Daring Dog, as he goes on a journey to conquer the villain. Daring Dog is a superhero, only... not everyone knows it yet. We meet Daring Dog and his sidekick at m. 15 in the beginning section. At m. 24, we hear as his mother gives him a stern lecture to stop messing around and be more serious. Daring Dog tries to explain how he has saved the world numerous times at m. 32. At m. 42, he decides he must do what is necessary to defeat the villain, despite what his mother thinks, and begins planning. At m. 52, we can hear him running in the snare drum, and the villain approaches. Barking and growling (flutter tongue in flute, and growling in brass), at m.78 the fight is on. Measure 82 reveals a huge terrible monster, and Daring Dog is terrified. He sticks out his sword with his eyes closed, and *POOF!* the monster evaporates. (It was probably imaginary the whole time.) The end section is a triumphant celebration that Daring Dog has, indeed, saved the world again!Daring Dog is a fun piece for all ages! Difficult enough to be a wonderful recruitment piece, and easy enough to be playable by young bands, this piece can truly span all levels. Actors might also depict the story while the band plays for even more fun. .

SKU: CF.YPS257

ISBN 9781491161500. UPC: 680160920136.

Break Through is my musical representation of one's struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 'break through' climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor. I hope you and your ensemble enjoy perforinming Break Through.
Break Through is my musical representation of one’s struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 ‘break through’ climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor.I hope you and your ensemble enjoy perforinming Break Through.

SKU: CF.YPS212

ISBN 9781491152317. UPC: 680160909810. Key: C minor.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

SKU: CF.CPS216F

ISBN 9781491153109. UPC: 680160910601.

Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections.  This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.

SKU: HL.44012271

UPC: 888680057664. English-German-French-Dutch.

Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and was part of a tour programme they gave in May 2012, a tour which included many areas that had been devastated by the 2011 earthquake and tsunami.The theme of the piece is the powerful ability of mankind to overcome such disasters and look forward to a positive future; it opens in an appropriately optimistic mood, featuring bright orchestral colours and extensive syncopation. A chorale-like fanfare is soon introduced on horns and euphonium, answered by chirpy woodwinds. The mood subsides until an alto saxophone introduces a brief quotation from the composer's The Sun Will RiseAgain, which was written to raise funds for victims of the 2011 disaster. The mood soon changes and the horns introduce a noble theme under woodwind flourishes. This leads to the main Vivo section of the piece which is characterised again by strong syncopations as part of a florid theme in the low woodwinds. This melody undergoes varied development by all sections of the band until the horn fanfare returns triumphally on the brass. This is extended and leads to a faster coda which brings together previous material in counterpoint to close the work in optimistic mood.

Looking Up, Moving On is gecomponeerd in opdracht van het Tokyo Kosei Wind Orchestra. Het werk maakte deel uit van een programma uit mei 2012, dat werd uitgevoerd tijdens een tournee waarbij veel regio's werden bezocht die waren verwoest door de aardbeving en tsunami van 2011.Het thema van het werk is het buitengewone vermogen van de mens om dergelijke rampen te boven te komen en vooruit te kijken naar een positieve toekomst. De opening is dan ook optimistisch van karakter, met heldere orkestrale kleuren en een rijkelijke syncopering. Al snel wordt er een koraalachtige fanfare geintroduceerd door de hoorns en het euphonium, waarop een levendig antwoord volgt in dehoutblazerssectie. De sfeer wordt dan steeds kalmer totdat een altsaxofoon een kort citaat laat horen uit een eerder werk van de componist, The Sun Will Rise Again, dat werd geschreven om geld in te zamelen voor de slachtoffers van de ramp uit 2011. De stemming slaat vlug weer om: de hoorns introduceren een nobel thema, dat weerklinkt onder versieringen in het hout. Dit leidt naar het Vivo, het hoofdgedeelte, dat eveneens wordt gekenmerkt door sterke syncoperingen, als onderdeel van een sierlijk thema in het lage hout. De melodie ondergaat een gevarieerde ontwikkeling binnen alle secties van het orkest, totdat de hoornfanfare op triomfantelijke wijze terugkeert in het koper. De fanfare wordt vervolgens verder uitgewerkt en voert ons mee naar een snellere coda, die voorafgaand materiaal in contrapunt samenbrengt en de compositie in optimistische stemming afsluit.

Looking Up, Moving Down wurde vom Tokyo Kosei Wind Orchestra in Auftrag gegeben und war Teil des Konzertprogramms einer Tour im Mai 2012, welche viele Gebiete einschloss, die vom Erdbeben und Tsunami im Jahr 2011 zerstort worden waren. Thema dieses Stuckes ist die gewaltige Fahigkeit der Menschheit, uber solche Katastrophen hinwegzukommen und voll Optimismus in die Zukunft zu blicken; es beginnt dementsprechend in einer positiven Stimmung mit strahlenden Orchesterfarben und einer ausgepragten Synkopierung. Schon bald wird eine choralartige Fanfare auf den Hornern und im Euphonium vorgestellt, die von munteren Holzblasern beantwortet wird. Die Stimmung flaut ab, bis einAltsaxophon ein kurzes Zitat aus The Sun Will Rise Again anspielt, das der Komponist zur Spendenbeschaffung fur die Opfer des Unglucks 2011 geschrieben hatte. Kurz darauf folgt ein Stimmungswechsel und die Horner prasentieren ein stattliches Thema, begleitet von Fanfaren in den Holzblasern. Dies fuhrt zum mit Vivo uberschriebenen Hauptteil des Stuckes, der wiederum von starken Synkopierungen gepragt ist, die Teil eines bluhenden Themas in den tiefen Holzblasern sind. Diese Melodie durchlauft eine vielgestaltige Entwicklung durch alle Instrumentengruppen des Blasorchesters, bis das Blech mit der Hornfanfare triumphal zuruckkehrt. Dies wird erweitert und fuhrt zu einer schnelleren Coda, in dem verschiedenes zuvor gehortes Material kontrapunktisch zusammenkommt, um das Werk in einer optimistischen Stimmung zu beenden.

Looking Up, Moving On est une commande du Tokyo Kosei Wind Orchestra. Cette piece faisait partie du programme de la tournee effectuee par l'orchestre en mai 2012, qui s'est produit dans de nombreuses regions devastees par le tremblement de terre et le tsunami de 2011.La composition a pour theme l'immense capacite humaine a surmonter de telles catastrophes et envisager l'avenir de facon positive. Elle debute justement dans un climat optimiste comportant de vives couleurs orchestrales et des passages syncopes. Les cors et les euphonium introduisent bientot une fanfare en forme de choral a laquelle repondent des bois petillants. L'ambiance s'apaise jusqu'a ce qu'unsaxophone alto introduise un court extrait de The Sun Will Rise Again, du meme compositeur, une piece ecrite pour collecter des fonds en faveur des victimes du desastre de 2011. Le climat change hativement lorsque les cors introduisent un theme noble par-dessus des fioritures executees par les bois. Vient ensuite la principale section vivo de la piece, qui se caracterise, encore une fois, par des syncopes tres marquees dans le cadre d'un theme fleuri assure dans le registre grave des bois. Cette melodie fait l'objet de divers developpements par tous les pupitres de l'orchestre jusqu'au retour triomphant de la fanfare soutenue par les cuivres. Celle-ci se prolonge pour mener a une coda plus rapide qui rassemble les elements precedents en contrepoint pour clore la piece dans un climat optimiste.

SKU: CF.BPS24F

ISBN 9780825847523. UPC: 798408047528. 9 X 12 inches. Key: Bb major.

Using only the first six notes taught by most method books and no eighth notes in the wind parts, Sean O'Loughlin has crafted a tuneful and rewarding piece for beginning band. The march-like music covers moods that are heroic, reflective and triumphant in turn. Duration: 2' Key: Bb Ranges: Trumpet-A; Horn-C; Trombone-G.