A labyrinth is a complex and intricate structure of interconnected paths or passages, often designed as a maze with a single, winding route leading from the entrance to the center. Unlike a maze, which typically contains multiple routes and dead ends, a classical labyrinth has one clear path, symbolizing a journey or quest for understanding.

When seeking excellence, while there may appear to be many paths and ways to achieve your goals, there is only one path. In this case, the labyrinth is a metaphor for the pursuit of musical excellence—straight and unrelenting. The work was commissioned by the Cario Middle School Band, Mt. Pleasant, South Carolina, and their directors, Christian Gordon and Kalyn Todd, for their performance at the South Carolina Band Director’s Association State Conference in February 2026. 

The composition features Phrygian modes (F and D) and G minor, with rhythmic motifs that suggest mixed meters but are played in 4/4 and 3/4. Asymmetric rhythms add mystery and drive, blending intrigue and energy as the piece progresses. This grade 3 piece features the full ensemble and offers optional parts for range development. It requires at least five percussionists, with most playing multiple instruments.

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Through the Labyrinth by Andrew Poor Grade 3

This is an instant concert of the greatest hits from most beginning band books that showcases the entire band. Perfect the first showcase concert for your beginners. 

From The Beginning arranged by Andrew Poor

Fanfare for Full Fathom Five
by John Mackey
performed by the Columbus State University Wind Ensemble, conducted by Jamie L. Nix
scored for 6 trumpets, 6 horns, 3 tenor trombones, 2 bass trombones, contrabass trombone, 2 tubas, and 4 percussionists

Full score and program note here: http://ostimusic.com/FullFathom.php

John Mackey: Fanfare For Full Fathom Five

Jerry Junkin conducts The University of Texas Wind Ensemble
Excerpts from (in order):
Dan Welcher: Spumante
Donald Grantham: Jai Été Au Bal
Frank Ticheli: Concerto for Clarinet (Nathan Williams, Clarinet)
John Mackey: Wine Dark Sea: Symphony for Band (World Premiere Recording)
Album: Wine Dark Sea
Label: Reference Recordings
Available March 11, 2016
Pre-Order: http://amzn.to/1OCcGGk

The University of Texas Wind Ensemble has firmly established itself as one of America's elite wind bands

Active in the area of commissioning new music since 1988, the group has offered world premiere performances of works by many composers including John Corigliano, Michael Daugherty, Donald Grantham, David Maslanka, and Dan Welcher. One of the guiding principles of the ensemble is contact with the leading musical minds of the twentieth and twenty-first centuries.

JERRY JUNKIN conducts The Universiy of Texas Wind Ensemble, and is also the Artistic Director and Conductor of The Dallas Winds, and Music Director and Conductor of the Hong Kong Wind Philharmonia. Reference Recordings is proud to have released 9 albums conducted by Jerry Junkin.

Four outstanding wind band composers are represented on this album. The title piece by JOHN MACKEY, Wine Dark Sea, is the world premiere recording of this important new work. Commissioned by the UTWE for the 100th Anniversary of The Sarah and Ernest Butler School of Music, it has been performed in front of ecstatic audiences and received raves around the world. Reference Recordings is proud to present it alongside important works by DAN WELCHER, DONALD GRANTHAM, and FRANK TICHELI. This is contemporary wind band music at its best, in extraordinary performances.

The repertoire on this new album was performed internationally by the UTWE on their 25 Day Around–the–World Tour in Summer 2014, then recorded in September 2014 by Reference Recordings’ GRAMMY®–award winning engineer Keith Johnson at Bates Recital Hall, The University of Texas.

Wine Dark Sea

Jerry Junkin & The University of Texas Wind Ensemble — Wine Dark Sea Sampler

I wrote this with my good friend "The One and Only Bill Davis".  I wrote the lyric to mark the end of my quest to find someone to complete me, raise me or save me. (Jake Ryan was pretty damn cute though... google "Sixteen Candles" children.)

Nobody's Coming

This was a live recording. Start listening at 1:00.

When faced with a loss, of any type, there is a sense of confusion, uncertainty, and questioning. During this time period, we often fondly reflect on the person or events, but may find ourselves drifting in and out. We may even sense their presence with us. The beginning 33 measures of the piece reflect this period of uncertainty. The relentless drive of the bass drum and timpani represent the moving forward of time, no matter how much we want to hold on to the moment. The two primary themes (measure 33-Acceptance and measure 52-Hope) are presented in fragmented and embellished form in the opening. Hinting at the two main parts of healing, acceptance and hope, but not fully presented or understood. First by the flute and then the clarinet in the opening 10 measures. The tuba solo at 11 is meant to represent the person we have lost. His/her voice is still resonating within us while we struggle for acceptance and hope. This solo needs to sing over the other parts of the ensemble. The harmonies are intentionally static to represent the fog and drifting during this time period. 

At 33, the Acceptance theme is fully presented by the English Horn, 1st trumpet, 1st Clarinet and 1st A Sax. This statement is fleeting, because when trying to recover from a loss, the acceptance rarely comes all at once. The fog of uncertainty returns briefly with the tuba soloist returning to reassure us. 

At 52, the Hope theme is presented in two choirs, the brass and then the woodwinds. This theme should have a courageous and uplifting feel. Again, the timpani and bass drum return to drive us forward. The canonic presentation of the hope theme gives a sense of propelling us toward complete acceptance. 

At 72, Acceptance returns in a glorious full ensemble statement--"As if the heavens opened above". This is the first and only time in the whole piece the tutti ensemble performs. The bass drum and timpani again push us forward. This elation decrescendos to a normal level. It is time to move forward. 

At 84, the tuba and euphonium solos return, because the person never truly leaves us, with expanded and varied forms of the acceptance theme, while the hope and acceptance themes are presented in augmented form above in the percussion and woodwinds.

All of this moves forward to a final cadence at 101. 

The title is inspired from the concept of receiving a token, a touchstone of remembrance, to help us with a loss. Jade is the stone of acceptance. It is my hope that this piece will be a "Healing Stone"--a touch-piece for those in need following a loss. A small piece of musical jade. 

Hope this helps to explain the piece a little better.

Healing Stone Premiere 3 - 11 - 16 (1)

The idea of acceptance as a platform for change has been a hard one for me to grasp. I wrote this once I really got it. 

Let It Go

My reminder to get out there and do something.

All These Pretty Thoughts

Abstract/Concrete

Movement 5 of Mass for Band and Choir by Randall Standridge

Agnus Dei (Early Draft)

This original composition "Ojitos" (little eyes) was written for my son Sean Denlinger when I first learned I was with child- and performed by my students (high school jazz band) and me (piano) at the 1998 Midwest Clinic. At the time of the concert, I was 5 months pregnant and we dedicated the song to the baby. Sean passed away at age 3 in 2002. I am posting this on what would have been his 20th birthday. I want to thank every student on that stage who helped me dedicate this song to him on that stage in Chicago in 1998. Due to old tape damage I had to splice the opening bass solo from another performance of the same tune.

Through the Labyrinth by Andrew Poor Grade 3

Andy Poor

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