I. Birth
II. Life
III. Death
IV. Resurrection

commissioned and recorded by the Dominion Brass Ensemble; Washington, D.C.

Ite Missa Est

Wind Ensemble
Medium Advanced
www.brianbalmages.com/stages

Stages - Brian Balmages

With the tragic events unfolding in Ukraine, I have heard from numerous directors asking about my thoughts on performing "Moscow, 1941." My answer is simple - this new work is the exact same grade level as "Moscow," and changes the narrative - what happens when the theme from "Moscow" becomes the aggressor, and the people of Ukraine (represented by both their National Anthem and the song "Prayer for Ukraine") become the heroes? Further, I will be donating 100% of the proceeds to relief organizations on the ground in Ukraine.

Kyiv, 2022 (A Sequel to Moscow, 1941)

Open Space Mvmts. 1 and 2

Open Space: Mvmt. 3

Many often underestimate the extensive colors, harmonies, and emotional range that are often achievable in younger ensembles. It is in this spirit that the musical lines of Rippling Watercolors were born. This was not meant to be a lyrical piece for younger ensembles; rather, it was written as a fully expressive lyrical work that happens to be playable by younger ensembles. I believe there is a significant difference. No phrases were truncated, no ranges were “limited,” and no rhythms were watered down for the sake of playability. This piece just happens to be attainable by younger groups, yet the music exists exactly as it would even if I had written this for a college group.
The title comes from a range of inspiration. I often get asked about my last name. As most can imagine, there are very few of us left in the world. At present, my wife and I are one of only two couples in the United States that can carry on our family name. My cousins Ben and Carrie on the west coast are the other couple, and they now have two beautiful girls. We all share a lot of beliefs – we encourage our children to be creative, spontaneous, and we enjoy watching where their imaginations take them. The idea for this piece came from a simple set of watercolors. When children get hold of these and use their imagination, the most amazing things can happen. Children can see things that adults never see. They open our minds as much (if not more) than we try to help them grow. With a little imagination, these watercolors can become a magnificent sunrise or sunset over the ocean, a gorgeous view from a mountaintop, or an image of a supernova in space. The smallest drop can change the pattern and create something entirely new, either with a brush or entirely within nature. It is my hope that Lily and Charlotte grow up with an infinite palette of watercolors, and that every drop creates a new, fantastic world.
Rippling Watercolors was commissioned by the Springer Middle School Bands in Wilmington, Delaware; Robert J. Baronio, Director. It is dedicated to my cousins Lily and Charlotte Balmages, who combined with my two boys, form the next generation of the Balmages name in the United States.

Rippling Watercolors - Grade 2

**TO VIEW A PERUSAL SCORE AND DONATE TO THE HOMELESS FUND, VISIT WWW.GOFUNDME.COM/BRIANBALMAGES   **

Recorded by the James Madison University Symphony Orchestra
Foster Beyers, conductor; Tom Carr, recording engineer

I learned an amazing lesson before I began this piece. While I consider myself to be a “good” person, I read a friend’s comment about seeing a homeless woman named Joyce outside of Target. Joyce needed a new pair of shoes because it was getting cold outside and she only had sandals. My friend decided to get her the shoes, but also decided to buy her lunch and some extra food. Simple comments like “How will you heat up canned soup?” “Usually the microwave at 7-Eleven works.” “Why don’t you get the big peanut butter?” “Because it is too heavy to carry around.” And then she remarked how every single person around them averted their eyes as they walked by. It gave her a tremendous amount of perspective and a desire to be much more empathetic in the future. I thought the same thing.

Fast-forward just a few hours. I was outside a food store with my kids and there was a man outside asking for some food. I watched quite a few people walk by. Some actually said “sorry” as they walked by, but most of them did not even look at him or acknowledge him when he spoke to them. Finally, with my new “perspective” in hand, I walked up to him and asked him if he was okay. He just needed something to drink and a little bit of food. I took him into the store with me and bought him something. His name is Bruce. He is 32 years old. He has three kids – 2 in elementary school and 1 in middle school. He acknowledged that he’s made plenty of mistakes in life, but that he is trying really hard to get back up on his feet and live in the area so he can be close to his kids. We chatted for a bit before I had to run and get my youngest to a soccer game. As we were leaving, he held the door open for us and said thanks. “It’s hard when people ignore you all day long. Thanks for stopping.” With the holiday season approaching, this struck me hard. So many of us are already making our “lists.” Others are bugging us for them so they can start their shopping early. We are annoyed because we have to go to several houses on Thanksgiving Day, or open gifts at several houses (or travel) during the holiday season. And then some perspective – someone like Joyce or Bruce – they wish for food, water, and for someone to notice them.

There are many holiday pieces out there about everything you can imagine. This one begins with a single individual (a cello soloist) just asking to be noticed while everyone walks by – some dropping a few coins or a dollar but avoiding conversation at all cost. As the music develops, we experience a wide range of emotions as the joy of the holidays is juxtaposed with solitude. Ultimately, in this particular story, the individual is joined by another, and eventually there are four of them together (the quartet). As a couple people begin to leave, one stays behind (a violin soloist) and the person’s wish comes true.

Please share this story with your audience. It is my hope that this piece will spread awareness and help individuals all over the world. Donate your time, donate a small amount, or just smile and say hello. You just may make someone’s wish come true.

A Solitary Wish - by Brian Balmages

The first full-length composition for brass by the composer. Available from any music retailer. Balmages conducted this recording while in graduate school using a group of friends at the University of Miami. Since, many of these musicians have gone on to play in professional orchestras and tour with major recording artists.

Brian Music

Symphony No. 1 for Brass - Mvmt. 3

Symphony No. 1 for Brass - Mvmt. 2

Symphony No. 1 for Brass - Mvmt. 1

**TO VIEW A PERUSAL SCORE AND DONATE TO THE HOMELESS FUND, VISIT https://www.brianbalmages.com/homelessfund **

Recorded by The Appalachian Wind Ensemble
John Stanley Ross, Music Director; Adam Campbell, Recording Engineer

I learned an amazing lesson before I began this piece. While I consider myself to be a “good” person, I read a friend’s comment about seeing a homeless woman named Joyce outside of Target. Joyce needed a new pair of shoes because it was getting cold outside and she only had sandals. My friend decided to get her the shoes, but also decided to buy her lunch and some extra food. Simple comments like “How will you heat up canned soup?” “Usually the microwave at 7-Eleven works.” “Why don’t you get the big peanut butter?” “Because it is too heavy to carry around.” And then she remarked how every single person around them averted their eyes as they walked by. It gave her a tremendous amount of perspective and a desire to be much more empathetic in the future. I thought the same thing.

Fast-forward just a few hours. I was outside a food store with my kids and there was a man outside asking for some food. I watched quite a few people walk by. Some actually said “sorry” as they walked by, but most of them did not even look at him or acknowledge him when he spoke to them. Finally, with my new “perspective” in hand, I walked up to him and asked him if he was okay. He just needed something to drink and a little bit of food. I took him into the store with me and bought him something. His name is Bruce. He is 32 years old. He has three kids – 2 in elementary school and 1 in middle school. He acknowledged that he’s made plenty of mistakes in life, but that he is trying really hard to get back up on his feet and live in the area so he can be close to his kids. We chatted for a bit before I had to run and get my youngest to a soccer game. As we were leaving, he held the door open for us and said thanks. “It’s hard when people ignore you all day long. Thanks for stopping.” With the holiday season approaching, this struck me hard. So many of us are already making our “lists.” Others are bugging us for them so they can start their shopping early. We are annoyed because we have to go to several houses on Thanksgiving Day, or open gifts at several houses (or travel) during the holiday season. And then some perspective – someone like Joyce or Bruce – they wish for food, water, and for someone to notice them.

There are many holiday pieces out there about everything you can imagine. This one begins with a single individual (a cello soloist) just asking to be noticed while everyone walks by – some dropping a few coins or a dollar but avoiding conversation at all cost. As the music develops, we experience a wide range of emotions as the joy of the holidays is juxtaposed with solitude. Ultimately, in this particular story, the individual is joined by another, and eventually there are four of them together (the quartet). As a couple people begin to leave, one stays behind (a violin soloist) and the person’s wish comes true.

Please share this story with your audience. It is my hope that this piece will spread awareness and help individuals all over the world. Donate your time, donate a small amount, or just smile and say hello. You just may make someone’s wish come true.

brianbalmages's Album

A Solitary Wish - Concert Band

Music for Five Brass
I. Rhythm
II. Prayer
III. Rhythm

Commissioned and premiered by The Boston Brass

Music For Five Brass Mvmt. 1 - Rhythm

When I began my Master's Degree at The University of Miami, our very first day began with an overnight assignment to write a complete orchestral arrangement of a pop song, which was due the next day by noon. The idea was that composers sometimes need to be able to write quickly, especially when there is a small window of opportunity available.

In this case, that opportunity came during a recording session I was doing with the strings [predominantly] from the Indianapolis Chamber Orchestra. We were ahead of schedule on the last day and I was "running out of music" to record. Since I already had them, a beautiful grand piano that had been tuned a few days prior for another session, and a great engineer, I decided to take a shot and see what, if anything, I could write during my 1 hour lunch break. So I pulled out my computer and began writing as quickly as I possibly could. 45 minutes later, I was extracting parts and here is the result. I played the piano myself since I did not have time to write out the piano part, and conducted the orchestra while playing (with the help of a wonderful concert master who was able to echo my conducting to the ensemble as I was behind many of them - we didn't have time to try and move the piano and I was worried moving it would make it go further out of tune!). Hope you enjoy the result!

2018 FJH Orchestra

Amazing Grace (Solo Piano and Orchestra)

Wind Sketches
I. Whirlwind
II. Fremantle Doctor
III. White Squall
IV. Vientos y fugas

Commissioned by the "President's Own" Marine Band Tuba/Euphonium Quartet. This recording by the "Off Bass Brass" as part of their album "Knock Yourself Out."


Wind Sketches, Mvt. III  White Squall

Performed by the Monarch Brass at the International Trumpet Guild Conference.
www.myiwbc.org

Fanfare Canzonique

A piece that works for beginning band and beginning strings combined!

Fanfare and Fireworks - Grade 1

A fun rock tune that uses "Pepperoni Pizza" to teach eighth and quarter notes. Also includes an easy improvisation section.

Pepperoni Pizza Rock - Grade 1

A lyrical work for strings and piano based on a quote from Ayn Rand:

“Do not let your fire go out, spark by irreplaceable spark. In the hopeless swamps of the not quite, the not yet, and the not at all, do not let the hero in your soul perish and leave only frustration for the life you deserved, but never have been able to reach. The world you desire can be won, it exists, it is real, it is possible, it is yours.”

- Ayn Rand - "Atlas Shrugged"

Possibilities... - Grade 3

The irony about this piece is that it was written during a particularly hectic part of my life. I was in the process of building a new home, attempting to sell the current home, planning recording sessions, new releases, and also going through the peak of conducting season. As I often like to do with my music, I used this piece as an emotional escape - a way to just get away for a little while. In a world where we are always rushing around to do things and anxiously awaiting what is going to happen tomorrow, I wanted to take a moment and just be "still." I wanted to appreciate now. I wanted things to go in slow motion so I could catch my breath. I wanted to be able to take my time and not be in a hurry. It seems that we spend our lives in a race - so take a moment, breath, and enjoy this piece. I found myself in an incredibly good place while writing this piece - I can only hope that it will bring you and your ensemble to that same place - it is quiet, relaxing, and there is always time to catch your breath.

Still - Grade 4 Concert Band

Sonata for Clarinet and PIano
Michael Walsh, clarinet
John Walker, piano

Dream Sonatina Mvmt. 1: Daydream

Dream Sonatina Mvmt. 2: Sweet Dreams

Ite Missa Est: I. Birth

Ite Missa Est: II. Life

Ite Missa Est: III and IV: Death and Resurrection

Playable by any number and combination of instruments.

Arith-Metric No 1

Featuring Jose Sibaja of the Boston Brass.

An adapted, flexible ensemble version of "Blue Ridge Reel" playable by any combination of 4 instruments. This version is of 4 trumpets and includes the simple piano accompaniment and percussion.

Blue Ridge Reel - The Reimagine Initiative

Playable by ANY combination of string instruments. Players decide on the pacing of the work and how it develops.

Arith-Metric No. 1 for Strings

Grade 2 String Orchestra.

I often love to draw inspiration from composers who have significantly influenced me and contributed to my musical growth. I also like to provide extensive musical opportunities for younger students and expose them to a wide range of music, and that is how the concept of this piece emerged. While all material is completely original, the three movements were inspired by the genius of Beethoven, Tchaikovsky, and Bartók. All three movements are organized to form a sinfonietta, though it is possible to perform individual movements alone (particularly the first movement). 
 
The first movement, After Beethoven, draws mostly from the first movement of Beethoven's Symphony No. 5. While no actual material from Beethoven’s symphony ever appears, a very direct connection begins to appear at measure 9. The form of the two works is very similar. Both are based on a traditional sonata form, which emerged during the Classical period. The same heroic character of Beethoven's famous theme is heard here in the exposition (which occurs from the beginning through measure 41). As with the Beethoven symphony, the melody here is expanded using different forms of imitation and sequencing (see the series of small modulations and tonality shifts from measure 25 through 35). The development section begins at measure 41 (paralleling the same section in Beethoven's symphony, occurring right after the unison horn call). Like the Beethoven work, this section is centered around a different key (G Major) and takes on a predominantly lyrical quality. In both cases, new themes are introduced while the original theme continues to be present in a less noticeable role. After moving through a series of chord changes (again, like Beethoven), the music moves into a short recapitulation (measure 59) before moving quickly into a coda section (measure 65). This final section then builds to the end (and even matches the final three spaced quarter notes at the end of the Beethoven symphony).
 
The second movement, After Tchaikovsky, is more loosely inspired and structured. The main inspiration comes from the second movement to Tchaikovslky’s Symphony No. 5, though general concepts of harmony and color also come from his nocturnes, particularly his Nocturne in C sharp minor (also written as a Nocturne in D minor for cello and orchestra). Much like the second movement of Tchaikovsky’s symphony, this movement is cast in ternary form (ABA), but on a much smaller scale. The beginning of the movement draws on the delicate textures of Tchaikovsky’s opening. The theme then builds into the second section, which begins at measure 17. The music goes through a temporary tonal shift and is more sustained (half notes taking the place of quarter notes on beat 2). An interesting note - Tchaikovsky plays with the meter at this point in his symphony, including a “3 against 2” pulse. This same concept is applied here in measure 19, where the harmonies occur in groups of two, not three. That instability is taken further with the stretching of the last two notes in measures 21 and 22. Finally, the A section comes back with a slightly different orchestration and harmonic structure in a final nod to Tchaikovsky.
 
The final movement, After Bartók, draws inspiration from two different pieces: Allegro barbaro for solo piano, and his Concerto for Orchestra. In this particular case, the music is not based on form, but rather the overall style and color of these two works. The character of the opening resembles the opening drive of the Allegro barbaro, with a light nod toward the mild dissonance in Bartók’s piece. While the music continues in a similar style, it quickly picks up the spirit of the final movement of Bartók’s Concerto for Orchestra, particularly in the spectacular moments that have incredible tonal clarity and power. One can liken the passage beginning at measure 53 to the spectacular brass passages that often begin in the lower register. As Bartók’s music moves into the upper range of the brass, one can also see the music of this movement moving into the upper register of the strings and becoming more powerful. Finally, the rhythmic drive of the opening comes back one final time and brings the entire work to a powerful finish.
 
Afterthoughts was commissioned by the Timberlane Middle School Orchestra (Pennington, New Jersey) and their director, Danielle Arias. It was funded by the Hopewell Valley Education Foundation.

AFTERTHOUGHTS: I. After Beethoven

AFTERTHOUGHTS: II. After Tchaikovsky

Grade 5 Symphony Orchestra

Commissioned by the James Madison University Orchestra and its director Dr. Robert D. McCashin, this work was written as a serious concert piece for the holiday season. The melody is introduced in fragments over a haunting orchestration. After a short pause, the entire melody is presented by the oboe, who is later joined by the rest of the woodwinds and strings. Several harmonic treatments lead to a powerful brass fanfare, as the woodwinds outline the melody with a rhythmic ostinato. A second carol, "What Child Is This?", is introduced briefly, then emerges into a brilliant countermelody. 

FANTASIA ON WE THREE KINGS (Symphony Orchestra)

Grade 1.5 String Orchestra

Based on the enchanting melody of Sakura, Sakura, this fantasy on the popular Japanese folk song winds through several harmonic shifts and melodic variations. The fantasy begins almost immediately. While the phrase structure of the original tune remains intact (one can superimpose the original melody over the initial 6 measures and hear how phrasing is the same), the melody itself develops subtly beginning in measure 3. The true melody of the folk song is presented almost verbatim at measure 9 before the music starts to develop and transform in the section beginning at measure 15. The first major harmonic shift of the piece occurs at measure 23, when the total center moves from B minor to D Major. This continues into measure 29, where the bass voices introduce an altered version of the melody based on the exact same rhythm of the traditional tune, but the overall melodic contour has been changed, now moving upward (whereas the original has an overall downward motion, especially by the end of the fourth measure). Finally, after the second (and most powerful) climax of the work, the music moves back into the opening tonality of B minor. This time, however, the B minor tonality embraces the upward movement of the melodic line (which began at measure 29). The fantasy concludes with a shift back to D Major in the last measure, making the transition smooth by using two notes as common tones to each chord (F# and D).

FANTASY ON A JAPANESE FOLK SONG

Grade 2 String Orchestra

The idea for this arrangement came to me as I was putting up our Christmas tree with my wife and our two boys. As always, we had all the ornaments out, our hot chocolates on the table, and Christmas music playing in the background. At some point, the Trans-Siberian Orchestra came on with their popular version of the Ukrainian Bell Carol. As most people know, the arrangement is infectious and unique. Suddenly, the idea hit me that it would be a lot of fun to write something for younger orchestras that had a similar energy and intensity; and that provided the inspiration for this arrangement, which is based on a heavy rock groove. In addition to drum set, you may decide to add a distorted electric guitar if you have a student available. Even though a part does not exist, one could be very effective playing the rhythm in the violin parts beginning at measured 13. 
 
While I like the entire piece, a favorite section of mine (especially from a compositional standpoint) is at measure 33, where 3 different versions of the melody are juxtaposed over a pedal point in the bass voices. The first violin has an augmented version of the melody, the second violin has an altered version of the melody (but not augmented), and the viola has a variation of the bridge. Isolate each one for students so they can hear the components of the section before you put it back together.

REST YE MERRY, ROCK YE VERY

Grade 4.5 - 5. The wind ensemble version of Summer Dances has been one of the most popular pieces I have ever written, and also happened to be the very first piece I published with The FJH Music Company. For over a decade, I have had numerous requests from orchestra directors to transcribe it for symphony orchestra. In addition to the incredible textures available with strings, I was able to go back and revisit a few sections from an orchestration point of view. The result is a piece that is truly tailored to a symphony orchestra and makes use of the elegance it possesses along with the sheer power it can command. Originally written for an outdoor festival, the piece maintains a dance-like quality throughout, even during the lyrical portions of the work.

SUMMER DANCES (Symphony Orchestra)

Work in progress featuring students from Towson University in an electro-acoustic composition project based on the curriculum written by composer Alex Shapiro.

Alex Shapiro "E in Ensemble" Demo

Based on the novel by the same name, "Call of the Wild" is a musical portrayal of the story by American author Jack London. Taking place in the Yukon during the 19th  century, the story follows Buck, a domesticated St. Bernard / Scotch Sheep mix who is taken from his comfortable life in California and subjected to the brutal life of a sled dog. As he endures harsh treatment from humans, other animals and nature itself, he struggles with his identity and eventually gives in to his natural instincts, which help him become a natural leader in the wild.
 
Each section of the piece is titled after a chapter in the novel. The opening section, Into the Primitive, serves as an introduction to the entire work and underscores the brutal introduction into primitive law, where “might makes right.” The dissonant trills create an immediate feeling of uneasiness, while the bold brass fanfares signal the distant call of the wild. The bold percussion hits represent the clash of civilized and primitive lives. As Buck begins to adjust to his new surroundings, the dissonant trills give way to full fanfares, indicating Buck’s growing resolve to do whatever it takes to stay alive.
 
The second section, The Dominant Primordial Beast, depicts the chapter in which Buck and his rival Spitz become increasing hostile toward each other. Spitz takes every opportunity he has to attack Buck, but their owners prevent the attack. However, it eventually becomes clear that there will be a final dual between the two dogs. The music of this section evolves in much the same way as the story. The rivalry between Buck and Spitz grows until the final battle between the two. The energy of this passage begins with urgency, yet grows slowly and decidedly. As the two dogs battle for supremacy, the music becomes aggressive and relentless, leading to Buck eventually finishing Spitz off.
 
The Toil of Trace and Trail follows chapter 5, in which Buck is sold to two inexperienced men and a spoiled woman. Under their ownership, the dogs begin to starve with many of them dying. As this happens, Buck’s primitive instincts continue to grow and the opening fanfare sounds in measure 65 amid growing chaos. As the new owners push Buck to the brink of death, an experienced gold hunter steps in and stops the men from whipping Buck, who refuses to pull the sled over a thin patch. As the gold hunter fights with Buck’s owners, Buck is freed before the rest of the team staggers on and eventually falls through the ice. The brutality of this encounter is depicted at measure 80, where Buck is near the brink of death before he is cut loose by John Thorton, who becomes his new master as his previous owners, their sled, and the dogs fall through the ice. All throughout this section, the fanfare from the opening continues to sound, calling Buck back to the wild.
 
The music finally reaches resolution at measure 99 - For the Love of a Man. Buck develops a strong affection for the man who saved his life. Thorton treats him with respect and kindness, and Buck in turn becomes extremely loyal and protective of his new master. Buck saves Thorton’s life several times, and begins to have a conflict between his loyalty to Thorton (domestication) and his identity as a wild animal. This section is marked by heroic melodies and driving rhythms.
 
The final section (and chapter of the novel), The Sounding of the Call, returns to the opening fanfare. This is when Buck hears the call of a wolf and ventures out into the forest, eventually befriending the animal. He continues to struggle with his loyalty to Thorton and his instincts as a wild animal. Eventually, his ties to Thorton are broken when Thorton is attacked and killed by Yeehat Indians. He hears the sounding of the call yet again, and this time joins the wolf pack. Buck completes his transformation to a wild animal and succumbs to his primitive instincts. Similarly, the music completes its development, returns to the opening call and adds an element of dissonance to the final series of chords as Buck finally answers the call of the wild.
 
"Call of the Wild" was commissioned by the Phillips Middle School Symphonic Band (Chapel Hill, North Carolina); Jane Cutchin, Director.

Call of the Wild (Gr. 3)

As its title suggests, "Enchantment" is a piece that seeks to portray magical moments ranging from the most simple to the most powerful. It has an air of mystery and uncertainty that slowly transforms into feelings of power and confidence. Students should focus on communicating this change in emotion as the music develops. This piece presents an ideal opportunity for discussing musical expression so students understand how they need to make changes to the sound (dynamics and articulation) as the piece evolves. In addition, they should understand the overall arc of the piece (intensity should increase throughout the entire work before it suddenly diminishes at the end).
 
Enchantment was conceived during a trip to Asheville, North Carolina, where I was conducting at the American School Band Directors Association's National Convention. It was there that I met Robert Kroll, Director of Bands at West Middle School in Rochester Hills, Michigan. The piece is correlated with Measures of Success® Book 1, Opus 3. Wind players do not have any eighth notes and use very conservative ranges throughout. While no slurs are used in this piece, directors are welcome to teach students to connect beats 3 and 4 (either through tenuto articulations or through slurs). The demonstration recording features this approach.

Enchantment (Gr. 0.5)

As its title suggests, "Groove Music" is a work that focuses on various combinations of rhythms. The piece is comprised of three main sections along with a coda. The first section immediately establishes the rhythmic groove of the piece, and slowly layers additional instruments on top of the groove as part of the musical development. While measure 45 appears to be the start of the second section, it actually functions as transitional material that simultaneously alludes to some of the rhythms and textures that appear later in the piece (i.e. the material at measure 78). This transitional material continues for some time and is juxtaposed with the grooves and textures from the beginning of the work (this juxtaposition begins at measure 62).

The second section of the piece arrives at measure 78 with a much thicker textured groove, yet also with a more playful characteristic in the winds. Development occurs through orchestration as additional voices continue to be layered on existing ones. While the rhythmic ideas remain the same, new notes are introduced (measure 88) and the work transitions into a fugue. This section continues to develop and build, ultimately transitioning into the third section beginning at measure 116.

The final section is centered around augmentation, where the opening melodic ideas are now stretched and presented in a new key. An easy comparison is in the trumpet line, comparing measures 5-12 with measures 116-123. Finally, the coda section begins at measure 131. The music builds more dramatically at this point and culminates at measure 140, where a host of rhythms from throughout the piece come together in a wall of color and rhythm.

"Groove Music" was commissioned by the Connecticut Chapter of the American School Band Directors Association.

Groove Music (Gr. 4)

Exuding a dark and somewhat mischievous character, "Shadows Unleashed" paints a picture of shadows moving into and out of darkness as they carry on a ritualistic dance. At times the music sounds playful, yet at other times it takes on a more sinister character. The opening section should have an element of uncertainty as the stage is set for the emergence of the shadows. All entrances should be subtle, with no strong articulations. The main theme of the work emerges at measure 5 in the flute and should have an ominous character to it. Piano should be entirely atmospheric and balance with the bells.
 
The shadows begin to emerge from darkness at measure 13. It is extremely important that percussion play a true piano dynamic level. That will allow for the music to grow and portray the inevitable "unleashing" of the shadows. In contrast to the opening, the melody at this point (presented first in the clarinets) should be light, well articulated, and with some separation between eighth notes.
 
As the shadows are further "unleashed" and continue their ritualistic dance, the energy of the piece should increase as well. Students should bring out dissonances - let them shine! At measure 42, keep tempo pushing forward and make sure students understand that this section should have all the energy of the previous music, just at a softer dynamic level.
 
At measure 23 (and later in the work), students vocalize an effect. They should exaggerate the crescendo as much as possible and have a very crisp release on the downbeat (think "vocalized suspended cymbal" with no ring at the end). In measure 62 and 63, work on making the diminuendo and crescendo very even.
 
"Shadows Unleashed" was commissioned by the Dover Middle School Bands (Dover, Ohio) and their director, Joan Wenzel.

Shadows Unleashed (Gr. 1.5)

"Blue Ridge Reel" was inspired by a recent visit to Asheville for the National Convention of the American Band Directors Association. I was extremely taken with the fun vibe of the town, located in the mountains of North Carolina. During the trip, I had an opportunity to hear several bluegrass bands, including a great performance during a dinner and special tour of the Biltmore Estate. I love the rich heritage of the music in the mountains of the Eastern United States. Many influences in the region come from the rich cultures of England, Ireland, Scotland and Wales. This fiddle music eventually played a major role in the development of country and bluegrass music.
 
The title, Blue Ridge Reel, pays homage to the Blue Ridge Mountains. While influenced by the form and style of a traditional Irish reel, the music certainly heads in some contemporary directions as it seeks to mix the modern feel of a city like Asheville with its deeply engrained musical roots. It is also deeply influenced by the untimely passing of Davidson College mathematics professor, Robert Whitton, a music lover and major supporter of local musicians. Shortly after his passing, over 100 friends and family gathered in downtown Davidson to participate in a New Orleans-style march through the city. Thus, this piece ties together the spirit of that New Orleans march with my own personal bluegrass experiences in Asheville.
 
A number of traditional instruments are called for, especially in the percussion section. A washboard really adds to the authenticity of the piece, though a guiro is a suitable alternative. The piece also calls for spoons. Many instrument stores now sell "musical spoons" that are easy for students to pick up and play quickly (castanets are a suitable replacement if necessary). This piece calls for approximately 7 percussionists without any doubling (2 on keyboard percussion, 2 on Percussion 1, and 3 on Percussion 2). Should there be extra musicians, I encourage you to have them double, triple (keep going!)… on spoons. It will help the part project and make it a whole lot of fun.
 
The piece was commissioned in memory of Robert Whitton by the Bailey Middle School band program (Cornelius, North Carolina) and their director Ruth Petersen. It marks my first time exploring this particular fusion of styles in the wind band idiom, but certainly not my last!

brianbalmages

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