Band Music

Good Others

music

instrumental

band music

Instrumentals

Follow Up

An exciting concert opener that envisions the majestic jagged horizon of the Rocky Mountain Front Range. The piece moves from a broad panorama to a soaring close up of the mountains. The Bob Jones University Wind Ensemble performs on this recording.

Front Range (Wind Ensemble Version)

LIVE performance from historic Hill Auditorium in Ann Arbor. 

This performance features the McIver Quartet [Marjorie Bagley and Katherine McLin, violins, Scott Rawls, viola and Alexander Ezerman, cello] and the University of Michigan Symphony Band with Michael Haithcock, conducting.

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

— Louis L’Amour, Lonely on the Mountain

What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.”

The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.

—Jacob Wallace

Short Stories [string quartet concerto] UMICH LIVE

The original Juilliard version from 1996. For triple string quartet.

Tree

This is the Studio Recording of Asimov's Aviary by The Chief's Own United States Air Force Band (2013).

In 1974, Isaac Asimov [creator of the three laws of robotics and father of modern technology based science fiction] predicted in his short story, "That thou art mindful of them," that before humanoid androids would be accepted into mainstream society, robotic birds and insects would be created to desensitize the population.

While writing this piece, I frequently imagined Asimov dreaming of an aviary far in the future where robotic insects and birds were given life and flew around in constant electronic swarms.

Amazingly, this work has begun. At the Air Force Research Lab at Wright Patterson's "Micro-Aviary," these robotic insects and birds—or micro-drones, as the press has dubbed them—are being developed and put into the field as part of a whole host of projects including weather management and environmental monitoring.

However, as anyone who has read "I, Robot" or "The Naked Sun" will know, where there is potential for light in technological innovation, there is also the potential for darkness.

The piece features tightly woven canonic lines that form a furious web [swarm?] of contrapuntal activity over very slow moving [inevitable?] metallic drones.

Asimov's Aviary was commissioned by The United States Air Force Band "The Chief's Own" and is dedicated to the men and women at the Air Force Research Lab at Wright-Patterson and premiered at the 2012 Midwest Band and Orchestra Clinic.

For more information, please go to www.joelpuckett.com/asimov

Asimov's Aviary [USAF Official Recording]

Josh Extravaganza - Feel OK

Middle movement excerpt from the viola sonata 'Deep Sky Blue', from Deubner-Fauchet Duo's soon-to-be-released CD.
Brett Deubner, viola | Caroline Fauchet, piano

Deep Sky Blue - ii. Simply

Performed by the U.S. Marine Band on Feb. 2, 2014 at Rachel M. Schlesinger Concert Hall and Arts Center in Alexandria, VA
Maj. Jason K. Fettig, conducting
http://www.marineband.marines.mil/AudioResources/WebExclusives.aspx#newmusic
©2003 OK Feel Good Music

Chunk

We are very excited to announce the latest update to our Adagio series. Starting with the Violins, the newly reworked volume brings you the most recent improvements in programming and workflow, previously only found only in our critically acclaimed Century Series.

Check out the new features found in Adagio Violins:
8dio.com/instrument/adagio-violins/

8Dio Adagio Violins "Burn" by Troels Folmann

All Or Nothing by Brand X Music

* I do NOT own any copyrights to this song.

All Or Nothing -  Brand X Music

Chicago Youth Symphony Orchestras, conducted by Music Director Allen Tinkham - Live at Orchestra Hall, May 13, 2012

If the system isn't working anymore, then do what Guy Fawkes tried and go anarchist: Blow it all up, and start again. 

Blow It Up, Start Again

These tracks was primarily composed with samples from 8Dio The New Hybrid Rhythms A virtual music software instrument (VST/AU/AAX) by www.8dio.com

Follow us on Facebook: www.facebook.com/8dio.productions
Follow us on Twitter: twitter.com/8dio 
Follow us on YouTube: www.youtube.com/user/8dioproductions
Follow us on Instagram: instagram.com/8dio_curators_of_sound/
Follow us on Snapchat: cr8dio

8Dio The New Hybrid Rhythms: "I Could Be Anything" by Troels Folmann

Two Steps from Hell - Heart of Courage

Two Steps from Hell - Protectors of the Earth

Reading session of The Machine Awakes, by the University of North Carolina Greensboro Symphonic Band and Kevin Geraldi. Oct. 9th, 2012.

The Machine Awakes is a work for band and electronics designed for beginning and community musicians.

Download a free PDF perusal score here: http://stevenbryant.com/the-machine-awakes.php

The Machine Awakes (UNCG Symphonic Band reading)

Preview premiere performance of my work for wind ensemble + electronics. UNCG Wind Ensemble, Kevin Geraldi, conductor. Oct. 9th, 2012, Aycock Auditorium, Greensboro, NC.

PDF Perusal score: http://stevenbryant.com/solace.php

Solace (UNCG 2012-10-09)

Immediate Music   An Epic Age

Lithuanian Ensemble Network, Vykintas Baltakas, cond.
recording: 2012

Andrius Žiūra (cl), Laurynas Lapė (tp), Liudas Mockūnas (ssax), Simonas Sipavičius (asax)

www.baltakas.net/works/nichtstueck/

NICHTSTÜCK for wind ensemble (1996)

Flux Pavilion - The Story Of Shadrok

Northwestern University Symphonic Wind Ensemble
conducted by Dr. Mallory Thompson
Pick-Staiger Concert Hall, Evanston IL
April 19, 2013

Symphony No. 1, My Hands Are a City

This demo was composed with 8Dio Mandolin and the following 8Dio libraries: "1928 Steinway, Forgotten Voices: Terrie"

8Dio Instant Mandolin: "The Spectrum" by Troels Folmann

mvt. ii. Foxtrot
from PRAYERS OF STEEL, for John Corigliano's 75th Birthday
Gaudete Brass Quintet
Live - May 18, 2013, Normal IL

Foxtrot

This set primarily was made with Claire Clarinet Virtuoso - a music software instrument (VST) by www.8dio.com

Follow us on Facebook: www.facebook.com/8dio.productions, www.facebook.com/8Dawn 
Follow us on Twitter: twitter.com/8dio 
Follow us on YouTube: www.youtube.com/user/8dioproductions

8Dio Claire Clarinet: "Étude de Claire" by Colin O'Malley

This set primarily was made with 8Dio Instant Mandolin Guitar Bundle - a music software instrument (VST) by www.8dio.com

Follow us on Facebook: www.facebook.com/8dio.productions, www.facebook.com/8Dawn 
Follow us on Twitter: twitter.com/8dio 
Follow us on YouTube: www.youtube.com/user/8dioproductions

8Dio Instant Mandolin: "So Much to Tell You" by Troels Folmann

My flute concerto, The Shadow of Sirius, in a fantastic live performance by the University of Texas Wind Ensemble, Jerry Junkin conducting and Marianne Gedigian, flute soloist.

Find out more: www.joelpuckett.com/shadow.html

[To buy a fantastic studio recording of this work, follow the itunes link.]

Program note: 
I have always found comfort in poetry. While in school, I was the guy with a collection of Bukowski under one arm and a collection 
of Yeats under the other. I have always enjoyed the rhythm of other people’s thoughts and feelings.

In the winter of 2009, my wife and I experienced a heartbreak that left me unsure of how to even breathe, let alone grieve. 
On March 1st, 2009, I found a copy of W.S. Merwin’s, The Shadow of Sirius, and I began to feel myself heal. I have almost no idea 
what most of this poetry means. But I know that it fills me with a profound sadness that is, at the same time, brimming with hope.
I recently heard Mr. Merwin discussing the origin of the title of his collection. He related that scientists have discovered that the star 
known as Sirius is actually a star system. What looks to our eye like a single object is actually many. Merwin found himself 
wondering what is on the other side of Sirus, lying in its shadow.
A friend once said to me, “many concerti explore a virtuosity of technique but not many explore a virtuosity of expression.” It was 
with that thought in mind that I began work on my, The Shadow of Sirius, for solo flute and wind orchestra.

Each movement offers my reflection on a single Merwin poem from the collection. Although the work is played without pause, the 
soloist plays unaccompanied solos to separates the individual movements. 

A consortium of American wind ensembles led by Michael Haithcock and the University of Michigan commissioned The Shadow of Sirius. The work is dedicated to the fantastic Amy Porter.

Grateful acknowledgment is made to the Copper Press, which has granted permission to reprint W.S. Merwin’s poetry. All poems 
Copyright 2008 by W.S. Merwin. More information about this poetry can be found at www.coppercanyonpress.com.

Buy UMICH recording

The Shadow of Sirius [UT Junkin and Gedigian, LIVE]

for all you glitch fans out there, here is my addition to the electronica spectrum

Flux Pavilion - Domino Valley

Jonathan Newman composes music rich with rhythmic drive and intricate sophistication, creating broadly colored musical works that incorporate styles of pop, blues, jazz, folk, and funk into otherwise classical models. Trained as a pianist, trombonist, and singer, his work is informed by an upbringing performing in orchestras, singing in jazz choirs, playing in marching bands, and accompanying himself in talent shows. From opera to bubblegum pop, Newman delivers a new perspective on American concert music. Recent work includes MASS, a large-scale project with texts by poet Victoria Chang which premiered in 2018 with The Choir of Trinity Wall Street as part of their Mass Reimaginings commissioning program. In 2016 he was appointed Chicago Youth Symphony Orchestras Composer-in-Residence; CYSO’s 2011 commission BLOW IT UP, START AGAIN has been performed by orchestras worldwide, including the Minnesota Orchestra, the Toronto Symphony, the 2015 Cabrillo Festival of Contemporary Music, and the Royal Philharmonic Orchestra at the 2015 BBC Proms. He is currently working with playwright Gary Winter on an imaginary ballet suite project for the Florida State University Wind Orchestra. He resides in Virginia, where he serves as Director of Composition & Coordinator of New Music at Shenandoah Conservatory.

Blow It Up, Start Again

jonathannewman