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)

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

Summer Resounding! Balmages

Performed by the Youngstown State University Wind Ensemble
Stephen Gage, conductor
Stacie Mickens, horn soloist
D. Jack Ciarniello, engineer

Pele for Solo Horn & Wind Ensemble - Brian Balmages - YSU Wind Ensemble - Stacie Mickens, horn

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. 1

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 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)

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!

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