Music:
Creep by Pentatonix
Symphony No. 9 by Antonín Dvořák
Take What You Want by Post Malone
Arranged by Zach Ohara
Sound Design by Taylor Heath

Description:
Full-show description coming soon!

Fractured - Marching Band Show

Lost in the Stars follows the journey of a lone explorer who departs Earth in search of something greater—purpose, discovery, and connection beyond the world he knows. The show begins with the reflective atmosphere of Space Oddityby David Bowie intertwined with Talking to the Moon by Bruno Mars, capturing the quiet wonder of departure and the fragile pull of home. As the mission accelerates, Enterprising Young Men by Michael Giacchino propels the ensemble forward with bold energy and optimism, evoking the thrill of exploration and the limitless possibilities that await among the stars.

As the journey stretches deeper into the unknown, ambition gives way to introspection. Rewrite the Stars by Benj Pasek and Justin Paul serves as an emotional ballad, revealing themes of longing, memory, and the cost of isolation far from Earth. The show closes with Major Tom (Coming Home) by Peter Schilling, where the line between discovery and loss begins to blur. Lost in the Stars is a haunting and beautiful reflection on humanity’s drive to explore—asking what we leave behind when we chase the stars, and whether the search for something more might ultimately lead us back to ourselves.


Lost in the Stars - Segment 4

Lost in the Stars - Segment 2

Lost in the Stars - Segment 1

Lost in the Stars - Segment 3

Organ-ize explodes onto the field with a single, commanding presence: a lone organist stationed near the front sideline, summoning a sound that feels ancient, dangerous, and alive. What begins as the ominous, instantly recognizable strains of Toccata and Fugue in D minor by Johann Sebastian Bach fractures and mutates as the ensemble pulls the music through time. The familiar harmonic backbone twists into the electrifying complexity of Ego Death by Polyphia, drifts into the moody, atmospheric textures of Roads by Portishead, surges with the gritty swagger of Green Onions by Booker T. and the MG’s, and ultimately rises into the monumental power of The Great Gate of Kiev by Modest Mussorgsky. Each transformation feels inevitable yet surprising, blurring the line between classical reverence and modern edge.

Visually, the field becomes a living instrument. Towering organ pipe props shift and rotate, forming bold geometric patterns, corridors of sound, and massive architectural shapes that mirror the music’s evolution. As the ensemble weaves between order and chaos, the pipes reorganize again and again—sometimes rigid and imposing, sometimes fluid and free—amplifying the drama at every turn. Organ-ize is a celebration of structure, rebellion, and rebirth, proving that when music is taken apart and rebuilt, something thrilling and unexpected can emerge.


Organ-ize - Marching Band Show

Mountain Made rises from the earth itself, opening with the humble strength and optimism of Simple Gifts by Joseph Brackett—a musical reflection of simplicity, balance, and a people deeply rooted in their land. As the show builds, Hail West drives forward with pride and momentum, celebrating community, tradition, and the unbreakable bond between the mountains and those who call them home. This journey culminates in a powerful impact moment with Country Roads by John Denver, where familiarity and emotion collide, grounding the audience unmistakably in the heart of West Virginia.

From there, the story turns inward, revealing the grit beneath the beauty. 16 Tons by Merle Travis and Work Song by Hozier expose the weight of labor, sacrifice, and generational hardship carried by coal workers who carved a life from the mountains with their hands. Yet Mountain Made is not defined by struggle alone. The production surges toward its final statement with Unstoppable by Sia, transforming hardship into strength and pride into resolve. The closing moments stand as a declaration: these mountains shape more than the land—they forge character, resilience, and a legacy that can never be broken.


Mountain Made - Segment 3

Mountain Made - Segment 1

Mountain Made - Segment 2

Mountain Made - Segment 4

Stained Glass is a striking and emotional exploration of fracture, vulnerability, and illumination—where light finds its way through even the most broken surfaces. Inspired by David Gillingham’s powerful percussion work Stained Glass, the show opens with raw rhythmic energy and sharp contrasts, evoking the sound of stone, metal, and reverberant space. The ensemble becomes a living structure of color and motion as sound collides and refracts, reflecting the beauty and tension found within stained glass itself—both delicate and unyielding, shattered yet whole.

As the production unfolds, the intensity gives way to the haunting vulnerability of Take Me to Church by Hozier, revealing a deeply human struggle between pressure, identity, and emotional release. Visual imagery—fractured panes, radiant colors, and shifting light—transforms the field into a moving window of reflection and revelation. In its final moments, Stained Glass leaves the audience with a powerful reminder: even when cracked by hardship, we are capable of letting light through—and in that light, finding clarity, strength, and renewal.


Stained Glass - Segment 2

Stained Glass - Segment 1

What a Wonderful World is a sweeping celebration of the beauty, power, and possibility found across our planet and within ourselves. The show opens with the timeless optimism of What a Wonderful World by Louis Armstrong, inviting the audience to pause and take in the colors, cultures, and shared humanity that make our world extraordinary. That sense of wonder expands into Dreamland by Michael Markowski, where imagination takes flight and the ensemble explores the idea that the world’s greatest marvels are often born from curiosity and hope.

As the journey continues, Clash by Ryan Main injects intensity and momentum, reflecting the forces that challenge and shape our world through contrast and conflict. The emotional core of the show emerges with Rewrite the Stars by Benj Pasek and Justin Paul, capturing the desire to dream beyond boundaries and redefine what is possible. The production concludes with a radiant and emotional closer that weaves together Somewhere Over the Rainbow by Harold Arlen and a final return to What a Wonderful World, leaving audiences with a soaring reminder that beauty exists all around us—if we choose to see it.


What a Wonderful World - Segment 2

What a Wonderful World - Segment 1

What a Wonderful World - Segment 3

Which Way Is Up? is a surreal, high-art exploration of authenticity, perception, and self-definition—told through the impossible geometry of Escher’s staircases. Reality bends as distorted fragments of Stairway to Heaven endlessly ascend and collapse, colliding with the uncanny pulse of Igor’s Theme by Tyler, The Creator and the restless emotional gravity of Beethoven’s String Quartet No. 13. Ethereal soundscapes, Shepard tones, and the haunting voice of the otamatone blur the line between ascent and descent, immersing the audience in a world where direction is uncertain and meaning must be chosen rather than followed.

Moments of individuality pierce the illusion: a striking guitar feature, a tense flute and clarinet duel, and a flag feature driven solely by voiceover, harmonica color, and a continuously rising Shepard tone. Visually, stark black, white, and gray foundations are electrified by bold red accents, all centered around a raised rotating staircase prop that becomes the show’s defining image. As performers ride the structure while it slowly turns upon itself, gravity and perspective dissolve completely. Designed with intentional scale and focused storytelling, Which Way Is Up? is especially compelling for smaller ensembles seeking a sophisticated, concept-driven alternative to traditional competitive formulas—proving that ambition, artistry, and impact are not measured by size, but by clarity of vision.


Which Way Is Up? - FULL SHOW

Someone I Used to Know is an intimate and powerful exploration of identity, self-worth, and the quiet courage it takes to meet yourself again. Inspired by Derrick Walcott’s Love After Love, the show traces the emotional space between who we once were and who we are becoming. The production opens with the raw, fragmented energy of Somebody That I Used to Know by Gotye, immediately pulling the audience into a world of reflection, memory, and unresolved tension. Throughout the show, the voices of the ensemble themselves become part of the soundscape—spoken words and collective expression shaping a deeply personal narrative about letting go of old versions of the self.

At the heart of the journey lies No Surprises by Radiohead, serving as a vulnerable and haunting ballad that captures moments of doubt, isolation, and emotional stillness. As the ensemble confronts the discomfort of change, the music gradually rebuilds toward clarity and acceptance. The show closes with the return of Somebody That I Used to Know, transformed—no longer a song of loss, but one of understanding and resolution. Someone I Used to Know is not about forgetting who you were, but about embracing the stranger you have become, and finding peace in welcoming yourself home.


Someone I Used to Know - Marching Band Show

Sheet music available here! https://www.sheetmusicplus.com/en/product/chop-suey-23649634.html

System of a Down - Chop Suey! (arranged for percussion ensemble)

Spirited Away - One Summer's Day (percussion ensemble arrangement)

Multi-instrumentalist, composer/arranger, educator, content creator. Berklee College of Music B.M. in CWP. Endorsed by Vic Firth and Zildjian.

Fun to play. Fun to watch. Competitive.
Modern music for the marching arts.
www.jeffchambersmusic.net

We are a marching arts music publishing company specializing in marching band, winter percussion, and indoor winds compositions.

New tracks tagged #wgi