Umoja- Valerie Coleman In its original form, Umoja, the Swahili word for Unity and the first principle of the African Dispora holiday Kwanzaa, was compose a simple song for women's choir. It embodied a sense of 'tribal unity', through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself.- notes by the composer, Valerie Coleman
Concert Band
Percussion Feature. This piece was chosen to highlight the technical accomplishments of our beginning percussionists. This is a rudiment-based piece that features flams, multiple stroke rolls, up strokes, down strokes, and accent strokes.
Midnight Sky- Midnight Sky is a beautiful moment of musical solitude in which listeners close their eyes and imagine a quiet moment under the stars, uninterrupted by the hustle and bustle of everyday life. We often forget to embrace those moments of peace and tranquility. This work seeks to bring that calmness back into our lives.
The Tempest- The tempest was conceived and written as a concert/Festival work for the developing band. It also serves as a musical vehicle to teach the concepts of phrasing, articulation, key modifications (accidentals), and musical texture. The introductory statement in the clarinets and low woodwinds should be conveyed with a sense of mystery and impending energy. The entire woodwind choir begins the second phrase culminating the brass entrance as the storm is unleashed.- Notes by the composer, Robert W. Smith
Mixed Winds Chamber Ensemble
Storm Chaser- Storm Chaser is an exciting and energetic piece which combines dynamic and driving rhythms and a variety of percussion colors. Storm chasers are brave men and women that peruse tornados or hurricanes for scientific work or just for the thrill of witnessing these amazing natural events up close. An audience generated rain effect and a pick a note measure will make this a unique experience for both performers and audiences.
Symphonic Band
Kalos Eidos- is a programmatic work meant to musically portray the characteristics of a kaleidoscope. I originally intended to title the piece, simply, Kaleidoscope, but as I began to learn more about the origin of the word, I became very intrigued. Most people know that a kaleidoscope is an optical device, or tube, containing mirrors and bits of colored glass or paper. When the tube is rotated, and endless variety of patterns can be seen. But the word itself is derived from the Greek words "kalos" (beautiful) and "eidos" (form or shape.) The word scope refers to seeing and observing, thereby forming the complete definition: the observation of beautiful forms or shapes. - Notes by the composer, Carol Britten Chambers
Shenandoah- In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less concerned with the sound of a rolling river than with its life-affirming energy -- its timelessness. Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it. The work's mood ranges from quiet reflection, through growing optimism, to profound exaltation. The Shenandoah Valley and the Shenandoah River are located in Virginia. There is disagreement among historians concerning the origins of their names. Some claim that the river and valley were named in the 1750's by the Cherokee as a friendly tribute to a visiting Iroquois Chief named Shenandoah. Others suggest that the region was named not by the Cherokee, but by the Senedo Indians of Virginia Valley. In the Senedo tradition, Shenandoah means "Daughter of the Moon," and bears no relation to the Iroquois Chief Shenandoah. The origins of the folksong are equally obscure, but all date to the 19th century. It has been attributed variously to a coal miner in Pennsylvania, to a young protégé of Stephen Foster, and to a housewife in Lexington, Kentucky. Many variants on the melody and text have been handed down through the years, the most popular telling the story of an early settler's love for a Native American woman.- Notes by the composer, Frank Ticheli
Caribana Afterparty- A further exploration and study of the dance styles at heart of my larger work “Caribana,” Caribana Afterparty (the second “a” in the word Caribana is bright, as in the words “ant” and “after”) brings soca and calypso music within reach of younger musicians, as well as musicians just beginning their exploration of Caribbean dance music. Caribana is the former name of the largest Caribbean carnival celebration outside of the Caribbean itself, which takes place in Toronto, Ontario, Canada. Titling this piece an “afterparty” gave me space to incorporate themes from the original work while developing new and different grooves from the region, reimagining them in a more accessible context. The main melodic material of Caribana Afterparty is taken directly from its older sibling “Caribana,” and is presented in this work, in part, as a lush opening statement, before quickly giving way to the full theme over an easy calypso groove. As the piece progresses, we are carried from the easier, more calming stylings of calypso music to the more jumping rhythms of soca music. Complete with a “riddim section” breakdown section that calls for all winds to use either their body or their music stands to add to the celebratory groove, this work promises to be a blast to listen to and play, while providing pedagogical richness and stylistic diversity to your program!- Notes by the composer, Omar Thomas
Marimba Solo
Strive to be Happy (2014) is a marimba solo dedicated to Aaron Staebell, one of my best friends and favorite musical collaborators, and is written for 4.3 octave marimba. Aaron introduced me to “Desiderata”, a prose poem written by American writer Max Ehrmann in 1927. The poem is a simple and positive credo for living life, and one that both Aaron and I cherish and take to heart. The poem ends with the simple phrase, “Strive to be happy.”
Cloudsplitter- Cloudsplitter, written for the Cairo-Durham N. Y. High Shcool Band, is dedicated to the memory of Roger Riccomini (1967-2000) who served as Cairo-Durham's band director from 1998-2000. Cloudsplitter is a translation of the Algonquin-Deleware word "Tahawas" (Ta-haus), which describes New York state's highest mountain, now known as Mr. Marcy, named after former New York Governor William L. Marcy (1833-1838). Recognizing Mr. Riccomini's love of the outdoors, the title Cloudsplitter was the inspiration of the Cairo-Durham band members.- Notes from the Publisher
Irish Tune- Percy Grainger's Irish Tune is a cornerstone work of the wind band world. It's immediately recognizable theme, "Danny Boy" allows all audiences to follow the ensemble with ease and fully experience the rich harmonic language and brilliant part writing Grainger has provided. It is a challenging work in the sense that it demands such control from every musician in the ensemble, and it's simplicity exposes every twist and turn given to develop the dramatic unfolding that crescendos with the full ensemble as we approach the end of the work- Mr. Bielecki This tune was collected by Miss J. Ross, of New Town, Limavady, Co. Derry, Ireland, and published in The Petrie Collection of the Ancient Music of Ireland, Dublin, 1855.- Percy Aldridge Grainger
The Lion King- Elton John, tim rice, and Hans Zimmer's Musical masterpiece is brough to life for the wind band by John Higgins in this lush arrangement that celebrates the joy, drama, sadness, and richness of the film. Every cherished melody is celebrated throughout the work, every section featured, and every moment of the film celebrated. Feel free to sing along when you feel inspired!
A Mother of A Revolution- This piece is a celebration of the bravery of trans women, and in particular, Marsha "Pay It No Mind" Johnson. Marsha is credited with being one of the instigators of the famous Stonewall uprising of June 28,1969 – one of the pivotal events of the LGBTQ liberation movement of the 20th century – which is commemorated annually during the worldwide Gay Pride celebrations. Existing as a trans woman, especially a trans woman of color, and daring to live authentically, creating space for oneself in a transphobic world is one of the bravest acts I can imagine. Over 20 trans women were murdered in the United States in 2018 alone. There is no demographic more deserving, and frankly, long overdue for highlighted heroism and bravery. The disco vibe in the latter half of the piece is meant to honor club culture, a sacred space held amongst LGBTQ persons in which to love, live, mourn, heal, strategize, connect, disconnect, and dance in defiance of those outside forces who would seek to do LGBTQ persons harm simply for daring to exist and take up space. We pump our fists to honor the life, heroism, activism, and bravery of Marsha P. Johnson, to honor the legacy of the Stonewall revolution, to honor the memory of the trans lives violently ended due to fear and hatred, and in honor of trans women worldwide who continue to exist unapologetically and who demand to be seen.- Notes by the composer, Omar Thomas