Band Works
Duration – 3’
Instrumentation -
2-fl, 1-picc, 2-ob, 2-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 4-tpt, 4-hn, 4-tb, 1-bhn, 1-tba, 1-db, 1-optl
cel, 1-optl hp, 1-timp, 3-perc
A Christmas Fanfare - Program Notes
There are three versions of the fanfare, one for symphony orchestra, one for
band, and one for Brass Choir. The orchestral version is written to either segue into Leroy Anderson A Christmas Festival or to stand on its own.
This work has enjoyed much success since it was written in 1992 to open the
"Yuletide Celebration" concerts for the Indianapolis Symphony.
Duration – 3’45”
Instrumentation - 2-fl, 1-picc 1-ob, 1-bn, 3-cl, 1-acl, 1-bcl, 2-ax, 1-tx, 1-bx, 3-tpt, 4-hn, 3-tb, 1-bhn B.C., 1-bhn T.C., 1-tba, 1-db, 1-mallets, 2-perc, 1-timp
Score – Purchase from Hal Leonard
The American Dream Program Notes
“The American Dream” is the final movement of a longer composition entitled “Night Visions”. Written in 1992, the work is dedicated to Mr. & Mrs. Charles O’Drobinak. “Night Visions” was commissioned by Price Waterhouse. The entire piece is comprised of four movements with each movement dedicated to a different dream. The other movements are “Flying”, “Gates of the Unknown”, and “Vision of a Lost Friend.” The final movement, “The American Dream” was meant to pay particular tribute to Mr O’Drobinak in his success as CEO of Price Waterhouse. With the freedoms that our country offers, any individual has the opportunity to pursue and achieve their dreams and aspirations. The middle section of “The American Dream” includes the hymn, ‘For the Beauty of the Earth.” This hymn quote was meant to pay homage to the wonderful natural resources that bless this great country.
Duration – 4’45”
Instrumentation -
2-fl, 1-picc, 1-ob, 1-bn, 3-cl, 1-acl, 1-bcl, 2-ax, 1-tx, 1-bx, 2-tpt, 1-hn, 2-tb, 1-bhn, 1-tba, 1-db, 4-perc, 1-timp
American Journey
“American Journey” is a concert overture written for middle school band. It was commissioned by and dedicated to the Greensburg Junior High School, 8th Grade Band, Nick Parcell, Director.
Duration – 20’
Instrumentation -
2-fl, 1-picc, 1-ob, 1-eh, 1-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 2-tpt, 4-hn, 2-tb, 1-bhn, 2-tba, 1-optl db, 1-optl hp, 1-timp, 3-perc, 1-solo tb
Score - (see PDF)
Comments from Performers -
Joe Alessi (Principal Trombonist with the New York Philharmonic):
"I had the greatest time performing James Beckel's Concerto for Trombone. Being that it was composed by an accomplished trombonist, all the passages are written with the instrument in mind, allowing the trombonist to play with ease. Not only is this piece fun to play, it exploits the beautiful legato singing style that all trombonists crave. The piece is a crowd pleaser and the melodies are memorable. I highly recommend this wonderful concerto to all trombonists!"
Carl Lenthe (Professor of Trombone at Jacobs School of Music, I.U.):
"James Beckel's new trombone concerto is a major work of symphonic dimensions and depth, and showcases the solo trombone very effectively. I am thrilled and honored to play it."
Bill Mathis (Professor of Trombone at Bowling Green State University):
"It was a great pleasure to have the opportunity to give the first performance of James Beckel's Trombone Concerto with Wind Band Accompaniment on April 29, 2014 with the Detroit Symphony Civic Youth Wind Ensemble under the direction of Kenneth Thompson. Beckel's Concerto is a beautiful, expansive, and dramatic work. The music lies so well on the horn, it is obvious that this is a piece written for trombonists by a trombonist. It is a challenging work, to be sure, but quite accessible for advanced college students and professional trombonists."
Concerto for Trombone
The Trombone Concerto was written in the summer of 2013 for a joint commission of ten bands. The performance at DePauw University on October 15, 2013 was the premiere of this work in piano reduction, performed by James Beckel on trombone and Greg Martin on piano. The orchestral premiere occurred on April 5th of 2014 with the Gulf Coast Symphony conducted by John Strickler. The trombone soloist was Joe Alessi.
The work is composed in three movements and the first movement begins with a long tutti introduction marked Moderato maestoso. The opening theme, heard in the trombone at the Andante misterioso, in the first movement, presents a conflict between the major and minor third. This haunting motif is heard throughout the work and is a unifying theme melodically and harmonically. In this first movement, after the opening Andante misterioso, a rondo-like form continues in a tempo marked Allegro moderato.
While the standard concerto form is made up of three movements, in this concerto, the second movement borrows from the symphonic four-movement form, combining a slow, reflective Andante section with a joyful, waltz-like Allegretto. These two sections are through-composed, acting as one movement. The ending of this movement uses elements from both sections in its conclusion.
The third movement is the most intense of the three, continuing the on-going conflict between major and minor tonality. The haunting opening trombone motif from the first movement returns in the middle of this third movement, as if to ask for sanity in a chaotic world. This is followed quickly with a Presto that races to a climactic ending.
This work is less programmatic than most of the composer's body of work. Although the concerto is based on personal reflections and introspections throughout this work, the composer, at a more mature age, is looking for answers to life's questions that most people have regarding their existence and the meaning of life. With age comes only the realization that he has more questions than answers to these great religious and philosophical mysteries. The composer decides in his own mind that mankind does have free will, but firmly believes that the consequences of man's free will can also lead to destinies that are unavoidable. This is the programmatic basis for the 3rd movement. The composer further believes that we are capable of being good or bad in the choices that we make throughout our lives; hence, the juxtaposition of the major and minor third throughout this work. In one regard, this work represents the conflict between good and evil in the real world, religiously and philosophically. In the composer's mind the opening of the second movement is religious in nature and is a search for truth in the world. The scherzo that follows in this second movement loosely reflects the composer's feelings regarding the celebration of life. But the opening Andante theme, now heard in the trombone, returns at the end of this movement, against the celebrative theme from the scherzo, now present with major and minor keys being concurrent. The movement ends with questions unanswered.
In essence, there is a subtext to each movement. The first movement could be subtitled "More questions than answers." The second movement Adagio could be titled "The search for truth." The waltz component of this movement would be entitled "The celebration of life," and the last movement could be subtitled "Unavoidable consequences."
This concerto is available for band and orchestra accompaniment as well as the piano reduction.
Duration – 7’15”
Instrumentation -
2-3 fl, 1-2 ob, 1-eh, 2-bn, 3-cl, 1-optl bcl, 2-ax, 1-tx, 1-bx, 3-4 tpt, 4-hn, 3-tb, 1-bhn, 1-2-tba, 1-timp, 3-4 perc
Freedom Tower
Freedom Tower was commissioned by and dedicated to the USAF Heartland of American Band in celebration of their 70th anniversary. 1st Lt. Rafael F. Toro-Quinones, Commander/Conductor. This work was commissioned in the Fall of 2012 and was also arranged for orchestra. It seemed very appropriate to write a piece also dedicated to the completion of the Freedom Tower in New York, which occurred in 2013. We as Americans owe so much to the men and women in our military who protect us, and the new Freedom Tower, or One World Trade Center, In New York City, is a symbol of what our military defends, a society that believes in Liberty and Justice for all.
For the composer, this work represents many emotions. As we celebrate the completion of the Freedom Tower, it is impossible to forget the tragedy that led to the creation of this new building. The destruction of the Twin Towers and the date, 9/11, are forever burned into our national psyche. Our society, which is based on freedom, was assaulted by terrorists from outside our borders. This work has been written to celebrate the American spirit that will, in the words of President Kennedy, "pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and success of liberty." While you will hear references of the threats that our society has faced in this piece, its main theme is one of celebration for the resilience of the people of the United States and our way of life. The work opens in a hymn-like chorale where one can hear the chanting of the word "freedom" similar to Tchaikovsky's decision to use a Russian Orthodox Troparion chanting "God save our people" to begin his 1812 Overture. As Tchaikovsky's work celebrated the Russian's victory over Napolean, this work is meant to celebrate America's victory over outside terrorists.
Duration – 10’30”
Instrumentation -
1-2 fl, 1-picc, 2-ob[1.2/eh], 2-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 4-tpt[1/ptpt.2.3.4], 3-tb, 1-btb, 1-bhn, 2-tba, timp/crot.3perc, hp or synth, narrator
Listen and watch – see band YouTube. https://youtu.be/l1ADXBWVtc0?feature=shared
From the Earth to the Moon and Beyond
"From the Earth to the Moon and Beyond" was written to celebrate the 50th anniversary of the Apollo Moon Landing on July 20th, 1969. It was commissioned by the Boston Pops, Keith Lockhart; Bozeman Symphony, Matthew Savery; Brevard Symphony, Chistopher Confessore; Colorado Symphony, Brett Mitchell; Evansville Phiharmonic, Alfred Savia; Indianapolis Symphony, Jacob Joyce and Alfred Savia; Kansas City Symphony, Michael Stern; Orchestra Iowa, Timothy Hankevich; United States Air Force Band of Mid America, Commander Michael Willen and Virginia Symphony, Gonzalo Farias.
This work was written for orchestra and narrator with an optional video created by Brannon Fells that can accompany this work. The band version of this piece was derived from the original orchestral composition. The text was compiled by the composer who uses words from President John F. Kennedy, Ronald Reagan, and astronaut Neil Armstrong. The work is dedicated to Wilson Ochoa who inspired me to write this work. This piece opens with the composer imagining our universe before the "Big Bang".
Many astrophysicists like Stephen Hawking have publicly stated that they believe there was nothing before the "Big Bang".
There is, however, a quantum physics theory called the "Big Bounce" that some astrophysicists like Carlo Revelli believe might have occurred. In this theory the current universe recreated itself from an earlier universe that had collapsed from gravitational compression not unlike a black hole. Using this scenario as a model, the composer imagines the moment before the universe recreates itself. Musically, this image creates an almost constant static state of nothing that is slightly percolating, trying to recreate itself. In the opening measures we hear a continuous sounding A that is interrupted with the half step glissando to G# in the Celli. The interrupting tritone in the harp is mathematically and musically meant to be foreboding, a precursor of what is about to happen. The tritone is significant as it divides our octave exactly in half. The sound of the cuica is meant to replicate the sound of a gravitational wave. Gravitational waves are disturbances in the fabric of space/time. The first such gravitational wave was detected on September 18, 2015, by the Laser Interferometer Gravitational-Wave Observatory. The sound of this discovery once again verifies Einstein's Theory of Relativity and also interestingly sounds very similar to the sound made by a cuica. Putting this sound in the opening of this composition is meant to represent another sign that something incredible is about to occur. The quieting of the
music gives us a false sense of security that the infinite oneness of the non-universe will continue. We are then suddenly surprised by the loud orchestral music replicating a musical image of the "Big Bang". The harmonic language of 5ths stacked on top of each other until all 12 notes in our scale are represented is also intentional. At the beginning of the "Big Bang" all of the building blocks of our universe were believed to be present even though it was initially a cosmic soup, too hot for atoms to form. The musical reference of this primordial soup, where everything was moving so fast that you could
not even see light, is presented by the frantic music. The score then abruptly transitions into a musical picture of the cooling of the universe 250 million years later when it is believed that hydrogen clouds first formed. In this section we hear the musical effect of stars lighting up for the first time in nebula clouds as hydrogen, affected by gravity, become dense enough for atomic fusion to occur creating photons, a.k.a. light. Then we hear for the first time the main theme of this work in the first violins and flute. This is a soaring melody meant to represent the creation of earth and the life that followed on this planet. The music in the harp and marimba represents time passing, the eternal clock of time, followed by music that accompanies a brief verbal history of science over the
millennia that lead us to the ability to put two men on the moon. The earliest known song at and a medieval dance help walk us through this history. This motif of the eternal clock of time, (a gentle clock ticking) returns again as the text presents the idea that our knowledge is cumulative over the ages of our existence. As Albert Einstein once stated "If I have seen further than others it is by standing on the shoulders of giants." The orchestral celebration is testimony to the fact that we came in peace for all mankind as stated on a plaque that was left on the moon by Neil Armstrong and Buzz Aldrin.
At the end of this musical flurry there is a quick transition which describes the atmosphere in
the 1960s. Many historians believe that the closest the United States ever came to
nuclear war (to date) was the Cuban Missile Crisis.
This occurred in October of 1962. John F. Kennedy challenged the nation to put men on the moon in a speech that occurred at Rice University the previous month, in September of 1962. His speech said that we would put men on the moon by the end of the decade. This was partially the U.S.'s response to Russia and the space race that occurred between these two countries. Part of this famous Kennedy speech is patriotically rendered followed by music that represents the loss of life that occurred with the tragedies of Apollo 1 and the space shuttles Challenger and Columbia. An excerpt
of President Reagan touching eulogy at the loss of the Challenger Crew is used.
The rest of this work celebrates the many accomplishments that we have had in our NASA program since the first moon landing in 1969 with the hope that we will continue to work together, as a world and as the human race, to advance science and make this precious, pale blue dot in space a better place for all mankind.
Duration – 10’30”
Instrumentation - 1-2 fl, 1-picc, 2-ob, 2-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 4-6 tpt, 4-hn, 4-tb, 2-bhn, 2-tba, 1-optl db, timp.3perc, narrator
Gardens of Stone - Program Notes
"Gardens of Stone" was commissioned by the United States Air Force Band of Flight, Lieutenant Colonel Alan Sierichs, Commander. The orchestra version of this work was commissioned by the Indianapolis Symphony and premiered on July 4th , 2007, at Conner Prairie. The work is meant to pay tribute to the military men and women who have sacrificed their lives for our country. It includes words from President Reagan, General Eisenhower, and President Lincoln. "Gardens of Stone" is programmatic in nature. The beginning of this composition is subtitled Sunrise at Arlington Cemetery which is followed by a fast Allegro section entitled Past Battles.
The use of the melody from the Civil War song, "When Johnny Comes Marching Home," is meant to reflect the hopes and prayers that all soldiers will come home safely from battles. Unfortunately, some do not.
This Allegro section is followed with music meant to represent a 21 Gun Salute and Taps. After the Gettysburg Address there is a section entitled Parade of the Fallen Heroes. This final section is a military parade that would allow a color guard to march through the audience onto or near the stage for the ending of the work.
Duration – 18’
Instrumentation -
2-fl, 1-picc, 1-ob, 2-bn, 1-ecl, 3-cl, 1-bcl, 1-ax, 1-tx, 1-bx, 3-tpt, 4-hn, 3-tb, 1-bhn, 1-tba, 1-timp, 3-perc, 1-optl hp, 1-optl pno, solo hn
The tracks on this page are performed by the US Marine Band, with Major Jason Fettig conducting and Douglas Quinzi playing the solo horn.
Listen and watch –
The Glass Bead Game, Movement 1 - YouTube – Jason Ayoub with Navy Band
Glass Bead Game by James Beckel Jr - YouTube - Denise Tryon with CCM band
Glass Bead Game by James A. Beckel, feat. Matthew Meadows, horn - YouTube with Pershing’s Own Army Band
The Glass Bead Game: The Call and Awakening - YouTube JD Shaw with U of New Mexico Wind Symphony – Recording: Tales of Imagination – JD Shaw with the University of New Mexico Wind Symphony | Summit Records
The Glass Bead Game - Program Notes
The Glass Bead Game" is a Horn Concerto loosely based on the Herman Hesse novel of the same title. In the first movement, two main themes dominate. The work opens with a bi-tonal motif based in Eb Major and A Major. This musical idea is meant to represent Herman Hesse's existential philosophy about life which is reflected in his novel. Simply put, Hesse believed that man exists as an individual in a purposeless universe that is basically hostile. This conflict between man and his environment is represented by the juxtaposition of the two keys. His main character of this novel in fact succumbs to the cold waters of a glacier-fed lake at the end of this book. The other main theme is a leitmotif representing the main character, Joseph Knecht; and is first stated by the Solo Horn in the first movement. The dialogue of this theme between horn and Flute and Piccolo was inspired by the introduction of the Music Master in this novel. Joseph Knecht meets the Music Master, who accepts our main character into the intellectual society of the elite Castalia.
The second movement is dedicated to Father Jacobus. While the first movement leitmotif for Joseph Knecht was based on 5ths going up; Father Jacobus' leitmotif is based on 5ths going down. The second movement makes much use of sounds sustained into each other as you would hear in a Great Cathedral. The movement is meant to reflect the peace that Joseph Knecht felt with the introduction of history and religion.
The final movement is the most programmatic. This movement begins with the opening celebration of Joseph Knecht's coronation to the post of Magister Ludi. The celebration is heard at first from a great distance. Since Joseph Knecht is reticent about his promotion to this high post, the horn soloist, representing our main character, never plays the Celebration March Melody. The Solo Horn instead answers the melody with protest. This opening section of the final movement grows to a frenzy introducing us finally to the Presto Theme featuring the Solo Horn. The theme from the second movement is briefly referenced as Joseph Knecht, now burdened with the responsibilities of the Magister Ludi, reflects on his more tranquil past at the monastery with Father Jacobus. At the close of this movement, the drowning sequence is loosely reflected in the music when the opening themes of the third movement return as our main character drowns.
Opening thematic material to the second movement is used as a transition to return us to the original Joseph Knecht leitmotif in this final movement. Programmatically this is referencing the end of this great novel where Joseph Knecht's student, Tito, is now sitting on the lake's shore in shock over the death of his teacher, Joseph Knecht. But our main character lives on in Tito's mind as a wonderful teacher and mentor.
Duration – 9’
Instrumentation -
2-fl, 1-picc, 2-ob, 1-optl eh, 2-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 3-4 tpt, 4-hn, 3-tb, 1-bhn, 1-tba, 1-timp, 3-4 perc, 1-optl hp, 1-optl db, narrator
The band audio is not available. This track is orchestral.
I Am the American Flag - Program Notes
"I Am the American Flag" was commissioned by Lieutenant Colonel Alan Sierichs and the United States Air Force Band of Flight, Major R. Michael Mench, Commander.
This work is written for band and narrator. The narrative for I Am the American Flag includes excerpts from President Roosevelt's first inaugural address on March 4th, 1933; and his Message to Congress asking for the declaration of the existence of war between the U.S. and Japan on December 8th, 1941. Words of the "I Am the American Flag" poem that begin and end this narrative were borrowed in part from a speech delivered by Franklin K. Lane, then Secretary of the Interior, before more than 1,000 employees of the Department of the Interior on Flag Day, June 14, 1914.
Words of the "I Am the American Flag" poem that begin and end this narrative were borrowed in part from a speech delivered by Franklin K. Lane, then Secretary of the Interior, before more than 1,000 employees of the Department of the Interior on Flag Day, June 14, 1914.
Duration – 17’
Instrumentation - 4-5 Section horns as soloists 2-fl, 1-picc, 2-ob, 1-eh, 2-bn, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 4-tpt, 2-tb, 1-btb, 1-2-bhn, 1-2-tba, 1-timp, 2-3-perc, 1-optl hp
Video – Link to YouTube
Paintings used as inspiration - The art used as inspiration may be found at this website link. All but Robert Weaver's work is displayed in the Indianapolis Museum of Art.
In the Mind’s Eye - Program Notes
In the Mind’s Eye is a Konzertstuck for horns and orchestra inspired by visual art. Visual artists and composers have often collaborated or have been influenced by each other’s work. A famous example of this is Stravinsky and Picasso working together on ‘Pulcinella’. Impressionistic music occurred during the same period as impressionistic art. In a similar vein, this piece has been greatly influenced by visual art and employs the use of musical effects that replicate various brush stroke techniques. Five paintings were used as inspiration for this three-movement work for horns and orchestra
Movement I – Random Abstract
The first movement is dedicated to abstract expressionism artists. The specific painting that I used as inspiration in this movement is from the contemporary artist Ingrid Calame, who has used some of the concepts of abstract expressionism in her painting entitled ‘From #258 Drawing: Tracings from the Indianapolis Motor Speedway and the L.A. River’. This painting uses tire tracks from the Indianapolis 500 as its basis.
This first movement is written from two perspectives. Part of the music reflects the perspective of the artist, while other moments in the movement represent the perspective of the viewer. The
opening of the first movement is a good example of brush stroke imitation. The opening glissando of the harp, followed by the fast scalar passages in the woodwinds, represents the fast, broad, stroke of a paintbrush on the canvas. Jackson Pollack was known to paint to music and there was often a rhythm to his brush strokes. Throughout this first movement, the listener will also hear short, chromatic chords that are meant to represent an abstract artist randomly throwing paint onto the canvas.
In this opening movement, the first entrance of the horns is my musical representation of a patron’s first impression upon viewing such an abstract painting. The music of the horns is meant to portray curiosity, interest, and questioning. The main second theme is music representing the painter’s perspective. The euphoria of an artist totally submerged in his or her creativity can be heard as the music grows in animation and intensity. This music, still in the voice of the artist, becomes more calm and ethereal as the artist’s mind searches for inspiration. After the artist’s inspiration is realized, the music intensifies with the return of the second theme. This pure adrenalin increases to a final climax of frantic brush strokes portrayed in the fast scalar passages now heard in strings, woodwinds, harp, and xylophone. The voice of the viewer at the art museum, who is pondering the final product of the visual artist’s work, is heard next in the solo entrance of the horn. The first movement ends from the consumer’s perspective, relishing the vivid colors and shapes on the canvas from the abstract artist’s mind.
Movement II – Daniel in the Lion’s Den
A painting of the above title by Robert E. Weaver inspired this movement. This biblical subject has been a favorite choice for many artists over the centuries. For me, Robert Weaver’s work is
the most stunning of those I have seen. The music, as well as the painting, addresses the concept of faith. The movement opens quietly with the horns in a quasi-Gregorian chant, setting the stage for Daniel’s overnight trial in the den of lions where his belief in God is tested. The trials and tribulations associated with man’s faith over the millenniums are reflected in this dialogue
between horns and orchestra throughout this movement in G Minor. At the end of the movement, you will hear a tremolo in the strings, taking us to a moment of Eb Major, which represents the answer to Daniel’s prayers as morning arrives and Daniel has been spared from the jaws of the lions.
Movement III – Reflections
The third and final movement is meant to deal with artists’ fascination with light’s reflection, particularly on water. There are three paintings chosen as inspiration for this movement. They are ‘Roussillon Landscape’ by Georges-Daniel DeMonfried; ‘The Channel of Gravelines’ by Georges Seurat; and ‘The Regatta Beating to Windward’, by Joseph M. W. Turner. Each painting is reflected in different parts of this third movement.
The movement opens with an exciting, heroic horn call from all of the horns, representing the excitement of a sailing contest as portrayed in Turner’s painting of the Regatta. An orchestra tutti
follows this opening fanfare, where the music is very secco, representing the pointillist brush technique of Seurat’s neo-impressionistic painting. The excitement of an ocean adventure is continued when the horns re-enter. The solo entrance of the harp transitions the music into a more tranquil section that is meant to represent the beauty of sunlight reflecting off the ocean as seen in DeMonfried’s seashore landscape. Horn calls abound in the next section, depicting the adventure and pure beauty of water and light in these paintings. As viewers look at these paintings, their imagination brings their images of the ocean and reflected light. These images are heard in the music. A final return to the opening horn call signals the end of this movement climaxing in a robust celebration of life as portrayed in visual and aural art.
Duration – 4’
Instrumentation -
2-fl, 1-picc, 2-ob, 2-bn, 1-optl ecl, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 4-tpt, 4-hn, 3-tb, 1-bhn, 1-tba, 1-timp, 3-perc
Score – See PDF
Inaugural Fanfare
“Inaugural Fanfare” was commissioned by the University of Indianapolis for the inauguration of Dr. Jerry Israel, 7th President, April 10, 1999
Duration – 12’
Instrumentation -
2-fl, 1-picc, 2-ob, 2-bn, 3-cl, 1-bcl, 1-ax, 1-tx, 1-bx, 3-4-tpt, 4-hn, 3-tb, 2-bhn, 2-tba, 1-optl db, 1-optl cel & pno, 1-timp, 3-4 perc, narrator
Score – (see PDF)
Speeches – (see PDF)
Liberty for All
Liberty for All is an orchestral piece (later arranged for band) with narration which was made possible through the American Composers Forum as part of the Continental Harmony program. Continental Harmony links communities with composers to celebrate the new millenium through the creation of original musical works. The program is a partnership of American Composers Forum and the National Endowment for the Arts, with additional funds provided by the John S. & James L. Knight Foundation, Rockefeller Foundation, William & Flora Hewlett Foundation and Land O'Lakes Foundation. Continental Harmony is an Associate Partner of the White House Millennium Council.
Liberty for All uses quotes from the Declaration of Independence, George Washington, Abraham Lincoln, and John F. Kennedy in a very stirring musical setting that arouses the patriotic spirit in any American who listens to it.
The Carmel Symphony is responsible for requesting the grant that made it possible to write this piece.
The band Arrangement was commissioned by the United States Coast Guard Band and is dedicated to Admiral James M. Loy, 21st Commandant of the Coast Guard and Master Chief Vincent W. Patton, III, 16th Master Chief Petty Officer of the Coast Guard, for their vision, energy, and extraordinary leadership during a critical time in our nation’s history.
Duration – 3’30”
Instrumentation - 2-fl, 1-picc, 2-ob, 2-bn, 3-cl, 1-bcl, 1-ax, 1-tx, 1-bx, 4-tpt, 4-hn, 3-tb, 2-bhn, 2-tba, 1-db, 1-timp, 3-perc
Make a Joyful Noise
“Make a Joyful Noise” is a celebrative overture originally composed for chamber orchestra. The work was commissioned by the Lafayette Symphony, Anne Harrigan, Music Director with the help of a grant from the Indiana Arts Commission, and is dedicated to the loving memory of Greg Zawisza. The piece was premiered in April of 2001. The band version of this work was commissioned by the DePauw University Band, Craig Pare, Music Director in the fall of 2003.
This four-minute work opens with a brass fanfare that combined with playful multimeters creates a modern work for a band or orchestra that is perfect for opening any concert. The middle section features a haunting melody in the solo horn that grows over time to the return of the opening melody and the recapitulation of the work. The coda section ends the work with a flare that will put a smile on your audience’s face.
Duration – 18’
Instrumentation -
2-fl, 1-picc, 2-ob, 1-eh, 2-bh, 3-cl, 1-bcl, 1-cbcl, 2-ax, 1-tx, 1-bx, 4-tpt, 4-hn, 3-tb, 2-bhn, 2-tba, 1-db, 1-timp, 3-perc
Score – See PDF
Symphony for Band
"Symphony for Band" could be easily subtitled "Passages" as this work represents the passages of life that most of us travel through during our lifetimes. The first movement is representative of the carefree nature of childhood and is in the normal sonata allegro form.
The second movement is more somber in nature and for me represents the loss of a loved one. In my case this occurred with the passing of my parents, whom I loved dearly. I, in fact, would like to dedicate this movement to their memory. For me, the famous sonnet by John Donne entitled "Death, Be Not Proud" embodies the second movement. The opening theme of this movement is the death theme, and to me represents the absolute nature of death in this life. The music that follows portrays the emotions and memories of the loved ones left behind. The death theme occurs three times in this movement portraying the inevitable consequence of life's battle against time. The theme is always slightly different with the final statement of the unavoidable being the most defiant, suggesting, as does John Donne's poem, that in the end, death itself will die.
The final movement of this work is by far the most intense. In everyone's life there are moments that challenge us to our core beliefs. The opening section to this final movement represents such challenges and threats with the opening unison trumpet theme. The form of this final movement is basically a theme and variations. The pastoral nature of the music that follows the climax represents the return to reason as one deals with one's demons in life. The coda section of the final movement brings back the b theme from the opening movement, which culminates this work in one's triumph over life with a major tonality.
Death Be Not Proud poem by John Donne follows:
Death , be not proud, though some have called thee Mighty and dreadful, for thou art not so;
For those whom thou think'st thou dost overthrow,
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure; then from thee much more must flow, And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell;
And poppy or charms can make us sleep as well
And better than thy stroke; why swell'st thou then? One short sleep past, we awake eternally,
And death shall be no more; Death, thou shalt die.
John Donne (1572-1631)
Duration – 12’45”
Instrumentation - 2-fl, 1-picc, 2-ob, 2-bh, 1-ecl, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 2-crt, 3-tpt, 2-crt/flhn, 4-hn, 3-tb, 2-euph, 2-tba, 1-pno. 4-perc
Score – See PDF
Through a Window
Through a Window, concerto for tuba and concert band was commissioned by the West Point Band, Colonel Tod Addison, Commander and Conductor, and was written in 2019. The piece is dedicated to Staff Sergeant Rachel Hertzbereg, who was the tuba soloist with the West Point band. This three-movement work is programmatic in nature literally and metaphorically. The concept is of a window being a conduit to visions, concepts, beliefs, etc. In that sense, the first movement's title of "Window to the World" is meant to encompass a view of the state of the world with all of its good and bad consequences. Therefore, the opening begins with intense activity, reflecting the busy world in which we live. For example, the dissonant chords in clarinets and saxophones represent a world in conflict. The melody first heard in horns and woodwinds occurs throughout the first and third movement, and is a statement of objectivity. In fact, the penultimate measure of the work restates this musical theme of reality. The tuba first enters in the Andante tranquillo section. Just as in the composer's Horn concerto, "The Glass Bead Game," where the horn soloist represents the main character in the Herman Hesse novel of the same name on which that concerto is based, so does the tuba soloist in this work represent the viewer looking through the window. In this case, the viewer is disappointed at what he or she sees in the world. This movement continues in the portrayal of our soloist observing the activities on planet earth. The close of the first movement ends with a sense of apathy as the viewer, our tuba soloist, can only observe the world without participating in it. The second movement, "Window to the Soul," is equally figurative as our tuba soloist, and witness, looks for the soul, a subject endlessly explored in religion and literature. Consequently, the music to this movement opens mysteriously. In the first entrance of the soloist, the music is questioning existence and awareness in an existentialist as well as scientific world. This music transitions into a vision of a universe that is charitable to the human spirit. This musical sense of orderliness ultimately takes us to the religious hymn. The conversation between religion and an optimistic perspective ends the work in tranquility where, theologically, the soul resides. The chime throughout this movement is significant as it represents the sound of a church bell to help us find our way.
The sharp contrast in the opening of the final movement to the ending of the 2nd movement is meant to be striking and should be performed attacca from the 2nd movement. The title of this movement, "Window Through Time" has a duality in meaning. The word 'time' in the title is referring to the literal sense of time travel through historical events in looking through this window as well as the double entendre of the music having a very rhythmic nature, exploring syncopations and multiple meters. The grand chorale in this last movement introduction is meant to picture the viewer's sense of awe, peering through this incredible window of time. The musical interpretation of time in odd meters is first heard after this impressive introduction. This final movement then becomes a quasi rondo between energetic, rhythmic music and musical views through the window of different moments in time. The first example of a fixed moment in time is heard in the tranquil music where our tuba soloist observer sees the calm paradise of the Garden of Eden. The tranquility is quickly interrupted by the abrupt return to the rhythmic 5/8 music. The next stop in this historic journey takes us to the Renaissance where a 16th century dance is heard. Then the listener is magically transported through this window of time to a musical duality. At this moment we hear echoes of Beethoven's "Ode to Joy" from his 9th Symphony interrupted by big band music from the 1940's. This double, ironic entendre is the Germanic composer's ode to joy melody, meant to celebrate the concept of peace among all humankind, being contradicted by the music of "In the Mood," a song that could be heard during World War II, a conflict initiated by Germany. The transition out of this window in history uses a blues tonality of the 1950's to get us back to this ongoing journey through time. With the reality of time continuing to unravel in a blur, the music returns to the rhythmic interpretation of the word 'time' in the coda section of this movement. The work closes in this rhythmic, musical version of time accelerating to an exciting ending to our time travel in the third movement's "Window Through Time."
Instrumentation - 2-fl, 1-picc, 2-ob, 2-bh, 1-ecl, 3-cl, 1-bcl, 2-ax, 1-tx, 1-bx, 2-crt, 3-tpt, 2-crt/flhn, 4-hn, 3-tb, 2-euph, 2-tba, 1-pno. 4-perc
Score – See PDF
Through a Window
Through a Window, concerto for tuba and concert band was commissioned by the West Point Band, Colonel Tod Addison, Commander and Conductor, and was written in 2019. The piece is dedicated to Staff Sergeant Rachel Hertzbereg, who was the tuba soloist with the West Point band. This three-movement work is programmatic in nature literally and metaphorically. The concept is of a window being a conduit to visions, concepts, beliefs, etc. In that sense, the first movement's title of "Window to the World" is meant to encompass a view of the state of the world with all of its good and bad consequences. Therefore, the opening begins with intense activity, reflecting the busy world in which we live. For example, the dissonant chords in clarinets and saxophones represent a world in conflict. The melody first heard in horns and woodwinds occurs throughout the first and third movement, and is a statement of objectivity. In fact, the penultimate measure of the work restates this musical theme of reality. The tuba first enters in the Andante tranquillo section. Just as in the composer's Horn concerto, "The Glass Bead Game," where the horn soloist represents the main character in the Herman Hesse novel of the same name on which that concerto is based, so does the tuba soloist in this work represent the viewer looking through the window. In this case, the viewer is disappointed at what he or she sees in the world. This movement continues in the portrayal of our soloist observing the activities on planet earth. The close of the first movement ends with a sense of apathy as the viewer, our tuba soloist, can only observe the world without participating in it. The second movement, "Window to the Soul," is equally figurative as our tuba soloist, and witness, looks for the soul, a subject endlessly explored in religion and literature. Consequently, the music to this movement opens mysteriously. In the first entrance of the soloist, the music is questioning existence and awareness in an existentialist as well as scientific world. This music transitions into a vision of a universe that is charitable to the human spirit. This musical sense of orderliness ultimately takes us to the religious hymn. The conversation between religion and an optimistic perspective ends the work in tranquility where, theologically, the soul resides. The chime throughout this movement is significant as it represents the sound of a church bell to help us find our way.
The sharp contrast in the opening of the final movement to the ending of the 2nd movement is meant to be striking and should be performed attacca from the 2nd movement. The title of this movement, "Window Through Time" has a duality in meaning. The word 'time' in the title is referring to the literal sense of time travel through historical events in looking through this window as well as the double entendre of the music having a very rhythmic nature, exploring syncopations and multiple meters. The grand chorale in this last movement introduction is meant to picture the viewer's sense of awe, peering through this incredible window of time. The musical interpretation of time in odd meters is first heard after this impressive introduction. This final movement then becomes a quasi rondo between energetic, rhythmic music and musical views through the window of different moments in time. The first example of a fixed moment in time is heard in the tranquil music where our tuba soloist observer sees the calm paradise of the Garden of Eden. The tranquility is quickly interrupted by the abrupt return to the rhythmic 5/8 music. The next stop in this historic journey takes us to the Renaissance where a 16th century dance is heard. Then the listener is magically transported through this window of time to a musical duality. At this moment we hear echoes of Beethoven's "Ode to Joy" from his 9th Symphony interrupted by big band music from the 1940's. This double, ironic entendre is the Germanic composer's ode to joy melody, meant to celebrate the concept of peace among all humankind, being contradicted by the music of "In the Mood," a song that could be heard during World War II, a conflict initiated by Germany. The transition out of this window in history uses a blues tonality of the 1950's to get us back to this ongoing journey through time. With the reality of time continuing to unravel in a blur, the music returns to the rhythmic interpretation of the word 'time' in the coda section of this movement. The work closes in this rhythmic, musical version of time accelerating to an exciting ending to our time travel in the third movement's "Window Through Time."