Program Notes

Peacemaker March

Karl King arr. James Swearingen

Karl King was a true master at writing marches that are playable by all grade levels, and this great arrangement gives this classic a modern instrumentation along with accurate articulations, dynamics and a full score. Although Peacemakeris a traditional march, much in the style of King’s other quick-step marches, it has several unique features. Beginning the piece in F minor, King uncharacteristically repeats the first strain an additional time between the second strain and the trio. This return to the first strain sets up a seamless shift to A-flat major at the trio, as opposed to a more traditional key change. You just can't go wrong with a Karl King march.

Kalos Eidos

Carol Brittin Chambers

“I originally intended to title the piece 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, an endless variety of patterns can be seen. But the work itself is derived from the Greek words kalos (beautiful) and eidos (form or shape). The word "scope" refers to seeing or observing, thereby forming the complete definition: the observation of beautiful forms or shapes. As I related this to music, I began to envision with my ears various colors and patterns, similar to what one sees with the eyes when viewing a kaleidoscope.”
-Program Note by composer

Dreamsong

Richard Saucedo

Anyone who has children knows what a blessing they are. The original title of this piece was “Little One’s Dream,” and comes from the fact that the composer always referred to his daughter as my “little one!’ This piece personifies a parents love and support for their child's dreams.
-Program Note by composer

West Highlands Sojourn

Robert Sheldon

Inspired by this popular composer’s journey through the western hill country of England and Wales, this delightful piece borrows from folk melodies he heard on a river near the Scottish border.
Movement I, Stow-on-the-Wold,refers to a rural destination, a market town in Gloucestershire, England. The town is full of stone houses, hotels, shops, and quaint restaurants and tea houses. The music of the first movement is a light, cheerful march.
Bradford Ballade, the second movement, takes us to Northern England. Bradford, currently a populous area, has an industrial history. The region is now a bustling, metropolitan area, full of shopping and culture, and surrounded by beautiful rolling hillsides and meadows. The lovely, gentle melodies of Bradford Ballade evoke a relaxing, mellow hike through the picturesque countryside.
The third movement, Derwentwater, takes its name from a big lake in northwest England. Derwentwater is a popular vacation destination, with walking trails, swimming, fishing, and boating. Sheldon composed the movement in a brisk 6/8, with several hemiolic interchanges between the brass and the woodwinds.

Rumba de la Tumba

JaRod Hall

Journey into the unknown with this wildly creative piece inspired by the playfully dark film scores of Danny Elfman. Based on an irresistible Latin-flavored groove, it gives a lighthearted nod to the world of the macabre. Haunting yet electrifying!
-Program notes by publisher

Dominion

Randall Standridge

Dominion doesn’t tell a story so much as it conveys an idea and a feeling. With this work, I wanted to convey a sense of power, grandeur, and fantasy. As I listen, I imagine magical lands populated by vast deserts, imposing mountains, wild jungles, and kingdoms full of splendor, intrigue, and danger. I believe that each of us have our own “dominions” in our imaginations, and I hope this work helps the listener return to that child-like state of imagination, stories, and adventure.
-Program Notes adapted by composer

Page updated

Report abuse