PROPULSION | Adrian Sims (2022)
To me, this work has multiple messages. First and foremost, forward momentum is the inspiration behind Propulsion. From the very first note, the music launches into high gear. Out of this initial moment of madness emerges a soft but relentless rhythmic pulse that builds and transforms into a force of incredible strength. Even among the softer sections is a sense of urgency — a force ready to unleash great power at any moment.
Furthermore, this work presents ideas of ambition and self-determination — willfully obliterating every obstacle in the way. Propulsion is a call to negate the little voice inside of our head that tells us it’s okay to stop short of our daily goals. Our greatest dreams are not realized by imagining what things “could be like” someday, but through consistent, deliberate action in the right direction. It’s the small things we do each and every day that build habits of success and quite literally “propel” us towards achievement.
From the unfathomable force of a jet engine to the will-power of a highly-determined athlete, Propulsion is a furious display of strength and power.
- Program note by the Composer
SELECTIONS FROM "ENCANTO" | Lin-Manuel Miranda (2021) arr. Murtha (2022)
From Disney's blockbuster animated feature, Paul Murtha's setting is a terrific medley for the concert stage featuring plenty of Latin excitement. Selections include: The Family Madrigal, We Don't Talk About Bruno, Dos Oruguitas, and Waiting on a Miracle.
- Program Note from the Publisher
IN THE MOOD | Joe Garland (1938) arr. Glenn Miller (1939)
In the Mood is a big band-era number-one hit recorded by American bandleader Glenn Miller. It topped the charts for 13 straight weeks in 1940 in the U.S. and one year later was featured in the movie Sun Valley Serenade. In 1983, the Glenn Miller recording from 1939 was inducted into the Grammy Hall of Fame.
- Program Note from the Publisher
BIRDLAND | Joseph Zawinul (1977) arr. Sweeney (1990)
Originally recorded by the innovative jazz fusion group "Weather Report," Birdland has become one of the most popular jazz tunes of all time. The undeniable groove of this arrangement make it an instant fan favorite, and the audience won't be able to help clapping along!
- Program Note from the Publisher
BOB-OMB BATTLEFIELD | Koji Kondo (1996) arr. Rosen (2020)
One of the touchstone all time favorites of the VGM community, all rise for "Bob-omb Battlefield" from Super Mario 64 arranged for Big Band with alto sax solos on this Funk Big Band arrangement from the 8-Bit Big Band library!
The 8-Bit Big Band is a 30 member Jazz/pops orchestra that formed to celebrate and realize some of the best themes from video game music written from all consoles and eras! Blending together themes from Nintendo, Sega, Playstation, PC, and more and then re-arranging in genres and styles of all musical inspirations such as swing, funk, salsa, rock, modern jazz, metal, world music, and more for big band or pops orchestra instrumentation and orchestration.
- Program Note from the 8-Bit Big Band Website
AMPARITO ROCA | Jaime Texidor (1934) arr. Fagan (2008)
This Spanish pasodoble march was written by Spanish bandleader and composer Jaime Texidor. The introduction and first strain are indicative of a bullfighter’s music, whereas the gentle, lighthearted trio section takes on the character of a couples dance, evoking the other essential element of the pasodoble. The powerful brass in the dogfight (bullfight), and the tutti texture of the maestoso section bring this piece to a grand conclusion.
- Program Note by Aubrey Winter
ON WINGS OF MAGIC | Naoya Wada (2006)
Japanese composer Naoya Wada's composition is full of rhythmic energy and vitality. On Wings of Magic was commissioned by and is dedicated to the Yahata Minami High School Band (Fukuoka, Japan), Hirofumi Matsumoto and Midori Shinmei, directors.
- Program Note from publisher
TANK! | Yoko Kanno arr. Dannewitz (2003) and Fruits
Besides the Rock Canyon High School Band Program’s dedication to excellence in music, we’ve worked to examine the way we approach equity and diversity in music. Our starting point has been programming a diversity of composers, including all types, genders, races, and orientations of people. We don’t do this as the focus of a single concert or initiative; we’ve done this throughout our program to celebrate and recognize all the incredible quality music in the world that is often underrepresented. Providing students and audiences with diverse voices and backgrounds is imperative to our mission of filling the world with love and music.