CONGRATULATIONS!
You have been selected to participate in the 2026 South Dakota Middle School All-State Festival Band! Now the real work begins!
As soon as you are able, please go to the website (linked HERE) and navigate to the ‘2026 SDMS All-State Bands’ tab (and mark it as a favorite so you can get back there easily). Once there, you should be able to access recordings of the music we will perform. It’s important to listen to the recordings often and be as prepared on your part as you can possibly be BEFORE the first rehearsal. Know the rhythms and notes so that we can spend our full rehearsal time learning how your part fits into the overall sound, aligning articulations, etc. The plan is to perform all pieces in the folder. The music is not easy: you will need to practice this music often to ensure success at the performance. But I know you can do it. :-)
If your individual part is tough – practice it. Be able to do more than just get through the music when you arrive. We need to be making music right away. If your individual part looks or “appears” easy, do not be fooled, practice it anyway. What I’m looking for on this concert is precision and accuracy – playing music (no matter how difficult) at a very high level and making our audience feel the energy in the room.
Adrenaline Engines by Randall D. Standridge
This concert opener is pure energy! The tempo marking is Quarter Note = 160 and we will strive to perform at that tempo. When practicing this piece, start a little slower and work up to that speed. Crisp accents and precise articulations will be essential in making this piece impactful. Dynamic changes need to be dramatic, with every instrument’s section bringing out their melodic sections. The percussion section has a number of prominent section features! Note that after measure 55, there will be important slurred melodies that must have rhythmic and melodic flow. Watch for changing time signatures and drive to the finish!
Rumba de la Tumba by JaRod Hall
This mysterious rumba will be a complete change in atmosphere from our opening selection. Be mindful to not play too loud - particularly in mezzo piano, piano and pianissimo sections. There are many intentionally exposed sections, and a great deal of syncopation, so make sure you count your rhythms carefully. There are a number of time signature changes and accidentals in this piece, particularly after measure 57 - make sure you are observant of all accidentals and are adjusting your intonation on longer notes. The ending of this song has dramatic dynamic changes, so exaggerate the dynamic changes and fade away at the end!
Seconds Out by Samuel R. Hazo (will be directed by Mr. Jason Rygg, SDMSAS Honor Band Conductor)
Hello Festival Band! I’m really excited to be performing this piece with you! First off, the printed tempo (quarter = 154) seems a bit slow to me. I’d rather be right at 168 to the quarter note. Set your metronome and practice to make sure you can get through the piece at that tempo without sacrificing any beauty or technique. The meaning behind why it was composed is important to know so that we are getting the right style and feel of this music. To the percussion section specifically: Play Aggressively. Don’t apologize for your parts marked ‘forte’ and louder. If it’s too much, I promise I’ll tell you. For everyone: Play aggressively! We are not shyly asking a question with this music, we are letting others know of our beliefs and our resolve to confidently move forward, even in the face of the unknown. This music often switches between the 3/4 triple feel and kind of a 6/8 duple feel. When you have the duple feel, there will be 2 dotted quarters in the measure, BE SURE to accent the second one so we feel the time shifting back and forth. Printed dynamics are CRUCIAL, so please be prepared to show all of those dynamic levels beautifully with a rich dark warm sound, always. 189 total measures seems like a lot, (okay, it IS a lot!) but it will move quickly so make sure you have a full tank when we do this one. I can’t wait to see you and get to work on this music!
Down on the Delta by Carol Brittin Chambers
This piece begins with a hymn-like introduction. Aim for a warm, resonant, and beautiful tone quality. After the caesura at measure 9, the tempo is a peppy and energetic 120 beats per minute. Play with lightness, and be sure to put space between your staccato notes. The tempo slows down at measure 32 to a bluesy 80 beats per minute at measure 35. This section will be swung. Listen to the recording to help get the feel for the swing style. The bouncy, bright, and quick tempo returns at measure 58. There are two key changes within this selection. Make sure you watch for the key changes and put your personality into this selection!
Three Ayres from Gloucester (FLEX) by Hugh Stuart
This piece has three movements and features several different key signatures throughout. The recording linked on the website is from a different edition than we are playing, however the tempos are accurate to our goal performance tempos. The first movement is The Jolly Earl of Cholmondeley (pronounced “Chumley”). In the words of the composer, it should be played light and lilting. Be sure not to play too loud and emphasize the crescendos and decrescendos. The second movement is Ayre for Eventide. It should showcase your ability to play lyrically and smoothly. Strive for beautiful personal tone quality and ensure we have exemplary balance and blend. You don’t want to rush anything in this movement, but will go a bit faster at measure 99. The third movement is The Fiefs of Wembley. Although it is often mistaken as a march, the composer describes it as a peasants’ dance. Keep it light and dance-like!
3, 2, 1... by Brian Balmages
This concert closer starts off slowly with a tempo of Quarter Note = 60. You should play with a lush and resonant tone quality. The tempo immediately increase to Quarter Note = 160 at measure 17. Practice the rapid passages in the fast section of this song slowly to ensure technical accuracy, then gradually speed them up. Put space between the accented notes, being sure to play accents and staccatos crisply and with separation. Watch for many accidentals throughout this selection! Count rhythms carefully, as there is a lot of syncopation and frequent time signature changes. Push to the finish and keep the momentum going all the way to the last measure!
I can’t wait until we meet in March, and I look forward to working with all of you! Thanks in advance for your
efforts in making this a great experience for everyone!