"Brace for Impact  is an exciting, up-tempo young band piece designed to take  both the performer and listener through an unforeseen, impending misadventure, in something akin to an encounter in a video game. Featuring a variety of percussion instruments, particularly timpani, mallets, toms and cabasa, I wanted to introduce younger bands to basic syncopated rhythms that would reinforce and expand their rhythmic knowledge, while providing an exciting piece for both audience and listener. Cluster chords, clapping, syncopation, various articulations - young bands are sure to enjoy this lively, animated and rhythmic voyage."

-Christina Huss

Inspired by the music of Scotland, this piece is dedicated to the memory of Ian Izzett who died suddenly and much too soon, at the age of 34 in December of 2018. He left a wife and two very young children as well as parents, siblings, cousins, coworkers, and many friends behind. The music attempts to capture the spirit of this young man and his playful approach to life. He loved the Scottish Highlands, playing his tuba, and all things Christmas. The piece opens in 4/4 time with a strathspey, written in a bold and majestic manner, emphasizing the downbeat Scotch "snap" that gives this style of music its characteristic groove. A brief transition introduces the beautiful Scottish carol Christ Child's Lullaby set in 6/8 time. A brief percussion interlude gives a nod to music of the traditional Scottish military tattoo which leads to a cut time reel which brings the piece to a rousing conclusion. Given Ian's love for playing his instrument, the music presents several opportunities for the tuba to shine!

The historic red mill is known across the country as an iconic image symbolizing early America's ingenuity and industry. Early 19th century water mills were used for grinding grains into flour, cutting timber into lumber, weaving cloth, making paper, making gunpowder, and eventually the production of electricity. Water mills were the tools to power factories and America's growth. In early settlements and villages, water mills were not only a way of life, but also a means of survival.

Located in the western part of New York, the village of Williamsville originated at a crossroads just above Glen Falls. The water power generated by the waterfall attracted millers. The first mill was built by Jonas Williams in 1811,  resulting in the vilage's first name, "Williams Mills." The mill became one of the earliest commercial manufacturers of natural cement in the United States. Cement produced at the mill was used on such notable projects as the lcks on the Erie Canal. During the War of 1812, American soldiers were stationed in Williamsville. The area was home to a field hospital treating both American soldiers and British prisoners. Today, the water mill still stands tall in the picturesque hills of Erie County within the town of Amherst. The Williamsville Mill was listed in the National Register of Historic Places in 1983. The Village of Williamsville acquired the water mill in 2005 and decided to restore and re-use the mill.

The Old Red Mill  is written in two connected sections. The first is a slow lyrical song representing a pleasant morning sunrise and the reverence and devotion of the town's hard-working citizens. The second is a duple-meter dance which typifies the village at play, socializing and celebrating the fruits of their labor. The Old Red Mill was commissioned by the Casey, Heim, Mill and Transit middle schools of the Williamsville Central school district, Williamsville, NY. It is the composer's desire to pay homage to the water mill's historical significance on America and to recognize the efforts of the people of Williamsville to restore its venerable landmark. 

Things are not always what they seem. Disguised is a study in manipulating the listener's perception of where meter and time fall, while also an exercise in masking the conventional sounds of common percussion instruments to create new colors.

The Red Cape is a march in the Spanish style.  The composer encourages performers and audience members to imagine donning a red cape and entering the bullfighting arena!

"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, an 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.

Right from the very  beginning, I try to convey the image of a kaleidoscope being turned or spun and colors/patterns starting to mix together. The four colors I use throughout the piece (musically known as timbres) are these: upper woodwinds, upper brass, low sounding instruments, and percussion. There are many percussion instruments incorporated throughout, including an ocean drum in the middle slow section. The ocean drum very much reminds me of the undulating sounds one might hear as the kaleidoscope is being turned.

The overall form of the piece is Fast, Slow, Fast, depicting 3 main episodes. These episodes are somewhat different from each other, but they also share similar colors and patterns, as all kaleidoscopes do. The very ending is a reverse bookend of the beginning, in other words the beginning starts simply and continues to get busier and more complex, while the ending gradually winds down until the kaleidoscope eventually stops spinning and comes to rest."

-Carol Brittin Chambers

"I live with cyclical depression.

What does that mean? It's a lot like clouds.

Some days the sky is cloudy. Some days it is scattered and changes rapidly. And some days (or weeks... or months) there are thunderstorms.

But, some days, I wake up and the sky is completely clear. I feel energized. I feel joyful.  I feel ready to take on the entire world! I know it won't last. And that's okay.

Blue Sky Horizon was written on one of my "good days" when the sun was out and I felt truly happy and at peace. The work uses catchy rhythms and a pops-inspired style to create a feeling of unbridled joy.

Not every day will be a great day.... but we should make the the most of the ones that are.

Peace, Love, and Music."

-Randall Standridge