Folk Song

Garza_Folk Song.mov

Notes on The Piece

I am extremely grateful for Kaitlin Bove's efforts with ...and we were heard towards making this project become a reality. Performers are students of the University of Delaware's Wind Ensemble directed by the wonderful educator, Dr. Lauren Reynolds.

Folk Song Currently is set for a flex band setting for 6 winds and 2 percussionists. If interested in acquiring new arrangement for a different format of this work, please contact me and let me know how I can best fit your needs!


This work is meant to mirror the process of growth and change a folk song faces as it evolves over time. Often, the history of early music can be shrouded in mystery and feel like a tattered remnant of a once profound piece of art. This patchy beginning is embodied in the ‘Fragile’ introduction and hocket like approach to the thematic material. To further emulate mysterious beginnings, I have offered up cues for various parts and recommend splitting the phrases amongst performers to drive home the hocket approach. Ultimately the choice is left to the ensemble and I will support any decision made with the material, so if the logistics of this practice are tasking, recommended parts with complete phrases are set in place throughout the introduction.

As the ‘Steady’ portion begins, the motivic center of this “folk song” is realized and the piece lands in a crucial arrival at measure 28. It is here where the bass unexpectedly does not support the triadic material above it and instead serves as another “fumble in history.” This moment is rearticulated in measure 178 as a means to support the final telling of this song’s story. This is analogous to a present-day restoration of a once uncertain and humble tune that now stands as a valiant presentation of growth. Whether it be the ‘cantabile’ section at measure 78, the childlike poise of measures 145-162, or the descending hocket phrases in parts 4-6 seen at measures 86 and 162, this piece is meant to embody the everchanging path music takes after it is written. Finally, to drive home its message, I leave it to the ensemble to decide which ending they would like to take, and I ask – how will you share this song, how will you tell this story?