Flute

Alyse Blackwell

Zuri Bost

Jocelyn Carroll

Addison Hewett

Madison Ridenhour

Emmalee Thomas

Xiyeng Yang

Clarinet

Kristopher Charles

Tinley Deese

Cindy Mancia, bass clarinet

Britney Phillips

Calleigh Reavis

Saxophone

William Wicker, tenor

Gabriel Wolfe, alto

Trumpet

Kaden Allen

Prynsana Collins

Asher Robinson

Gavin Sherwood

Trombone

Joel Morgan

Ryan Yates

Tuba

Josiah Bunch

Percussion

Amaya Glass-Clark

Addison Webb

Flutes

Liliana Perez*

Lily Morgan, piccolo

Phoenix Harris

Keira Barrier

Emily Kirk

Bassoon

Benjamin Woodward

Clarinets

Caleigh Morgan*

René Roque Barcenas*

Serji Yang

Elli Karriker

Stephanie Moreno

Sophia Fortner

Nevaeh Burgess, bass clarinet

Saxophones

Clayton Hewett, alto saxophone

Jordan Gardner*, alto saxophone

Brayden Black, tenor saxophone

Trumpets

Holly Fisher*

Joshua Minter

CJ Squirewell

Aidyn Ramsue

Trombones

Joslyn Brady

LouAnne Hirsch

Ronan Henrickson

Caleb Jones

Bryant Wicks*

Euphonium

Joslyn Brady

Tuba

Cameron Young

Ryan Markham

Kaden Harris

Percussion

Colby Caldwell

Genesis Cruz Lopez

Kaylee Furr*

Baylee Burdette*

Annabelle Harris

Evan Lopez

Lyric Watford

Alison Safrit

Jeremiah Walker

Vocalist

Kaylee Furr*

Dallas Lynch*

KD Hoffner*

Program notes provided by Carol Britten Chambers (composer)

Byzantine Dances is generally meant to portray a set of Turkish dances. The opening dance is fast and energetic, written in the style of a Roma Gypsy dance. During this upbeat dance, the melody incorporates grace notes that are fun to play, while the harmony and bass line incorporate enjoyable countermelodies and syncopated lines. The slower section in the middle of the piece is written in the style of a Zeybek dance. This type of dance is often performed by a solo dancer, symbolizing courage and heroism. The dancer uses outstretched arms, almost resembling a great hawk.

In this piece, I chose to incorporate some uniquely Turkish-sounding elements. Much of the melodic material is based on either the Byzantine scale or the harmonic major scale, both of which produce a somewhat exotic sound. Another element is the use of Turkish zills, or finger cymbals, which are often used in dances of this region.

The Byzantine Empire, also known as the Eastern Roman Empire, lasted from about 400 to 1453 A.D. and covered much of the area of what is now Turkey. With the conquest of the Byzantine Empire’s capital, Constantinople, the Ottoman Empire began its reign in 1453. After World War I, the Ottoman Empire fell, and the Republic of Turkey was formed in 1923.

Program notes provided by Larry Clark (arranger)

Suo Gan is a Welsh lullaby. It is a hauntingly beautiful folk song that has been set by many composers because of its pure and simplistic beauty. You may recognize this song from its use in movies and television. It was my goal to approach this song in a different manner than others and to bring out the lush nature of the song in various harmonic settings.

The song is a mother’s lullaby to her sleeping child. It speaks of the child’s look of content as they sleep in their mother’s arms. With this in mind, I set out to write a subtle treatment of this lovely song. It starts out with soft harmonies in the upper woodwinds with arpeggiation in the bells to set up the lush harmonies of the piece. The melody is then expressed the first time very simply with basic chords in the Horns and low clarinets. This is then expanded with a counter line in the flutes the second time. I then composed a transition section that serves as a bridge between statements of the melody to give the piece some variety.

This song’s sixteen-measure form is made up of simple four-measure phrases that can be outlined as AABA with the B-phrase being the climatic one. I took this idea and used my transitional section in place of some of the A-phrases at times. After the piece builds to a strong forte, the melody is stated in parallel seventh chords with the whole ensemble playing similar rhythms for a different harmonic twist. This is a nod to a technique used by Percy Grainger, who is well-known for his folk-song settings. The piece then builds to a climax fermata before dying down with a return to the opening material and the last phrase of the melody stated in the cello, followed by a short coda with lush harmonies to end the setting.

Program notes provided by the publisher

Drawing on the rich and varied tradition of Celtic folksongs, this piece opens with the touching and melodious The Parting Glass. The flutes and percussion take center stage on the dance-like Tha Mi Sgith (A Fairy's Love Song), then the entire band gets into the act for the rousing finish.

Program notes provided by the Wind Repertory Project

The Bluebells of Scotland is the usual modern name for a Scottish folk song. It was written by Dora Jordan, an English actress and writer, first published in 1801. Joseph Haydn wrote a piano trio accompaniment for this song (Hob. XXXIa: 176). The song was arranged by Arthur Pryor for trombone with accompaniment. This version is usually called Blue Bells of Scotland. It is most commonly played with a piano or concert/military band, but has also been performed with orchestra or brass band. Although the exact date is disputed due to some naming questions, Pryor probably composed the piece around 1899.

This version is technically challenging and allows the soloist to show off a flowing legato while, in different places, requiring some difficult jumps. The sheer speed and volume of notes also poses a significant challenge. 

To celebrate May the 4th, also known as Star Wars day, enjoy this series of themes from The Force Awakens.

Star Wars (Main Theme)

John Williams' "Main Title" from Star Wars (1977) is among the most recognized symphonic themes in cinematic history, having been voted the "top soundtrack of all time" by the American Film Institute. Originally performed by the London Symphony Orchestra, it serves as the heroic leitmotif for Luke Skywalker and the Rebel Alliance.

Rey's Theme

"Rey's Theme" is the central musical leitmotif for the heroine of the same name. Rather than a traditional heroic fanfare, Williams characterized it as an "adventure theme" intended to illustrate empathy for Rey's initial loneliness and her subsequent growth into a strong, Force-infused fighter.

March of the Resistance

"March of the Resistance" is a heroic, brass-heavy concert march representing the Resistance forces. It serves as a confident and stirring counterpart to the traditional "Rebel Fanfare" and "Imperial March," featuring bold rhythms that reflect decisive action and valiant efforts.

The Jedi Steps and Finale

"The Jedi Steps and Finale" is the dramatic, climactic music from the end of the film. It features a tender, mysterious melody for "Jedi Steps" (Rey meeting Luke) followed by an explosive rendition of the main theme for the "Finale."

Program notes provided by Randall Standridge (composer)

In our media-soaked society, it is fashionable to only focus on positive outcomes. People love to hear a story of someone who beats the odds, overcomes the challenges of living with mental health issues, and comes out stronger on the other side. That is a beautiful story, but…it is not everyone’s story. I have written two works of that type (unBroken and (not) Alone), both of which portray individuals who were able to get the help and support they needed and were able to flourish. Not everyone is always so fortunate. This newest work in The unBroken Project reflects on the darker aspect of the silent epidemic that claims thousands of lives every year. Some are not strong, they are not resilient, they are not okay. Some survive. Some do not. Some escape the only way they know how. The goal of The unBroken Project and its works is to spark conversations and reflections on mental health, as well as tearing down the social taboo of discussing the reality of living with mental health conditions. Living with depression and anxiety myself, I understand this all too well. Some may say that students are too young to discuss such issues. But no. For some of them, this is their daily life. We need to talk about this. We are GOING to talk about this. And maybe, we can bring some of them back to us, piece by broken piece.

This piece was voted on by the senior class for its encore performance. This piece was featured on the Fall Concert, "All the World's a Stage," which set music against Shakespeare's "Seven Ages of Man" monologue from Hamlet. 

Program notes provided by the publisher

Sandai-Shogun no Matsu, a five-needle pine bonsai (Pinus pentaphylla var. negishi) is considered one of Japan’s national treasures. The tree is at least 500 years old and is considered to be one of the oldest known living bonsai trees. It is documented as having been cared for by Tokugawa Iemitsu (August 12, 1604 - June 8, 1651), who was the third shogun of the Tokugawa dynasty. Sandai-Shogun no Matsu is housed in the Tokyo Imperial Palace. "Although the center of this famous tree’s trunk is now totally hollow, it has been carefully nurtured for generations, and gazing at its gnarled form today, a sense of awe is felt at the forceful destiny that has allowed such a small piece of life to survive for so many centuries."

Program notes by Katie Howard Blevins

I Dreamed a Dream from Les Misérables by Claude-Michel Schönberg and arranged by Michael Brown is one of the most iconic songs from the hit 1987 Broadway Musical based on Victor Hugo's novel of the same name. Les Misérables is a story of redemption, love, and revolution set against the backdrop of the failed 1832 Paris Revolution. 

The song is a lament, sung by the anguished Fantine, who has just been fired from her job at the factory and thrown onto the streets. She thinks back to happier days before her death due to a lack of medical care for the poor class of peasants who later revolted in Act Two.

Featured Solosit (In order of appearance)

Dallas Lynch

KD Hoffner

Kaylee Furr 

Program notes provided by Steven Reineke (composer)

The Witch and the Saint is a programmatic tone poem for symphonic band in one movement that is constructed in five distinct sections to tell the story of the lives of Helena and Sibylla, twin sisters born in Germany in 1588. The story of the piece is based on a novel by Ulrike Schweikert of the same name.

The opening depicts the birth of twin sisters born in 1588 in Ellwangen, Germany.  In those times, the birth of twins was considered a bad omen, and as the sisters grew up, it became clear that they had the gift of second sight and could predict future events.  The thematic material representing both sisters is first introduced in this section, along with a medieval, Gregorian chant-type motif.

The 2nd section is the development of Sibylla’s theme. This sister led a horrible life, and her gift was looked down upon.  Many townspeople feared Sibylla and considered her to be a witch.  After a brief transition, the theme representing the other sister, Helena, is introduced in its entirety.

The 3rd section is the development of Helena’s theme.  This sister was sent away to a convent when she was a child.  While at the convent, Helena is revered as a saint because of her visions.

The 4th section is a turbulent section representing the struggles both of these sisters had in their lives.  Eventually, Sibylla is imprisoned, and Helena returns to the town to save her sister.

The 5th section depicts the return of Helena and the rescue of her sister, Sibylla.  The sisters decide to flee and enter the unknown for a new life.

Program notes by Katie Howard Blevins

The West Rowan Alma Mater is an original text by Trevor Lamar Davis set to the Scottish folk song, "The Rowan Tree".

The Scottish folk song that is used as the melody for the alma mater is taken from a tradition established by former WRHS director of bands, Daniel Trivette, and former WRMS director of bands, Nathan Bowman. On the final concert of each year, the rising 9th graders and current high schoolers would play "The Rowan Tree" as a way to welcome the 8th-grade students into the high school band.

The text highlights the beauty of the farmlands and fields that fill Mt. Ulla, along with the unique life experiences and memories that students create during their time at West Rowan High School.

Lyrics

West Rowan High! West Rowan High!

How dear you are to me

Your hallowed halls: the keepers of our childhood memories

Refrain:

Your wide and open countryside is painted blue and white

Sing hail to thee with Falcon pride

Sing hail West Rowan High!

We proudly sing your noble praise

We sound your clarion call

Our blessed alma mater is a gift unto us all

Refrain