It’s Darius Milhaud’s birthday! Born on this day in 1892, Milhaud grew up in Aix-en-Provence, France. It’s not too late for you to program some of his works with your ensembles! Wind Ensembles can always enjoy revisiting his Suite Française. And chamber groups will relish tackling Symphonie de chambre No. 5 “Dixtuor d’instruments à vent”, Op. 75; Le bœuf sur le toit, Op. 58; or my favorite, La création du monde, Op. 81.
This afternoon I learned of the passing of iconic American composer David Maslanka. Having had the pleasure of performing, conducting, studying, and listening to many performances of his great compositions, I am at a loss for words. He was, and will be, one of the most creative, original, lasting, and authentic voices in music. Hearing his St. Francis performed by Dr. Peter Haberman and the Concordia Band was such a moving experience that highlighted just what visceral emotional depths Maslanka’s music could explore. He will be missed, but his music will be talked about, performed, and studied, for lifetimes to come.
Happy Spring, everyone! Hopefully, you have successfully completed your band’s concert festival adjudication for this academic year and are now turning to, among other concerns, your Spring Concert.
Each year, our Spring concerts provide a wonderful programming opportunity. Unlike an adjudicated performance, Spring concerts allow us to take more chances, to stretch our performers’ abilities and repertoire. But sometimes it can be daunting to fill a concert with enough music that can be rehearsed in time, especially if your adjudicated festival is late in the year. But if we think beyond traditional the concert band repertoire and model, there can be wonderful musical opportunities for your student performers. I’m speaking of chamber music and elastic wind instrumentation!
Chamber ensembles are one of the best ways to further your performers’ musicianship. Every performer’s part is active, vital, and exposed, and students have to work to communicate with one another to blend, keep time, and match style and dynamic shaping. These ensembles are also a great opportunity to showcase the very best performers in your ensembles. Best of all, they can rehearse on their own, in short, separate practice sessions that don’t use your valuable rehearsal time. Simply pop in to coach them in their efforts and make sure that their progress is on track for the performance.
Chamber ensembles are an incredibly versatile tool because they are so flexible. There is a vast compendium of music for every level of difficulty and for a spectrum of instrumentation configurations. Woodwind quintets, brass quintets and quartets, clarinet choirs, saxophone quartets, percussion ensembles, and duets and trios that can be played by any number of instruments with some simple transposition you help provide. If your area has a solo and ensemble festival, your students may have already prepared these sorts of works that you can fold into your Spring concert program!
While much of the strength of the concert band has been in the 20th century efforts to standardize its instrumentation, there is no doubt that it can also be constraining. Maybe you don’t have a great oboe player. Maybe your woodwinds are far stronger than your brass, and they’re bored as a result of the literature this shortcoming forces you to select. You have a wonderful lyrical work you want to program, but your 16 talented and energetic percussionists are left with nothing to do while the winds tackle that composition. Elastic ensembles can allow you to avoid these pitfalls.
There are works written just for large woodwind choirs (visit this section of the J.W. Pepper Catalog). There are compositions for brass ensembles. There is, of course, a wonderful concert percussion repertoire. Just because they aren’t a concert band doesn’t mean they don’t belong on your concert band’s program. The wonderful and noble history of wind and percussion performance existed long before the modern wind band, and that heritage can be preserved when your students and audiences experience it first-hand!
Finally, if you have an advanced musician that you’d like to feature, don’t hesitate to spotlight them as a soloist. This is most easily accomplished if you have a soloist who has already prepared a piece with a piano accompanist, either for a festival or a college audition. This is a great way to reward a talented and dedicated performer, and it has no impact on your band’s rehearsal time.
So get creative in your Spring concert programming this year! Careful planning can show your community the depth of sounds possible from the concert band’s constituent sections, and can provide your student performers with new opportunities to explore repertoire. Happy programming!
I’m pleased to once again chair the Blue Stars Drum & Bugle Corps’ annual “On Corps!” competition for aspiring arrangers and composers! We invite individuals with an interest in arranging and composing music to submit their works to be considered for performance by the 2017 Blue Stars. The winning arrangement/composition will be performed as part of the corps` encore repertoire for the season.
All participants will receive detailed feedback on their submission from members of the Blue Stars design and instructional team. Johnathan Segovia, the winner of the 2016 “On Corps” contest, states:
“The On Corps competition is extremely valuable to young or emerging composers. The critique alone makes it worth entering. It is a surreal experience to see something I wrote down on paper to be played by DCI’s best groups. It is something I will treasure for the rest of my life.”
Works submitted should meet the following criteria:
- May not be shorter than 1 minute 30 seconds or longer than two minutes in length
- Must be arranged with the following part distribution:
- 3 trumpets
- 2 mellophones
- 3 baritones/euphoniums
- 1 tuba (sparing use of divisi writing is permissible) percussion (Our staff will augment percussion parts as needed)
- Music must be able to be performed publicly under current copyright laws. The Blue Stars will pay copyright fees for the winning work if needed.
- The work must be an original arrangement or composition, unpublished in any other venue.
- Pay the Submission Fee
$75 fee must accompany each submission. Individuals may submit as many entries as they so choose, but each submitted work requires the $75 fee. A PDF score and digital recording (both computer-synthesized and live ensemble recordings are acceptable) must be submitted to email@example.com by 8 AM on Monday, May 1st, 2017. The score must include the author’s full name, e-mail address, and telephone number. The winner will be announced by Monday, May 8th, and the winning work will be performed as an encore by the Blue Stars Drum and bugle Corps during their 2017 tour. All submissions will receive feedback on their submissions no later than May 18th, 2017.
Exciting news this morning, as an article I coauthored with Dr. Luis Rivera and Professor Matt Greenwood has been published in the March issue of Percussive Notes! Percussive Notes is the peer-reviewed journal of the Percussive Arts Society, the world’s association for percussion performers and educators. The article, entitled “A Modern Percussion Edition of Darius Milhaud’s La création du monde,” provides a new, more easily-readable edition of the percussion parts for Milhaud’s landmark, and pioneering work. In addition, the article also provides detailed diagrams for the multi-percussion set-up, information on equipment choice, and interpretation of the marked French language score. I’m grateful to my colleagues Matt and Luis, the Percussive Arts Society, and to the firm of Durand-Salabert-Eschig for permission to publish this edition to be enjoyed by percussionists for generations to come. Members of PAS can access the article online, while those who subscribe to Percussive Notes should receive their copy of the March issue shortly.