From a performance by the Space Coast Symphony’s Wind Ensemble, Aaron Collins, conductor.  The group premiered West Winds and Semper Fi

 

Semper Fi (4/16/20) for wind ensemble – 10’00”.  I have always admired the courage and conviction of the Marine Corps. Their loyalty to one another and to the corps creates a comradery that is powerful and patriotic. The three movements of this work represent different aspects of the life of a marine. “The Forced March” uses a driving rhythm to propel the strains of the melody. A slower section, representing the exhaustion of an extended troop movement interrupts the flow before the main melodic strain returns. “Fallen Comrade” uses pyramiding, cluster-like chords to depict a sense of anguish and loss. Against this, both horn and the trumpet have extended solos, expressing both a sense of mutual affection and devotion to a lost soul. “No Man Left Behind” uses harmonic tension and driving, syncopated rhythms to create a sense of the difficulties one might experience in rescuing a fellow marine. The music becomes very quiet near the end, denoting spent energy perhaps. However, the piece ends on a positive note, indicating a successful rescue.

Live Performance.  The work was premiered by the Space Coast Symphony Orchestra Wind Ensemble, Aaron Collins, director, on June 26, 2021, at 2:00 pm at the Emerson Center, Vero Beach, FL, and on June 26 at 7:00 pm in the Scott Center at Holy Trinity Episcopal Academy in Melbourne, FL.

 

Spirit of the Rockies (12/28/17) for concert band – 3’50”.  This work is based loosely on the British march form.  It includes an introduction and four repeated strains (ABCD) with the third and fourth strains in the subdominant key. However, the introduction is a fanfare lasting about thirty seconds and each repeated strain is written out with some variation during the repeat. Another departure from the standard form involves a short fanfare/introduction after the Trio (C section) that reintroduces the A strain before the appearance of the final D strain, complete with piccolo and flute obbligato during the final repeat.  MIDI recording.

 

Echoes of Kennesaw Mountain (6/14/17)  Fanfare for large brass ensemble – 2’50”.  The Battle of Kennesaw Mountain was fought on June 27, 1864. It pitted the Union Army’s Military Division of the Mississippi under General William T. Sherman against the Confederate Army of Tennessee under Joseph E. Johnston. Sherman’s army launched its most significant frontal assault on Johnston’s forces, resulting in both heavy losses by the Union Army and a tactical defeat. However, Johnston’s army was ultimately forced to withdraw closer to Atlanta. The bravery and devotion to cause shown by both armies was typical of the Civil War. It was also the war that resulted in the most American casualties. This fanfare celebrates the strength of character shown by both sides in the conflict.  MIDI recording.

 

Treasure among the Bones (6/2/16) for Wind Ensemble – 6’20”.  I have lived most of my life in coastal areas where stories abound about pirates, sunken ships and lost treasures. There is a certain mystery to these stories and, occasionally, an exploratory find that includes things like recovered ship’s bells or cannons. Rarely, there are even Spanish coins or bars of gold. This piece begins mysteriously with piccolo and flutes. A motive is sounded that becomes part of the main “exploratory” theme. A faster, more cheerful “treasure” theme is heard. Both the “exploratory” and “treasure” themes reappear in varied forms before the piece ends quietly with the same mysterious music that was heard at the beginning. In addition to the programmatic elements, I will add that the work derives from the bones of an earlier, incomplete fragment that I kept around for a number of years.  MIDI recording.

 

West Winds (5/25/14) for Wind Ensemble – 5’45”.  This is a descriptive piece.  I envision strong, steady winds blowing across endless fields of corn or wheat in the American Midwest under a blue sky and a bright sun.  I grew up on the edge of the corn belt where such sights were common. At times the play of the wind in the corn seems capricious, at other times, slightly threatening or cynical.  Whatever visions it encourages, it is the life-giving strength of sun and wind that prevails.

Live Performance. The work was premiered by the Space Coast Symphony Orchestra Wind Ensemble, Aaron Collins, Conductor, on three concerts: June 23, 2018, at 2:00 pm in the Community Church of Vero Beach, Florida; June 23, 2018, at 7:00 pm in the Scott Center for the Performing Arts in Melbourne, Florida; and June 24, 2018, at 3:30 pm in the Riverside Presbyterian Church in Cocoa Beach, Florida

 

Smiling Faces of the Empire (4/13/14) for concert band Duration: 5’30”.  This work imagines the many types of people who make up a country or even a state.  MIDI recording.

 

Ceremony and Celebration (2012) for concert band – Duration 4’45”.  MIDI recording.

 

Festival Latino (2012) for concert band – Duration 4’00”.   The work begins with a lengthy introduction featuring rising and falling sixteenth notes in a steady, straight-forward duple meter.  Near the end of the introduction the meter shifts between duple and triple, setting up the main theme.  About forty seconds into the work, syncopation arrives in triple meter.  It serves as accompaniment to a dreamy, lyric melody – the main theme and heart of the work.  Then, at roughly two minutes and a quarter, elements of the introduction are juxtaposed with the main theme, bringing the piece to its boisterous conclusion.  MIDI recording.

 

Unfolding Fanfare (2012) for large brass ensemble [4 Hn, 6 Tpt, 3 Tbn, 2 Euph, 2 Tuba, S.D., Cym.] – Duration: 2’00”.  MIDI recording.

 

Torero feliz: Pasodoble (2010) for concert band – Duration: 3’30”.  MIDI recording.

 

The Onslow Winds

 

Fanfare and Festive March (2004) for concert band, premiered October 21, 2004, by The Onslow Winds, Gene Taliaferro-Jones, conductor – 4’45”.  MIDI recording.