Arranged by James D. Ployhar. For Concert Band. Concert Band. Belwin Beginning Band. Gospel. Level: 1 (Very Easy) (grade 1). Conductor Score and Parts. 65 pages. Published by Alfred Publishing.

Concert Band (Score) - Level 3.5

SKU: HL.4003192

Composed by James Curnow. MusicWorks Grade 3. 32 pages. Published by Hal Leonard (HL.4003192).

UPC: 884088656898. 9.0x12.0x0.114 inches.

Based on the shaped note melody Saints Bound For Heaven, Jubilee by James Curnow captures a feeling of joyful celebration through a series of unique and skillfully adapted variations. The opening strains are actually fragments of the first variation and occur before the main tune is introduced by low brass and woodwinds. The second variation features a euphonium solo and builds to a glorious climax with the full ensemble. The final variation is joyful and filled with energy, using flourishes in the woodwinds and fanfares in the brass for a grand conclusion to this marvelous work. (Grade 3.5) Dur: 5:30.

The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

Concert Band - Grade 2

SKU: AP.39524

Arranged by Michael Story. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Folk; Halloween; Traditional. Score and Part(s). 124 pages. Duration 2:15. Belwin Music #00-39524. Published by Belwin Music (AP.39524).

UPC: 038081453019. English. Traditional Folk Song based on the poem by Edgar Allan Poe.

Scored in a lilting three-quarter meter, this delicious melody, by an unknown composer, was originally scored to accompany Edgar Allan Poe's poem of the same name. The story is of the narrator's deep love for a woman who lived by the sea, and whose untimely death is mourned every night by the narrator as he sleeps next to her tomb by the ocean. The beautiful melody, charismatically harmonized, musically depicts that undying love and provides a meaningful opportunity to teach expressive and lyrical performance. A charming addition to the developing band repertoire. (2:15) This title is available in MakeMusic Cloud.

Concert Band - Grade 2

SKU: AP.39524S

Arranged by Michael Story. Concert Band; SmartMusic. Belwin Young Band. Folk; Halloween; Traditional. Score only. 16 pages. Duration 2:15. Belwin Music #00-39524S. Published by Belwin Music (AP.39524S).

UPC: 038081453026. English. Traditional Folk Song based on the poem by Edgar Allan Poe.

Scored in a lilting three-quarter meter, this delicious melody, by an unknown composer, was originally scored to accompany Edgar Allan Poe's poem of the same name. The story is of the narrator's deep love for a woman who lived by the sea, and whose untimely death is mourned every night by the narrator as he sleeps next to her tomb by the ocean. The beautiful melody, charismatically harmonized, musically depicts that undying love and provides a meaningful opportunity to teach expressive and lyrical performance. A charming addition to the developing band repertoire. (2:15) This title is available in MakeMusic Cloud.

Concert Band

SKU: SU.94010741

For Concert Band. Composed by James Lee III. Concert Band/Wind Ensemble. Full Score. Subito Music Corporation #94010741. Published by Subito Music Corporation (SU.94010741).

Instrumentation : pic, fl, ob, 2cl, bcl, 2asx, tsx, bari; 3tpt, 2hn, 3tbn, euph, bar, tba, timp, 6perc
Duration: 2'30
Composed: 2019
Published by: Subito Music Publishing
Also available: Full Score & Set of Parts (Cat. #94010741).

Concert Band

SKU: SU.94010740

For Concert Band. Composed by James Lee III. Concert Band/Wind Ensemble. Score & Parts. Subito Music Corporation #94010740. Published by Subito Music Corporation (SU.94010740).

Instrumentation : pic, fl, ob, 2cl, bcl, 2asx, tsx, bari; 3tpt, 2hn, 3tbn, euph, bar, tba, timp, 6perc
Duration: 2'30
Composed: 2019
Published by: Subito Music Publishing
Full Score also available separately (Cat. #94010741).

Concert Band/Harmonie/Fanfare and Saxophone Trio - Grade 3

SKU: BT.DHP-0910277-215

Composed by Harm Evers. Solo Spectrum. Original Light Music. Score Only. Composed 1991. De Haske Publications #DHP 0910277-215. Published by De Haske Publications (BT.DHP-0910277-215).

Harm Evers schreef het swingende Saxophone Jubilee als eerbetoon aan Adolphe Sax, die ruim anderhalve eeuw geleden de saxofoon uitvond. De drie voorgeschreven saxofoonpartijen kunnen in verschillende combinaties worden gespeeld,zodat het werk goed uitvoerbaar is door vrijwel elk orkest dat over ten minste drie saxofonisten beschikt.

Vor mehr als 100 Jahren erfand der belgische Instrumentenbauer Adolphe Sax das nach ihm benannte Saxophon. Ihm zu Ehren schrieb Harm Evers das swingende Werk Saxophon Jubilee. Die Saxophonstimmen können in verschiedenen Kombinationen gespielt werden, so dass Ihr Blasorchester das Stück schon mit drei Saxophonisten aufführen kann. Ein schwungvoller Spaß, nicht nur für die Saxophonisten!

Saxophone Jubilee rend hommage au célèbre inventeur Adolphe Sax qui, vers 1840, décide de fabriquer un nouvel instrument qu’il baptise d’après son propre nom. Cette pièce pleine de fraîcheur met en valeur un trio de saxophones dont la composition peut varier (voix solistes éditées en Sib et Mib). Le rythme swing donne la pièce un effet sautillant et divertissant.

By Alan Lee Silva. Concert Band. For Concert Band. Carl Fischer Concert Performance Series. Grade 3. Score and Set of Parts. Standard notation. Duration 3:36

3 Saxophones and Concert Band/Harmonie/Fanfare - Grade 3

SKU: HL.44001708

Composed by Harm Evers. De Haske Concert Band. Original Light Music. Score Only. Composed 1991. De Haske Publications #910277. Published by De Haske Publications (HL.44001708).

UPC: 073999175271. 6.75x10.5 inches.

Harm Evers schreef het swingende Saxophone Jubilee als eerbetoon aan Adolphe Sax, die ruim anderhalve eeuw geleden de saxofoon uitvond. De drie voorgeschreven saxofoonpartijen kunnen in verschillende combinaties worden gespeeld,zodat het werk goed uitvoerbaar is door vrijwel elk orkest dat over ten minste drie saxofonisten beschikt.

Vor mehr als 100 Jahren erfand der belgische Instrumentenbauer Adolphe Sax das nach ihm benannte Saxophon. Ihm zu Ehren schrieb Harm Evers das swingende Werk Saxophon Jubilee. Die Saxophonstimmen konnen in verschiedenen Kombinationen gespielt werden, so dass Ihr Blasorchester das Stuck schon mit drei Saxophonisten auffuhren kann. Ein schwungvoller Spass, nicht nur fur die Saxophonisten!

Saxophone Jubilee rend hommage au celebre inventeur Adolphe Sax qui, vers 1840, decide de fabriquer un nouvel instrument qu'il baptise d'apres son propre nom. Cette piece pleine de fraicheur met en valeur un trio de saxophones dont la composition peut varier (voix solistes editees en Sib et Mib). Le rythme swing donne a la piece un effet sautillant et divertissant.

By Alan Lee Silva. Concert Band. For Concert Band. Carl Fischer Young Performance Series. Grade 2. Score and Set of Parts. Standard notation. Duration 2:25. Published by Carl Fischer

Composed by Alan Lee Silva. String orchestra. For violin I, violin II, violin III (viola TC), viola, cello, bass, piano. Score and parts. 116 1 pages. Duration 1 minute, 48 seconds. Published by Carl Fischer

By Douglas E. Wagner. By Douglas Wagner. For Concert Band. Concert Band. Belwin Young Band. Level: Easy (grade II). Conductor Score & Parts. 140 pages. Published by Alfred Publishing.

By Alan Lee Sylva. For Set - Full Score and Parts. Carl Fischer First Plus Performance Series. Grade 1.5. Score and parts. Published by Carl Fischer

Grade 2

SKU: CL.011-4728-00

Composed by Romeyn. Young Concert Band. Score and set of parts. C.L. Barnhouse #011-4728-00. Published by C.L. Barnhouse (CL.011-4728-00).

Get ready for some Halloween fun with The Horseman Of Sleepy Hollow, a creative and well-written novelty selection easily accessible to bands. A spooky and ominous introduction using the tune Skin and Bones sets the stage for this creepy and hilarious ride on horseback through the fictional Sleepy Hollow. Better hold on, towards the end our horse gets a little spooked and starts speeding up! In this entertaining setting, students will learn to watch the conductor through the changes of tempo. Accessory percussion and timpani glissandos add to the spooky effect. A fun and entertaining favorite for bands and audiences alike!

Grade 2

SKU: CL.011-4728-01

Composed by Romeyn. Young Concert Band. Extra full score. C.L. Barnhouse #011-4728-01. Published by C.L. Barnhouse (CL.011-4728-01).

Get ready for some Halloween fun with The Horseman Of Sleepy Hollow, a creative and well-written novelty selection easily accessible to bands. A spooky and ominous introduction using the tune Skin and Bones sets the stage for this creepy and hilarious ride on horseback through the fictional Sleepy Hollow. Better hold on, towards the end our horse gets a little spooked and starts speeding up! In this entertaining setting, students will learn to watch the conductor through the changes of tempo. Accessory percussion and timpani glissandos add to the spooky effect. A fun and entertaining favorite for bands and audiences alike!

Composed by Hilliard & D'Alicandro. Concert band. Ensemble. Jazz for Developing Concert Bands Series. Grade 1.5. Full set. Composed 2004. Published by C.L. Barnhouse

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Band concert band - Level 3

SKU: KJ.WB344F

Composed by Andrew Boysen, Jr. Bandworks. Score. Neil A. Kjos Music Company #WB344F. Published by Neil A. Kjos Music Company (KJ.WB344F).

The written word comes to life in Andrew Boysen's dazzling tone poem! Accessible contemporary performance techniques are used to paint a spooky picture as the optional narrator recites lines from Washington Irving's short story about Ichabod Crane. The Legend of Sleepy Hollow is ideal for fall concerts and festivals and to get school administrators involved in your performances! Full Score.

By Erik Morales. Concert Band/Wind Ensemble. FJH Concert Band. This musical work illustrates the harrowing experience of our hero, Ichabod Crane, as he tries to escape the fate that was cast upon him on that dark and scary night. The introduction also illustrates the unsettling feeling Crane has as he departs into the darkness. Once convinced he is being pursued, he darts forth suddenly on his horse, Gunpowder, and the chase begins. The very last measures of the piece illustrate the moment of impact. The story also suggests that Brom Bones, a character who competed with Crane for the affections of a local maiden, may have been the perpetrator of the horrible prank. But Irving ingeniously hints at this supposition and leaves the reader to ponder the mystery of the legend. Score for this title: B1299S. Extra part for this title: B1299P. Concert Band. Level: Grade 3. Score and Set of Parts. Published by The FJH Music Company Inc.

Grade 3

SKU: CL.012-2437-00

Concert March. Composed by Niehaus. Concert Band. Classics Series. Audio recording available separately (item CL.WFR129). March. Score and set of parts. Composed 1992. Duration 6 minutes, 35 seconds. Opus III Wind Orchestra Publications #012-2437-00. Published by Opus III Wind Orchestra Publications (CL.012-2437-00).

A rousing concert march from noted film and TV composer Lennie Niehaus that is sure to delight! While written in the traditional march form, the composers flair for contemporary rhythms and harmonies gives Jubilee March a unique and exciting sound that is sure to appeal. Perfect for concert or contest use.

About C.L. Barnhouse Classics Series

Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

Grade 3

SKU: CL.012-2437-01

Concert March. Composed by Niehaus. Concert Band. Classics Series. Audio recording available separately (item CL.WFR129). Extra full score. Composed 1992. Duration 6 minutes, 35 seconds. Opus III Wind Orchestra Publications #012-2437-01. Published by Opus III Wind Orchestra Publications (CL.012-2437-01).

A rousing concert march from noted film and TV composer Lennie Niehaus that is sure to delight! While written in the traditional march form, the composers flair for contemporary rhythms and harmonies gives Jubilee March a unique and exciting sound that is sure to appeal. Perfect for concert or contest use.

About C.L. Barnhouse Classics Series

Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2

SKU: CF.YPS208F

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F).

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.