Composed by Zachary Wadsworth. For soprano voice solo, piano. 21st century, Secular. Medium. Collection. Published by E.C. Schirmer Publishing

Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphonium T.C., Flute, Güiro, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Sleigh Bells, Snare Drum, Trombone, Trumpet, Tuba and more. - Grade 1

SKU: CF.BPS134F

O Christmas Tree. Composed by Zachary Poulter. Sws. Bps. Full score. 12 pages. Carl Fischer Music #BPS134F. Published by Carl Fischer Music (CF.BPS134F).

ISBN 9781491158272. UPC: 680160916870. 9 x 12 inches.

QuA(c) verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holidayas most beloved symbols: the Christmas tree. In QuA(c) verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of QuA(c) verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the gA 1/4 iro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.
Que verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday's most beloved symbols: the Christmas tree. In Que verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of Que verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the guiro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.
Qué verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday’s most beloved symbols: the Christmas tree. In Qué verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated.This arrangement of Qué verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the güiro part, the quarter notes should be scraped and the eighth notes tapped.The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it.The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.

Band Bass Clarinet, Bassoon, Bells, Clarinet, Claves, Congas, Euphonium, Euphonium T.C., Flute, Güiro, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Sleigh Bells, Snare Drum, Trombone, Trumpet, Tuba and more. - Grade 1

SKU: CF.BPS134

O Christmas Tree. Composed by Zachary Poulter. Folio. Bps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+3+2+2+2 +3+1+2+1+1+2+12 pages. Duration 1 minute, 56 seconds. Carl Fischer Music #BPS134. Published by Carl Fischer Music (CF.BPS134).

ISBN 9781491158265. UPC: 680160916863. 9 x 12 inches.

QuA(c) verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holidayas most beloved symbols: the Christmas tree. In QuA(c) verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of QuA(c) verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the gA 1/4 iro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.
Que verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday's most beloved symbols: the Christmas tree. In Que verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of Que verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the guiro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.
Qué verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday’s most beloved symbols: the Christmas tree. In Qué verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated.This arrangement of Qué verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the güiro part, the quarter notes should be scraped and the eighth notes tapped.The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it.The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3

SKU: CF.CPS233

Composed by Zachary Cairns. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+2+2+4+4+2+2+8 +8+8+4+4+3+3+3+2+4+4+4+2+ 1+6+3+20 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS233. Published by Carl Fischer Music (CF.CPS233).

ISBN 9781491156322. UPC: 680160914869. 9 x 12 inches.

Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean's marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues. The piece is built on two primary ideas. The first idea is a musical rendering of the name Dean. D, E, and A are all musical notes, but N is not. I have chosen to use a neighbor tone (a note a half-step above or below a given note) to finish off the name. (MUSIC EXAMPLE) This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc. (MUSIC EXAMPLE) The second idea is a rhythmic motive, established in the opening brass fanfare. (MUSIC EXAMPLE) This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.      .
Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean’s marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues.The piece is built on two primary ideas. The first idea is a musical rendering of the name “Dean.” D, E, and A are all musical notes, but N is not. I have chosen to use a “neighbor tone” (a note a half-step above or below a given note) to finish off the name.(MUSIC EXAMPLE)This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc.(MUSIC EXAMPLE)The second idea is a rhythmic motive, established in the opening brass fanfare.(MUSIC EXAMPLE)This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.   .

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3

SKU: CF.CPS233F

Composed by Zachary Cairns. Sws. Cps. Full score. 20 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS233F. Published by Carl Fischer Music (CF.CPS233F).

ISBN 9781491156339. UPC: 680160914876. 9 x 12 inches.

Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean's marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues. The piece is built on two primary ideas. The first idea is a musical rendering of the name Dean. D, E, and A are all musical notes, but N is not. I have chosen to use a neighbor tone (a note a half-step above or below a given note) to finish off the name. (MUSIC EXAMPLE) This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc. (MUSIC EXAMPLE) The second idea is a rhythmic motive, established in the opening brass fanfare. (MUSIC EXAMPLE) This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.      .
Fanfare: Generation Next Fanfare: Generation Next is a piece I wrote in honor of Mr. Dean Zirkle, long-time director of bands at Camp Hill Senior High School (near Harrisburg, PA). I had been working as Dean’s marching band arranger/composer for eleven years when he announced his upcoming retirement, and I felt compelled to write a piece to pay tribute to his remarkable contributions to music education and to the lives of his students and colleagues.The piece is built on two primary ideas. The first idea is a musical rendering of the name “Dean.” D, E, and A are all musical notes, but N is not. I have chosen to use a “neighbor tone” (a note a half-step above or below a given note) to finish off the name.(MUSIC EXAMPLE)This melodic idea occurs throughout the composition in a variety of transformations. Sometimes it is presented with the exact notes shown above; sometimes the interval structure is maintained, but the pitch series is transposed (G-A-D-C#, for example); sometimes the four notes are played in order, sometimes out of order; sometimes the first three notes (D-E-A) sound together as a chord; etc.(MUSIC EXAMPLE)The second idea is a rhythmic motive, established in the opening brass fanfare.(MUSIC EXAMPLE)This rhythm is later transformed to the accent pattern shown below, which is used as an ostinato throughout much of the allegro section of the piece.   .

(Canticle of Zachary). By Kathleen Powell. For SATB Chorus, Descant, Piano accompaniment, and C Instrument. Celebration Series. Includes guitar chord names. Sacred. Easy. 12 pages

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more.

SKU: CF.PPS60F

Composed by Zachary Poulter. Full score. 8 pages. Carl Fischer Music #PPS60F. Published by Carl Fischer Music (CF.PPS60F).

ISBN 9781491163825. UPC: 680160922611.

An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash” sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  .

Composed by Zachary Wadsworth. For SATB/SATB choir, organ. Advent, Church Services, Concerts, 21st Century. Medium. Choral score. Text Language: English. Published by E.C. Schirmer Publishing

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217F

Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F).

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more. - Grade 0.5

SKU: CF.PPS60

Composed by Zachary Poulter. Set of Score and Parts. Carl Fischer Music #PPS60. Published by Carl Fischer Music (CF.PPS60).

ISBN 9781491163429. UPC: 680160922215.

An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash” sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  .

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8 +8+8+6+6+6+4+6+4+2+2+4+6+ 10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

By Zachary Wadsworth. For Soprano, piano. Vocal / Secular. 28 pages. Published by E.C. Schirmer Publishing