Program Notes

Read about Jack Lawrence Fall Concert 2025 Repertoire:

Principal Orchestra

Overture to Ruslan and Ludmilla, Mikhail Glinka

The Overture to Ruslan and Ludmilla is quite a curtain-raiser, with an energy worthy of Rossini and a uniquely Russian combination of earthy exuberance and heroic feeling. The overture dispenses with the then-usual weighty introduction, bursting forth with an assertive motto for brass, winds, and timpani connected by scurrying strings. This boisterous theme yields to a more lyrical passage sung by the cellos before being taken up by the violins. The development of these themes gives way to a coda that brings the overture to a rousing conclusion.

Becoming Ungathered, Armando Bayolo

“I am one of billions. I am stardust gathered fleetingly into form. I will be ungathered. The stardust will go on to be other things someday and I will be free.” – Laini Taylor

“I like Carl Sagan’s idea that we are all “stardust”. The matter that makes our bodies – and the atoms that make up our bodies – was forged in the maelstrom of the furnaces within the stars. Matter cannot be destroyed, either; simply gets redefined. Recycled, if you will, into other things in the same maelstrom that formed it. In this way we are, each of us, eternal.

In On Becoming Ungathered, our stardust nature is given musical life in two movements connected by a wild cadenza from the soloist. The first movement is structured around four “elemental fanfares”: the first for water, or rain (woodwinds); the second for earth (percussion); third for fire (brass); and the fourth for wind (strings and woodwinds and brass). In between, the clarinet dances and sings playfully, sometimes angrily and dramatically. The universe itself contemplating its existence, perhaps (in another Saganism). As the musical material around it disintegrates, literally, in wind being blown through woodwind and brass instruments, the clarinet’s wildness gives way to mediation and melancholy. The slow movement is built around two ideas: a “nocturne” and an “aria”. These are each made up of material first heard in the first movement, but transformed like matter within a star. The concert concludes in quiet, contemplative apotheosis. On Becoming Ungathered was commissioned by Eric Schultz and Coastal Carolina University. It was composed in the fall of 2024 in Florissant, Missouri and Urbana, Illinois and is dedicated, with gratitude and friendship, to Eric Schultz. – Armando Bayolo 2024

March Slav, P.I. Tchaikovsky

Composed in 1876, is a fiercely dramatic and brilliantly orchestrated work written to support wounded Serbian soldiers during the Serbo-Turkish War. Drawing on Serbian folk melodies and the Russian anthem “God Save the Tsar!,” Tchaikovsky creates a vivid musical journey from oppression to triumph. The piece opens with a somber, hymn-like theme that evokes a nation in distress, gradually building momentum through urgent rhythms and bold brass writing until the Russian anthem emerges, shifting the music toward power and exhilaration. The result is an electrifying march that races toward a blazing finale, showcasing Tchaikovsky’s flair for emotional storytelling and his ability to capture the sweep of history in a few thrilling minutes.

 

Philharmonic Orchestra

Sorochinsky Fair: Gopak, M.P. Mussorgsky

The Hopak is a lively, celebratory Ukrainian folk dance featured in Mussorgsky’s comic opera Sorochinsky Fair, based on a Gogol story.

Down a Country Lane, Aaron Copland

“Down a Country Lane” is a tranquil 1962 piano piece by the American composer, Aaron Copland (Born: November 14, 1900, Brooklyn, New York, NY). The piece is noted for being technically challenging for young players, despite its accessible title. The orchestral version was created and premiered by the London Junior Orchestra in 1965 for an inclusion in a youth orchestra festival. This year is the Copland’s 125th Anniversary and his music is being performed all over the world. 

Russian Dance from the Nutcracker, P.I. Tchaikovsky

Trepak from the Nutcracker is a fast-paced Russian dance which utilizes a driving duple meter (2/4) to capture the high-energy nature of the folk dance. It’s the most performed music during the holiday seasons in December of each year.

Christmas at the Movies, Bob Krogstad

Music from six classic holiday films is included in this impressive concert medley for orchestra, recalling some of the most memorable songs and themes. Included are: Somewhere in My Memory (from “Home Alone”), How the Grinch Stole Christmas; Miracle on 34th Street; The Polar Express; A Christmas Story and The Nightmare Before Christmas.

Virtuosi Orchestra- Winds

Pirates of the Caribbean, Klaus Badelt, Arr. Michael Sweeney

This wonderful medley incorporates multiple recognizable themes from the famous “Pirates of the Caribbean” series of films.

Sinfonia Orchestra

Finale-“Posthorn” from Symphony No. 9, W.A. Mozart, Arr. Sandra Dackow

Immerse yourself in the majestic sounds of “Serenade No. 9 Finale” by W. A. Mozart, expertly arranged by Sandra Dackow. This classical masterpiece captivates with its intricate harmonies and vibrant rhythms, perfect for enhancing any orchestral performance. This Mozart Finale is a brilliant timeless musical treasure. It is a great teaching tool for our Sinfonia young musicians, playing in Classical style and an opportunity to learn a fine string technique.

Jazz Pizzicato, Leroy Anderson

Immerse yourself in the delightful rhythms of “Jazz Pizzicato.” Composed by L. Anderson, this piece offers a lighter, whimsical selection that captures the essence of jazz with playful pizzicato strings. This piece add a touch of light-hearted sophistication to our concert repertoire.

Themes from Piano Concerto No. 2, S.V. Rachmaninoff, Arr. Kirt Land

This arrangement uses the main themes of the second and third movements of Rachmaninoff’s Piano Concerto No. 2. It opens with the haunting Adagio sostenuto. The third movement’s rhapsodic main theme is introduced and developed before returning to the Adagio melody with the Moderato theme merging and dominating until the work closes with the initial theme.

Hungarian Dance No. 5, Johann Brahms, Arr. Merle J. Isaac

Here’s one of the most famous pieces of classical music ever written! Brahms arranged over 20 Hungarian dances, but this one is by far the most familiar to students and audiences. With its dramatic tempo changes and exciting switches from minor to major, this music grabs your attention and holds it from start to finish.

Prelude Orchestra

Winter Lights, Seth Bedford

Winter Lights is inspired by music of the Italian Baroque period. Written with traditional harmonies, colorful chords and simple rhythms the music creates a wistful mood for the winter season. 

Attack of the Walking Basses, Bob Phillips 

Watch out for those walking bass lines! This piece features the bass with jazzy and spooky melodies for the Halloween season. 

A Vivaldi School Year, Arr. Carrie Lane Gruselle 

Among Vivaldi’s many violin concerto this arrangement includes one theme from each concerto in chronology of the school year. We will perform half the piece starting with Autumn until Winter Break … Then we’ll see you in our next concert for Spring!

 

Saxophone Orchestra

String Quartet No. 1 in F major, Op. 18, No. 1 (excerpt),L.V. Beethoven

This excerpt is from the first of six quartets Beethoven composed, commissioned by and dedicated to Joseph Franz von Lobkowitz.

1960s TV Theme Medley, Comp. by various, Arr. Jim Clark

Revisit some of the popular TV shows of the 1960s via their main musical themes. Included in this medley are; Star Trek, I Dream of Jeannie, My Three Sons, Gilligan’s Island and The Flintstones.

A Night In Tunisia, Dizzy Gillespie

Dizzy Gillespie originally titled his 1942 composition “Interlude” and it was first recorded by Sarah Vaughn in 1944. 

Saxophone Ensemble

Coconuts, Grace Kelly, Leo Pelligrino, Arr. Jim Clark

This is a playful, rhythmic piece for Alto and Baritone Saxes.

Killer Joe, Benny Golson, Arr. Jim Clark

This piece is a medium swing jazz instrumental standard with an unusual bridge.

Unfolded, Brian Ente

Unfolded is a found percussion piece, which means using common items found out in the world to play music. This piece unfolded rather naturally as a polyrhythmic exploration which allows each section a chance to shine and I hope you all enjoy.

Flute Orchestra

Finlandia (Be Still, My Soul), Jean Sibelius, Arr. flutetunes.com

This famous hymn (originally written by Jean Sibelius) is considered one of the most important national songs of Finland.

Swan Lake, Op. 20, “Dance of the Little Swans”, P.I. Tchaikovsky, Arr. 8notes.com

“Dance of the Little Swans” is included in the second act of Tchaikovsky’s famous ballet “Swan Lake”, and is famous for its difficulty in requiring dancers to hold hands while performing the choreography.

Sleigh Ride Samba, Leroy Anderson, Arr. Calvin Custer

We hope you enjoy this fun take on the classic holiday tune “Sleigh Ride”- this work is challenging with many important, independent parts for the ensemble’s flutists.

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Read about the pieces on the Spring 2025 Concerts:

PRINCIPAL

Stars and Stripes Forever, John Philip Sousa

Concerto No. 1 in A minor, Op. 33, III. Tempo primo, Camille Saint-Säens- Kazuho Yasuno, Cello

Concerto No. 1 in B minor. Op. 104, I. Allegro, Antonín Dvořák- Kyra Brown, Cello

Symphony No. 6, Op. 74  “Pathétique”, I. Adagio- Allegro Non Troppo, Pyotr Ilyich Tchaikovsky

PHILHARMONIC

Can Can from Orpheus in the Underworld, Jacques Offenbach

The can-can is a high-energy, physically demanding dance that became a popular music-hall dance in the 1840s, continuing in popularity in French musicals to this day. Many composers have written music for the can-can. The most famous is French composer Jacques Offenbach’s Galop Infernal in his operetta Orpheus in the Underworld (1858). In Offenbach’s operetta, The Can-can was a group dance for couples. There are two main themes, one is delicate, light and elegant, obviously for female dancers, and one is heavy and robust for male dancers. 

 

Pavane Op. 50, Gabriel Fauré 

Pavane is a stately 16th-century dance that originated in Italy. Fauré, a French composer, composed his Pavane in 1887. It contains one of the most charming and beloved melodies ever written. Its first theme, taken, in turn, by a flute, then oboe and clarinet, is the main substance of the piece, with a new contrasting theme introduced midway.

Arabian Dance, Mvmt. 2 from Peer Gynt Suite No. 2, Op. 55, Edvard Grieg

Arabian Dance is from the second suite of pieces that Edvard Grieg (Norwegian, 1843-1907) created from incidental music written for Peer Gynt. Grieg uses two piccolos to imitate the ney, a type of flute originating in the Middle East. The melodies are exotic with lots of percussion. 

In the Hall of the Mountain King from Peer Gynt Suite No. 1, Edvard Grieg

Every music listener knows the music from In the Hall of the Mountain King from the first suite named Peer Gynt by Edvard Grieg. The genius of the composer lies in his ability to compose the entire movement based on 8 measures of melody by adding instruments, increasing dynamics and tempo, changing keys, and culminating in an astonishing climax at the end. 

VIRTUOSI

March from Suite No. 2 in F, Gustav Holst, arr. Scott Stanton 

A staple in the wind ensemble lexicon, the March movement from Second Suite in F is a fundamental fixture in any young wind player’s education. Learning to play this style will be at the core of many other styles and genres they will cover as many composers based their arranging and compositions for wind band on the works of Holst. The standard leaves the way it begins, with a jovial uplifting march tune indicative of the early 20th century wind band writing with a small lilting sea shanty tune in the middle! 

Sinfonia No. 12, I. Fuga (Grave) – Allegro, Felix Mendelssohn 

As a young composer (between the ages of 12 and 14 years old!), Felix Mendelssohn wrote thirteen string symphonies that pay tribute to Classical symphonies written by the likes of C.P.E. Bach, Haydn, and Mozart. Written in 1823, Mendelssohn’s Sinfonia No. 12 in G minor opens with a slow introduction, followed by a fast imitative section in two parts. Although probably written as an academic exercise, the first movement is a show of Mendelssohn’s skill and innovation, even at such an early age.

“Pastorale” and “Allegro” from William Tell Overture, Gioachino Rossini, arr. Ken Whitcomb

A well known opera composer, Gioachino Rossini wrote thirty-nine operas in his lifetime, including the titles Zelmira, Il Signor Bruschino, and William Tell. The overture to William Tell is one of Rossini most well-known pieces, with this arrangement opening with the flute solo that reminds many listeners of the sunrise and the allegro eighth-note and two-sixteenth-note motif that reminds listeners of galloping horses.

Highlights from Wicked, Stephen Schwartz, arr. Ted Ricketts

First a book, then musical, and now popular film, Wicked is the origin story of Elphaba, or the Wicked Witch of the West, by Gregory Maguire. The musical loosely adapting the book was first produced in 2003 with music by Stephen Schwartz, and it quickly gained popularity and is still on Broadway today. You’ll hear a few tunes from the musical in this medley for orchestra, including “The Wizard and I,” “Popular,” and “Defying Gravity.” 

SINFONIA

Polka Italienne, Sergei Rachmaninov, arr. Robert Sieving

In 1906 Rachmaninov spent a brief time in Italy after his resignation as conductor of the Moskow Bolshoi Opera. Perhaps the light and carefree nature of this piece served as an antidote to the troubled political scene he left in Russia. Unlike other pieces of solo piano repertoire for which he is renowned, this salon piece brings forth folk-style elements popular across Europe at the time. Often as an encore, Polka Italienne also exists in a four-hand version and has been arranged for a number of solo instruments with piano accompaniment. Its happy nature and playfulness remains an audience’s favorite today. 

Plink, Plank, Plunk!, Leroy Anderson

Pizzicato playing is fascinating to play and to watch, but coming from the skilled pen of Leroy Anderson, it becomes an event! Studentswill  put down their bows in this one! (All sections get to make the “squeak” special effect!) 

The King Of Pop (Off The Wall – Rock With You – Man In The Mirror – I’ll Be There), Arr. Larry Moore

The world continues to pay tribute to Michael Jackson’s legacy and his impact on music, dance, and entertainment. Here’s your chance to perform some of his most memorable songs in a superb showcase for string orchestra. Includes: Thriller; Rock with You; Off the Wall; Man in the Mirror and We Are the Word.

Zampa Overture, Ferdinand Herold, arr. Deborah Baker Monday

The overture from “Zampa,” an opera by Ferdinand Herold, has become a staple of orchestral literature since its first performance in 1831. This arrangement presents four themes from the original and contains lots of drama and even more excitement. The key of G major provides easily accessible third-position work for the first violins and shifting for cello and bass.

Radetzky March, Johann Strauss, arr. Zeng In Son 

“Radetzky March”, Op. 228, is a march composed by Johann Strauss Sr. and dedicated to Field Marshal Joseph Radetzky von Radetz. It was first performed on 31 August 1848 in Vienna to celebrate the victory of the Austrian Empire under Field Marshal Radetzcky over the Italians. Its tone is more celebratory than martial, but it nevertheless became popular among marching regimental soldiers.A perfect setting of this festive piece! Get the audience involved and carry on the great tradition of clapping and stomping along with the music. Just right for the early full orchestra experience.

STRING

Music from “The Incredibles”, Michael Giacchino arranged by John Moss

Deep River, Traditional, arr. Carrie Lane Gruselle

Deep River is a timeless African-American spiritual that can be performed in any setting. This lush arrangement allows students to develop their musicianship with long phrases, rich tone, purity of intonation and vibrato.

Serenade for Strings  I. Prelude II. Fugue, IV. Cakewalk, Norman Leyden

Known for his thousands of film, radio, and symphonic arrangements, prolific composer Norman Leyden published this suite for string orchestra in 1971. The four brief, contrasting movements blend classical/baroque tradition with stylistic harmonies popular to the era.

 

JAZZ 1 

Indiana, James F Hanley & Ballard MacDonald, arr. Dave Barduhn

Time After Time, Cyndi Lauper & Rob Hyman, arr. Paul Murtha

Ornithology, Charlie Parker & Benny Harris, arr. Greg Yasinitsky

Fool Me Once, Gordon Goodwin

JAZZ 2

Shufflin’ in F, Jim Snidero

At First Light, Ellen Rowe

Cut to the Chase, Larry Barton

SAXOPHONE

Excerpt from Mozart’s String Quartet No.17 “The Hunt”, Comp. Wolfgang Amadeus Mozart, Arr. Jim Clark

Mozart’s String Quartet No. 17 in Bb Major “The Hunt” was written in 1784 and was part of a series dedicated to fellow composer Joseph Hayden. Neither Mozart nor his publisher called it “The Hunt”, but because his contemporaries recognized the opening them as a hunting—horn-like call, this became its nickname. 

Often, one of the challenges of adapting a string quartet to saxophones is – breathing! String lines can continue uninterrupted for quite some time whereas wind instruments such as the saxophone need spaces to breathe.

People Make the World Go Round, Music by Thom Bell, Lyrics by Linda Creed, Arr. Jim Clark

“People Make The World Go Round” was released on The Stylistics debut album in 1971. The lyrics address social issues – “Trash men didn’t get my trash today” , “Buses on strike want to raise the fare” and “Wall Street losing dough on every share”, without judgment, showing how these actions contribute to “making the world go round”. It is both thoughtful and haunting.

Cotton Tail/Sax Alley, Comp. Duke Ellington, John Bambridge Arr. Jim Clark  

In “Cotton Tail,” Ellington uses the song form of “I Got Rhythm” before introducing a four-bar diminished theme leading to Ben Webster’s iconic tenor sax solo. This arrangement splits Webster’s solo between different saxophones, transitioning into “Sax Alley” and then back to Cotton Tail. Sax Alley was performed on The Tonight Show with Johnny Carson in 1984. It featured tenor saxophonists Pete Christlieb and Ernie Watts and is an excellent feature for our senior tenor saxophonists Christian Seoane and Daniel Planas.

STEEL PAN ALL STARS

Swan Lake, Op. 20, Act II, P.I. Tchaikovksy, arr. Fragiskatos

September, Maurice White, arr. Aaron Ziegler

STEEL PAN JUNIORS

Under the Boardwalk, Arr. Brian Ente

Domingo Especial, Dylan Repasky

STEEL PAN FUTURE

Camp Reggae, Jim Royle

Island Boy, Mark Beknell

PERCUSSION

Danielle’s Cha Cha Cha, Lalo Davila

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Read about the pieces on the Winter 2025 Concerts:

 

PRINCIPAL

Fugue in G minor “The Little” BWV 578, J.S. Bach arr. Daniel J. Leavitt

 

Orawa”, Wojciech Kilar

Kilar is a Polish Composer best known for his film score to Bram Stoker’s Dracula. “Orawa” for string orchestra was completed in 1986. It’s title refers to the Carpathian Region of Poland near the Slovakia border.

Finlandia, Jean Sibelius

Written in 1899, Finlandia is a tone poem composed in response to increasing censorship against the Finnish people by the Russian Empire. It has become one of the most popular nationalistic pieces and serves as an unoffical anthem of Finland.

 

PHILHARMONIC

 

Egmont Overture, Op. 84, Ludwig van Beethoven

In 1810, Ludwig van Beethoven (1770-1827) was commissioned by the Burgtheater, in Vienna, to write incidental music to J.W. Goethe’s play, Egmont (1788). Beethoven was uncharacteristically elated to compose this work, as Goethe was his favorite poet and writer. The story of the play takes place during the Eighty Years War and follows the Dutch warrior, Egmont and his defiant battle against Spanish invaders, lead by the Duke of Alba. The play and the music, were also a political statement, as Vienna at the time was under foreign occupation. The strong chords in the beginning represent the hero, which are then followed by a slow sarabande (Spanish dance), a nod to the Spanish occupation. As the sarabande continues it emerges, “to an Allegro that itself gathers steadily, like the impetus of revolt” (Swafford). As the themes fight each other through the Allegro, the battle ends with the death of Egmont. After a brief silence, the measures of mourning spark the turn of the tide and the joyous ending, which Goethe dubbed the, “Victory Symphony.”

 

VIRTUOSI WOODWINDS AND BRASS

The Incredibles (From Walt Disney Pictures’ THE INCREDIBLES – A Pixar Film), Michael Giacchino, arr. Paul Murtha

This arrangement is sure to dazzle and energize your Sunday! The wind and brass members of Virtuosi are so excited to team up for this jazz-inspired, adventurous tune.

Selections from Black Panther, Ludwig Göransson, arr. By Johnnie Vinson

As a comic book legend, Black Panther has been at the forefront of Marvel and superhero entertainment for decades. The most recent cinematic adaption of this iconic character was fortunately paired with a highly captivating and moving score. Johnnie Vinson has conceptualized this score into a wonderful journey of highlights built to take you into the futuristic and spiritual land of Wakanda.

“Cumbia y Congo” from Danzas de Panama, William Grant Still

Written in 1948, Danzas de Panama is a piece for strings based on Panamanian folk tunes. “Music for the native dances of Panama has been notated so infrequently that it is still unknown to people outside of the country itself. It was Narciso Garay who first called the attention of Elisabeth Waldo to it and she, in turn, interested the American composer, William Grant Still, in developing it for concert use…Mr. Still has further departed from traditional practices by making an attempt to approximate the sounds of native instruments, giving the music an unusually interestinf quality.”

 

VIRTUOSI FULL ORCHESTRA

“Habanera” from Carmen, Georges Bizet, arr. Richard Meyer

Georges Bizet’s Carmen is one of the most popular and frequently performed operas ever written. The Habanera from Act 1 is among the best known of all operatic arias. Its infectious melody and colorful Spanish atmosphere have delighted audiences around the world. Sung by the heroine, Carmen, an employee in a tobacco factory, it is a provocative reflection on the untamable nature of love.

La Belle Hélène Overture, Jacques Offenbach, arr. Douglas Stroud 

La Belle Hélène is a comedic opera that parodies the story of Helen of Troy’s elopement with Paris, which set off the Trojan War according to Homer’s Illiad. One of the top French operetta composers of his time, Offenbach premiered the work in Paris on December 17th, 1864. Fast paced and excitable, this arrangement covers main themes of the opera and showcase Offenbach’s ability to write singable melodies and develop motives.

 

SINFONIA

February: Carnival (from Four Seasons), Piotr Ilych Tchaikovsky, arr. Steven Brook

A festive and joyous romp with the master! Calling for bravura as well as lyrical playing, this arrangement is sure to please both audience and performer alike. The interplay between the instruments provides moments for each section to shine and will help take ensemble skills to the next level. Tchaikovsky’s rich musical vocabulary offers an excellent opportunity to develop chromatic fingering skills and enhance note-reading abilities. A challenging yet quite attainable piece.

The Barber Of Seville (Overture), Gioachino Rossini, arr. James “Red” McLeod

Rossini’s “Barber Of Seville” is one of the most famous and beloved operas of all time. One of the most recognizable overtures ever written! Rossini’s 1816 comic opera is known for its cheery melodies, simple plot, and humorous characters – all captured in this spirited arrangement for string orchestra. The delightful theme frequently used in cartoons, film, and commercials is sure to bring a smile to players and audiences alike!

Adagio (From Symphony No. 2, Op. 27), Sergei Rachmaninoff, arr. Robert Longfield

The Adagio movement of Rachmaninoff’s second symphony is considered by many to be one of most beautiful melodies ever written. A continuing favorite in today’s concert halls (as well as film and TV), it remains one of the most enduring themes of the 20th-century symphonic repertoire.

Danny Rocks ( A Celtic Explosion), Traditional, arr. Bob Phillips

A trio of terrific tunes! An air, a jig, and a reel done in a Celtic rock style! The plaintive sounds of Danny Boy, also known as Londonderry Air starts things off. Next, the Swallowtail jig begins with an intense rhythmic pattern where 6/8 clashes with 3/4 and what sounds like a Bodhran (Irish hand drum) is actually half the cello section using their instruments for rhythm! Following that rollicking jig is a very suspenseful 20-bar transition leading to the very popular reel, Drowsy Maggie. The energy level rises throughout and the rock beat intensifies making this a very fun piece!

 

STRING

Allegro in D for Strings from Concerto for Two Trumpets, Antonio Vivaldi, arr. Steven Frackenpohl

Allegro in D is an orchestration for string orchestra from Vivaldi’s Concerto in D for Two Trumpets. Thouroughout the movement the melody is antiphonally passed between the first and second violin sections while the viola, cello and bass sections provide bouncing rhythmic eighth and quarter note patterns.

Mythos, Soon Hee Newbold

Written for the Ohio Music Educator’s Association District 13 Honors Orchestra, Mythos is composed in three sections – Once Upon a Time; Fantasy and Final Victory are performed without pause. With unique harmonies and driving melodies, the music tells the story and takes the listeners on a musical journey that is limited only by imagination.

Fantasia for Strings, Elliot A. Del Borgo

Elliot del Boro was born in Port Chester, NY served as the Department Chair of Music Theory, History and Composition at the Crane School of Music in Potsdam, NY. A well know composer, he wrote the music for the closing ceremony of the 1980 Winter Olympics in Lake Placid, NY. Fantasia for Strings is a vigorous piece. Listen for the hushed muted sounds of the violins and violas in the contrasting middle section before the rousing finale.

 

SAXOPHONE

Nola, Felix Arndt, arr. Jim Clark, Kenneth Abeling

Nola was composed by Felix Arndt in 1915 for his wife as an engagement gift. It is an early example of the style known as “novelty ragtime”.

“Morning Mood” from Peer Gynt, Op. 23, Edvard Grieg, arr. Jim Clark

Written in 1875 as incidental music to Henrik Ibsen’s play “Peer Gynt”, but many of us recognize the theme from cartoons such as The Bugs Bunny Show, The Simpsons, or Family Guy.

The Lazy Song, Bruno Mars, arr. Jim Clark

From Bruno Mars’ debut album “Doo-Wops & Hooligans” (2010), The Lazy Song is a catchy anthem to laziness, in a reggae-pop style.

 

JAZZ I

Recorda Me, Joe Henderson, arr. Kris Berg

The band opens the set with an exciting arrangement by Kris Berg of this up-tempo version of this Joe Henderson tune, “Recorda Me (Remember Me).

St. Louis Blues, W.C. Handy, arr. John Denton

W. C. Handy’s composition, “St. Louis Blues,” defined the form of the 12-bar blues. This arrangement by John Denton really swings.

Here’s To Life

We hope you enjoy this lovely ballad that features our vocalist, Victoria.

My Foolish Heart, Ned Washington and Victor, arr. Dave Rivello

Our lead alto Sumanu Pinjala sizzles on this gorgeous ballad, “My Foolish Heart.”

Povo, Freddie Hubbard, arr. Eric Morales

We end the set with this modal tune by Freddie Hubbard. Thanks for listening.

 

JAZZ II

Choose The Blues, Matt Morey

After our first concert, the Jazz II Orchestra added 7 new members! We are a bona fide big band now! Mr. Brookes chose two easy jazz ensemble charts for this group to prepare for today’s concert. This first piece is an excellent blues chart, with great lines for all the horns and a grooving rhythm section.

Ulterior Motive, Doug Beach

Ulterior Motive is similarly catchy, and gives students the opportunity to open up solos in C dorian. In Jazz II we continue to work on reading skills, jazz style, and improvisation.

 

PERCUSSION

The British Grenadiers

This arrangement has the performers playing rudimental percussion on bass drum, timpani, snare drum, and tenor drum in a modern arrangement of the parts for the traditional piece The British Grenadiers in contrast to the style of drumming they would normally be using in an orchestral setting.

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Read about the Jack Lawrence Fall 2024 Concert:

 

PRINCIPAL

Symphony No. 9 in e minor “From the New World” Op. 95, Antonin Dvorak

 

Dvorak traveled to the US in 1892, soon after the Statue of Liberty was erected in New York Harbor in 1886. Dvorak must have seen the Statue upon arrival in the harbor and his music may have been influenced by it. From Britannica, “Written while Dvořák was living and working in New York City, the symphony purportedly incorporated the composer’s reflections on his American setting.”

 

PHILHARMONIC

Symphony in B minor No. 8, The Unfinished Symphony”, Movement 1, Franz Schubert

Schubert’s Symphony No. 8 in B minor, commonly known as the Unfinished Symphony, is one of classical music’s great enigmas. Composed in 1822, it contains only two completed movements: a brooding Allegro moderato and a lyrical Andante con moto. Despite its incomplete status, the symphony is celebrated for its profound beauty, emotional depth, and innovative orchestration, marking a significant step in Schubert’s symphonic writing. The first movement of Schubert’s Unfinished Symphony draws listeners into a world of mystery and emotion. It opens quietly with a shadowy theme in the low strings that feels almost like a whisper, creating an air of suspense. Soon, the theme moves through the orchestra, picking up depth and intensity. In contrast, a gentler melody emerges, led by the cellos and oboes, offering a touch of warmth and nostalgia.

Valse Triste op. 44, Jean Sibelius

Sibelius’s Valse Triste (Sad Waltz) is a haunting, delicate piece that seems to sway between dream and reality. Originally composed in 1903 as part of the incidental music for his brother-in-law’s play Kuolema (Death), it quickly became popular as a standalone work for its striking, bittersweet beauty.

The waltz begins softly, almost like a whisper, with a melancholy theme that drifts through the strings. As it builds, the music becomes more intense and spirited, as if moving between moments of hope and sorrow. The tempo ebbs and flows, creating a feeling of longing and nostalgia, and ultimately fades back into silence, leaving an emotional impression long after it ends.

With its haunting melody and subtle shifts in mood, Valse triste captures a sense of fleeting beauty and fragility, making it one of Sibelius’s most evocative and beloved short works.

Slavonic Dance op 46 No. 8, Antonín Dvořák

Dvořák’s Slavonic Dance in G minor, Op. 46, No. 8 is a spirited and lively piece, filled with the energy of Czech folk traditions. Inspired by the furiant, a fast Bohemian dance, the music alternates between fiery rhythms and graceful, lyrical sections. The opening theme bursts with excitement, while the middle section introduces a more flowing melody, adding contrast and charm. As it returns to its lively pace, the dance builds to a thrilling conclusion, showcasing Dvořák’s talent for blending folk-inspired melodies with classical style. It’s a joyful, exuberant piece that’s impossible not to enjoy!

 

VIRTUOSI WINDS

Danny Boy, Traditional Irish, arr. Warren Barker

The lyrics to “Danny Boy” by Frederic Weathery were set to the tune of “Londonderry Air” in 1913 after initially being set to a different, lesser known tune. Ever since then,”Danny Boy” has been recognizable as a prominent Irish song and has been performed around the world.

 

VIRTUOSI BRASS

Amparito Roca, Jaime Texidor arr. James Curnow

A staple in the wind band repertoire, Amparito Roca is a march written by Spanish composer Jaime Teixidor in 1925. He was inspired by one of his young piano students and named the piece after them. It is known as a pasodoble or “double step” march used for Spanish military purposes. As marches have always been at the core of wind band pedagogy, I thought it would be a broadening experience for the students to hear how marches from different cultures can sound in contrast to the likes of a Sousa march style that they have become accustomed to in their respective public school ensembles.

 

VIRTUOSI STRINGS

Elementa, Soon Hee Newbold

Commissioned by the Russell Independent Schools Orchestra, Elementa is inspired by the city of Russell in Kentucky and the four elements: Air, Earth, Fire, and Water. The first movement symbolizes the element of air along with a train ride through the landscape of Russell. Pizzicato and harmonics represent the train whistle and “popping” sound of coal burning. The listener can hop on the train and see the city pass by and also soar overhead seeing the train from a bird’s eye view. The second movement resembles an Appalachian lullaby and represents the element of Earth. On one side, you have the flowing Ohio River in all of its glory and on the other, the dense forests of Appalachia. Many students forego the mall or movies just to sit next to the river and take in its beauty. The third movement captures the elements of fire and water meeting to create steam, and the kinetic energy of a small town that is still thriving. -Soon Hee Newbold

 

VIRTUOSI FULL ORCHESTRA

Hornpipe (from Water Music), George Frideric Handel, arr. Richard Meyer

In the early 1700s, London high society delighted in evening pleasure trips on the Rover Thames. These leisurely trips were often accompanied by a floating orchestra—a whole barge-load of musicians playing “water serenades. Handel composed at least two (probably three or more) suites of “water music” for such festive occasions. This vigorous tune is one of his most famous! -Richard Meyer

“All or Nothing at All”, Jack Lawrence and Arthur Altman, arr. Britney Alcine

Written in 1939, “All or Nothing at All” is a song with music composed by Arthur Altman and lyrics written by Jack Lawrence. The song was recorded by Frank Sinatra in that same year, topping the Billboard Charts for 21 weeks in 1943. The song became a jazz standard, recorded by artists such as Ella Fitzgerald, Sarah Vaughan, Billie Holiday, and Freddie Hubbard.

Symphony No. 1, fourth movement, Johannes Brahms, arr. Vernon F. Leidig

The First Symphony occupied Brahms for fourteen years, with the completion of the work in September 1876 when Brahms was forty-three years old! Today, this symphony’s broad lines and magnificent lyrical passages have made it one of the world’s most popular symphonies. The much-discussed last movement begins with a tensely dramatic introduction followed by a melodic call for the French horn. The strings then play a singing-like melody that is later repeated in the woodwinds, clearly referencing the final movement of Beethoven’s Ninth Symphony. The movement ends with a lively and triumphant statement from the orchestra.

 

SINFONIA

Concerto Alla Rustica, Antonio Vivaldi arr. by Sandra Dackow

The Italian composer Antonio Vivaldi has composed an enormous number of pieces in all the genres for woodwinds and all the string instruments, particularly the violin. One of the most known works is “Four Seasons”, Four Concertos for violin and Orchestra. “Sinfonia Alla Rustica” is another Vivaldi’s famous concerto for strings. It’s a concerto that our orchestra will love to play! From the opening 9/8 “Presto” to the “Adagio” inner movement to the brisk conclusion, this one is great string writing and one of the hits of the Baroque era!

Fantasy On A Japanese Folk Song, Bryan Balmages

The haunting Sakura melody moves through stunning and beautiful transformations in this musical fantasy before finally coming to rest. Tonal centers switch between minor and major as traditional melodies intertwine with thoughtful countermelodies and contemporary harmonies. Simply gorgeous piece that help our young musicians to grow in their musicianship, and in the ensemble skills!

Symphony No. 8, Antonin Dvorak arr. by Todd Parrish

The Czech Composer Antonin Dvořák composed and orchestrated the symphony within the two-and-a-half-month period from 26 August to 8 November 1889 at his summer resort in Bohemia. The score was composed on the occasion of his admission to Prague Academy and dedicated “To the Bohemian Academy of Emperor Franz Joseph for the Encouragement of Arts and Literature, in thanks for my election.” Dvořák conducted the premiere in Prague on 2 February 1890.

The fourth movement, known for its soaring melodies and energetic finish, is the perfect choice for our performance. Our young musicians will experience the powerful beauty of this orchestral work in this string arrangement. While studying this masterpiece, our players worked to develop shifting skills, bow technique and expression.

A Halloween Thriller, J. S. Bach. M. Mussorgsky Rod Temperton arr. by Ralph Ford

This medley features two great spooky classical themes and a modern classic: Toccata and Fugue in D Minor by J.S. Bach; A Night on Bald Mountain by Modest Mussorgsky and Michael Jackson’s Thriller.

 

STRING

John Ryan’s Polka, Traditional Irish, arranged by Caryn Wiegand Neidhold

While John Ryan’s Polka has achieved fame from its appearance in the movie Titanic, the history of this engaging melody is missing from general knowledge. Some think it is an English version of a polka written by Irishman Sean Ryan, but it has other monikers, including “The Armagh.” Irish session players know this polka as a “dum dum” polka because the guitar typically plays two quick D Major chords on the first two beats of the song. Despite its past, John Ryan’s Polka is now part of the popular culture with over sixty recordings and is well-loved by millions.

Ó Abre Alas (Brazilian Carnival March), Chiquinha Gonzaga, arranged by Deborah Baker Monday

(Francisca) Chiquinha Gonzaga (Brazil, 1847-1935) left her mark in Brazilian culture as a respected composer, conductor, and pianist. She was the first female conductor in Brazil, and as a composer, whe wrote over 200 compositions. Her compositional approach combined European classical music styles with African rhythms. She was attracted to a special genre of music called “choro,” with its origins going back to the late 1800s in Rio de Janeiro, and that remained an influence in her concert programming and her writing. Choro is characterized as virtuosic, vibrant, and cheerful, with catchy rhythms…… ……….. Ó Abre Alas (Open Wings) was inspired by marching rhythms of paraders during a Brazilian carnival and Gonzaga originally created it as a carnival march for voices and keyboard. Composed in 1899, it became her most popular work and remains deeply incorporated into Brazilian culture.

 

SAXOPHONE

Colonel Bogey March, Comp. Lt. F.J.Rickets AKA Kenneth J. Alford arr. Kenneth Ableing

Colonel Bogey March is a British March. Americans are most familiar with it for being in the movie “The Bridge Over the River Kwai”. As early as the 19th century, golfers adopted the name “Colonel Bogey” as an imaginary opponent, and “bogey” is now a golfing term for “one over par”.

Tico-Tico no Fubá, Comp. Zequinha de Abreu arr. Kenneth Ableing/Jim Clark

Tico-Tico no Fubá is a Brazilian song written in 1917. Notable performances are by Carmen Miranda in the 1947 Groucho Marx film Copacabana, and the Andrews Sisters’ 1943 recording with English-language lyrics by Ervin Drake.

What The World Needs Now, Comp. Burt Bacharach arr. Jim Clark

This popular song with music by Burt Bacharach and lyrics by Hal David, was originally offered to Dionne Warwick, who turned it down. Jackie DeShannon, however agreed to record it and in 1965 “What The World Needs Now” was released and became a hit. Later, Warwick changed her mind and covered the song (as did many others). An uplifting anthem, “What The World Needs Now” has been performed in more than 220 films and TV shows.

 

JAZZ I

Sticks, by Nat Adderly

This fast boogaloo was a big crossover hit in the early ‘sixties.

Red Clay, by Freddie Hubbard

Trumpeter Freddie Hubbard wrote and played this driving modal tune.

Don’t Know Why, by Norah Jones and Jesse Harris

Norah Jones won a Grammy award for her rendition of this self-written hit.

Perdido, by Juan Tizol and Duke Ellington

Written by Juan Tizol and made famous by the Duke Ellington Orchestra, Perdido was an early Latin sensation.

Strike Up The Band, by George and Ira Gershwin

Who doesn’t tap a foot or snap fingers at the sound of this classic song by the Brothers Gershwin.

 

JAZZ II

Rock On, Jim Snidero, Arranged by Jazz 2

While this ensemble usually plays “Big Band” music, we have shifted gears for this season and are learning to work as a large “Jazz Combo.” As a jazz educator I have new challenges and also new freedoms to bring this type of group to the stage. In Rock On, we have a fun chart written by Jim Snidero, where we all learn to solo in an extended blues form.

Equinox, John Coltrane, Arr. by Jazz 2

Equinox is a minor blues, another great opportunity for learning to improvise. The entire band learned how to walk a bass line during rehearsals, how to select the right notes to harmonically support the chord progression and maintain a steady groove. Our rendition of Equinox also features a student-composed soli section following the improvised solos.

Basie’s Blues, Jim Snidero, Arranged by Jazz 2

Through Basie’s Blues we made sure everyone was comfortable soloing on a B-flat blues. We hope you enjoy the Jazz 2 set!

 

STEEL PAN FUTURE

We Go Together, Warren Casey and Jim Jacobs arr. John Willmarth

We Go Together, which is a classic from the movie Grease adapted for steel band playing in a Calypso style was challenging with all the syncopation, and we rose to the occasion. Hope you enjoy!

 

STEEL PAN JUNIOR

Maracas Bay, John Willmarth

My good friend and composer John Wilmarth wrote Maracas Bay with the intent to play in the style of Soca from Trinidad. The ensemble had so much fun putting together this exciting piece. 

 

STEEL PAN ALL STARS

Silver Steel Sauce, John Mobilio

Silver Steel Sauce written by the bass player from Silver Steel John Mobilio. It was written to challenge the level of each section separately and also then bridge all of the different sections of the ensemble together. You will enjoy the driving Latin stylings of this piece

 

PERCUSSION

 

Fanfare For Tambourines, John Alfieri

While most people are familiar with only the tambourine tap, and shake techniques, this piece was written to utilize the many sound possibilities of the tambourine. It features both the audible and visual qualities of the instrument in the composition.

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Read about the pieces on the Spring 2024 Concerts. 

PHILHARMONIC

Cantilever, Gidong Kim

Cantilever is an architectural terminology that refers to a long projecting beam or girder fixed at only one end, used in bridge construction. Every building is resistant to gravity. Among them, cantilevers show the will of resistance in the most elegant and resolute way. The appearance of the structure, which is supported by a foot on the ground but still trying to stay afloat, inspired me to think that it is like an individual’s life. Life, too, is a continuous collection of struggles to keep from collapsing. But in the meantime, we constantly strive to fly towards our goal. Perhaps that is why the cantilever looks like the wings of a building.

Once Upon a Spring, Konstantin Soukhovetski

Once Upon a Spring (2023) is Konstantin Soukhovetski’s first symphonic poem. It is conceived to represent the literal and metaphorical Spring—a moment of awakening and youthful vigor, where emotions run high, and many are experienced for the first time. The emotional ‘chiaroscuro’ is accentuated by predominantly major/minor modality and sudden shifts of tone and color. Constructed in A-B-A form, the opening theme bursts like fresh air, full of hope and energy. Juxtaposed with a darker, more melancholic B-section, the A returns in a minor mode, in the inversion. Has something happened to our protagonist, or is it just a cloud temporarily obscuring the light? It is in the ears of the beholder.

Ouvertüre C-moll, Op. 62 “Coriolan”, Ludwig van Beethoven

The Coriolan Overture (Ouvertüre zu Coriolan), Op. 62, is a composition written by Ludwig van Beethoven in 1807 for Heinrich Joseph von Collin’s 1804 tragedy Coriolan. The structure and themes of the overture follow the play very generally. The main C minor theme represents Coriolanus’ resolve and war-like tendencies, while the more tender E-flat major theme represents the pleadings of his mother to desist. Coriolanus eventually gives in to tenderness, but since he cannot turn back having led an army of his former enemies to Rome’s gates, he kills himself.

VIRTUOSI

Academic Festival Overture, Op. 80, Johannes Brahms

Brahms composed his Academic Festival Overture in 1880 on the occasion of receiving an honorary doctorate in music from the then University of Breslau. The piece was first performed in 1881. Brahms described the work as a “rollicking potpourri of student songs,” featuring four songs that were well known to German college students.

Suite from Hamilton, Lin-Manuel Miranda

Hamilton is a musical about the life of American Founding Father Alexander Hamilton. In 2016, it was nominated for a record-setting 16 Tony Awards, winning 11 (including Best Musical), and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. Experience the beauty and excitement of this amazing musical! This suite features themes from “You’ll Be Back”, “Helpless”, “My Shot”, “Dear Theodosia”, “It’s Quiet Uptown”, and “One Last Time”.

Millenium, Richard Meyer

Winner of the 1998 N.S.O.A. composition contest, this contemporary-sounding overture is extremely powerful and full of emotion from beginning to end. After a foreboding introduction, the heroic main theme is introduced by the brass section in unison, accompanied by the entire orchestra in a percussive, marcato style. A lyrical subordinate theme of extreme beauty follows, first stated by unison cellos, then picked up by the entire orchestra. The third and final section is a wild and energetic march, pitting brass against woodwinds and strings, leading into a final, majestic restatement of the main theme. Richard Meyer’s colorful and imaginative scoring features every section of the symphony orchestra, resulting in a wonderfully mature-sounding, yet playable, “tour de force” for the student orchestra.

 

SINFONIA

Italian Symphony No. 4, Mvt. 1, Felix Mendelssohn

The bright, sunny disposition of Italy is evident in this arrangement of the first movement of Mendelssohn’s “Symphony No. 4,” “The Italian Symphony.” Mendelssohn was a master of writing for string orchestra and this arrangement presents the major themes of the first movement in an edited version sure to keep the interest of your intermediate or advanced high school orchestra. This is a worthwhile challenge.

Perseus, Soon Hee Newbold

In this piece we will take a journey with the legendary hero Perseus as he slays the snake-haired Medusa and rescues the princess Andromeda! From the opening rhythmic figures to the soaring melodies, this dynamic and stunning work brings us into a whirlwind of adventure.

March of the Resistance (From “Star Wars”: The Force Awakens), John Williams

From the blockbuster film “Star Wars: The Force Awakens,” this distinctive march theme gives, a terrific concert work that features skilled contrapuntal and fugal-style writing. A challenging yet fun experience that mixes Baroque and 21st-century styles with the power and drama of Star Wars.

Radetzky March, Johann Strauss (Vater)

This arrangement of this famous march retains all the charm of the original. A European style buoyant and stylish march that’s one of the most popular works from the classical world.

 

STRING

Overture to “Lucio Silla”, W.A. Mozart

Mozart composed the full-length serious Italian opera Lucio Silla when he was only sixteen. It is remarkable not only that such a young man was composing operas, but also that money was forthcoming from individuals and groups to have them produced. The opera depicts the story of Lucius Cornelius Sulla, a soldier and dictator of ancient Rome. The overture is actually a miniature symphony in three movements, only the first of which serves as the basis for this arrangement. The mood of this first movement is bright and cheerful, and, as was the custom of the period, does not in any way relate to the serious nature of the drama which follows.

MacPherson’s Lament (A Scottish Air), arr. Dean Marshall & Bob Phillips

Here’s a delightful Scottish air arranged by Dean Marshall, the music director of the world famous fiddle group “Barrage,” and by Bob Phillips. Legend has it that MacPherson went to his death playing this hauntingly beautiful tune on his fiddle. Beginning with the cellos and basses, the melody is passed around throughout the orchestra while continuing with a variety of accompaniment figures that build in intensity.

Music from Pirates of the Caribbean, Klaus Bedelt

This medley from the hit movies includes The Medallion Calls, Blood Ritual and The Black Pearl.

 

WIND ORCHESTRA

Into the Clouds! Richard L. Saucedo

We are opening our program with an exciting fanfare that features each section of the group. “Into the Clouds” is the first work this year that uses individual parts for each instrument- celebrating wonderful playing ability across all of the sections in the ensemble.

Themes from The Planets, Gustav Holst

A timeless fixture in the classical music repertoire, The Planets feature many iconic themes that describe some of the world’s greatest wonders. This arrangement of the masterwork gives young artists an opportunity to bring to life some of music’s greatest melodic material at an accessible level while paying appropriate respects to the original classic!

 

SAXOPHONE

Struttin’ With Some Barbecue, Lil Hardin Armstrong, arr. Jim Clark

This tango was written in 1935 by Alfredo Le Pera & Carlos Gardel. The phrase “Por Una Cabeza” translates to “by a head,” a horse-racing term which means winning by a narrow margin.

Havana, Carmen Cabello, arr. Jim Clark

The working title for this Beatles hit, written by Paul McCartney in 1965, was “Scrambled Eggs” – until Paul worked out the lyrics for the tune! The original arrangement is very spare – just Paul’s vocal, acoustic guitar, and a string quartet arranged by George Martin.

Sweet Georgia Brown, Ben Bernie & Maceo Pinkard, arr. Jim Clark & Abeling

Sweet Georgia Brown has been recorded by many notable artists such as Cab Calloway, Django Reinhardt, Oscar Peterson and many more. It is most familiar to audiences as the theme song of the Harlem Globetrotters basketball team.

JAZZ I

Pick Up the Pieces, Ball, Duncan, Gorrie, Stuart, McIntosh & McIntyre

This 1974 hit by the Average White Band may not seem like jazz, but the groove is deep and hard. Hope you enjoy it!!

In a Sentimental Mood, Duke Ellington

Duke Ellington remains the highest of musical royalty, and this beautiful ballad is testament to his style, grace, and passion.

A Night in Tunisia, Dizzy Gillespie & Frank Paparelli

As musicians and composers searched for new sounds and unique harmonic structures, hoping to keep their music fresh, the music of Africa was a natural source of inspritation.

All of Me, Seymour Simons & Gerald Marks

A swinging Basie-like arrangement of this classic, featuring our vocalist.

Big Swing Face, William O. Potts

A major hit for the Buddy Rich band.

 

JAZZ II

Backburner, Carl Strommen

This is a great blues shuffle with a lot of attitude! It has been fun developing the swing style within this band – and this piece shows off their technique. It is also a great opportunity to work on soloing over a blues form in the key of F.

Angel Eyes, Earl Brent & Matt Dennis

This is a gorgeous ballad that features Ricky on alto saxophone. It is nice to give GCTYO students the opportunity to perform a ballad because they have the tone quality and the control to make the harmonies really come alive!

Grooved Pavement, Victor Lopez

Our final piece is a funky straight-eighth groove song that is just really fun to play! This will feature soloists testing out their B-flat blues riffs in a straight groove as opposed to swinging. Enjoy!

 

PERCUSSION

Flat Baroque, Thomas L. Davis

Flat Baroque is a mallet feature by Thomas L. Davis which uses a baroque melodic style applied to swing. This combination of new and old creates a playful melody and also gives space feature each section of the ensemble.

STEEL PAN FUTURE STARS

Groovy Steel Pan, Jim Royle

Groovy Steel Pan was a piece I was inspired to write during my surgical recovery back in February. My goal was to have a Rock-Funky feel as we move around the steel pan.

We’ve Got the Beat, The Go-Gos

We Got the Beat by the Go-Gos was a smash hit at all 80’s dance parties and is just fun to perform!

STEEL PAN JUNIOR STARS

Get It While It’s Hot, Brad Shores

Get It While It’s Hot is a fun Trinidadian-inspired calypso that has the steel band working on stacked harmonies in unison and shifting the melody between the lead pans, double seconds and the guitars.

Clocks, Coldplay

Clocks by Coldplay, which is known for their anthem rock writing, has us stretch out on the pans in the key of Ab Major that sounds wonderful!

STEEL PAN ALL STARS

Cantina Band, John Williams

Cantina Band, composed by the incomparable John Williams for the first Stars Wars movie, has a 1920’s Rag time feel. Conor Glynn is also performing on violin.

I Get By With a Little Help From My Friends, The Beatles

With a Little Help from My Friends sounds wonderful on steel pan with a swinging triplet Jazz feel.

De Do Do Do, The Police

De Do Do Do by the Police became famous in the 80’s for their blending of Reggae and Ska with Rock stylings.

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