Works with Soloists
Compositions suitable for advanced high school ensembles and talented soloists.
Works with
Soloists
My earliest ventures into composition were intended to fill an area of repertoire that I feel is significantly under appreciated: works for high school ensembles that can feature high school soloists. I call them "junior concertos". Very often, there's a stand-out student in the senior band who is capable of stepping into the spotlight, and the ensemble (and conductor!) learn valuable skills in being an accompanist.
I haven't done a "junior concerto" in a number of years, but these three pieces are among my favourites, and so I share them with you. You don't need a spectacular professional guest artist to pull these off.
Bone Dance
For solo trombone and wind ensemble.
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Dramatic, rhythmic drive in a steady 3+3+2 pattern, enhanced by a grooving percussion section.​
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Bone Dance opens with a type of recitative for the soloist, along with declamatory chords from the ensemble, and then it takes off! Written to challenge a senior trombone player in range and technique, the piece covers the highs and lows and slides between them.
After the opening theme is stated, a lengthy development section unpacks many of the harmonic and melodic motifs, and gives the percussion section moments to shine.
This piece was also written to make use of the "hanging metal bowls" that had been constructed for use in John Mackey's "Foundry".
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The recording comes from the Spring Concert performance at Middlefield Collegiate Institute, no second takes!
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Eternal Flame
For solo soprano and wind ensemble.
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​Based on a poem written by Mary-Lynne Ashby-Cornell, a friend of mine who faced a terminal illness while still in her 30s. Her meditation on mortality, on what we leave behind for others, and on our purpose during our short life was summed up her poem, "An Eternal Flame". It touched many as it was read during her funeral.
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This is an early composition attempt of mine, but the emotional content still means something to me today. What it lacks in conciseness it makes up for the journey of emotion from grief to despair to acceptance -- at least it does, for me.
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Every effort was made to balance the soloist against a live ensemble, but it may be necessary to amplify the singer.
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Janus Waltz
For solo trumpet and wind ensemble.
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Janus is the Roman two-faced god, who looks both forwards and backwards, and can therefore see into the past and the future simultaneously. He is a representation of opposites.
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In this quirky waltz, the nature of "opposites" is set out in the choice of key: the "A" section is in g minor, the "B" section is in D-flat major -- so not only is the major/minor opposition apparent, but the two pitches are directly opposite to one another too.
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In its current form, the piece is still orchestrated for its premiere ensemble. There are no double reeds, baritone, or tuba parts. If this piece interests you, let me know what you need for your ensemble and it can be revised within a couple of months.
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The recording comes from the premiere performance at Middlefield Collegiate Institute -- with every little flaw still in place!
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