Ruth and Boaz: for wind band
  • Ruth and Boaz: for wind band

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$75.00

Grade 3.5

Instrumentation

Flute (Piccolo) Oboe 1st Clarinet in Bb 2nd Clarinet in Bb 3rd Clarinet in Bb Bb Bass Clarinet Bassoon

1st Eb Alto Saxophone 2nd Eb Alto Saxophone Bb Tenor Saxophone Eb Baritone Saxophone

1stTrumpets in Bb 2nd Trumpets in Bb 3rd Trumpets in Bb

1 & 3 Horn in F 2 & 4 Horn in F

1st Trombone 2nd Trombone 3rd Trombone Euphonium Tuba Doublebass

Timpani

Percussion 1 Snare & Xylophone

Percussion 2 Cymbals (suspended and crash) & Triangle

Percussion 3 Bass Drum & Marimba

Percussion 4 Temple blocks, Triangle, & Wind Chimes

This piece is based upon the writings of the Book of Ruth in the Old Testament. This story of love starts off with Naomi saddened by the death of her husband, and then the sudden death of her sons. The lady Ruth stays by her mother-in-law‘s side as she goes to work. She then meets the handsome Boaz (measure 59) and they immediately fall in love. However, they cannot be wed because according to tradition, she must be married to the kinsman-redeemer (this is the next of kin.)
Boaz makes an announcement (measure 97) in front of the council that the kinsman-redeemer shall receive the property of Emiloech (Ruth’s late husband.) He quickly accepts until he realizes that he must marry Ruth and hastily rejects. The estate of Emilech is then transferred to Boaz (measure 131) who in return claims Ruth as his wife (measure 157.) Why write about the Book of Ruth? This very small book in length seems unimportant; however, these two people are the ancestors of the great King David!

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Symphonic Suite No. 1 for Wind band
  • Symphonic Suite No. 1 for Wind band

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$125.00

for Concert Band, grade 4.5 Dedicated to Benjamin Pruitt, Sr

Instrumentation

Piccolo Flutes 1&2 Oboe 1&2 English Horn

Eb Clarinet 1st Clarinet in Bb 2nd Clarinet in Bb 3rd Clarinet in Bb Bb Bass Clarinet

1st Eb Alto Saxophone 2nd Eb Alto Saxophone Bb Tenor Saxophone Eb Baritone Saxophone

Bassoons 1,2,3

1st Trumpet in Bb 2nd Trumpet in Bb 3rd Trumpet in Bb 4th Trumpet in Bb

Horn in F I & III Horn in F II & IV

1st Trombone 2nd Trombone 3rd Trombone Euphonium Tuba

Timpani

Percussion 1 Snare, Bells

Percussion 2 Cymbals, Suspended Cym, Xylophone, Cabasa, Bell Tree

Percussion 3 Bass Drum, Vibraphone, Vibraslap, Triangle, Gong

Percussion 4 Congas, Bongos, Marimba, Tamborine Doublebass

Symphonic Suite No. 1 is a collection of pieces I composed during my time at the University of Michigan. I was constantly told by my good friends and Sinfonian fraternity brothers, Jamal Duncan, Armand Hall, and Damien Crutcher, to write for symphonic band. I eventually drew upon my time at my alma mater to compose for this idiom, which gave me my love for playing, my love for classical music, and my desire to compose.

Chorale and Prelude was the last piece composed for this suite. It was originally written as my final-exam project in my Baroque counterpoint class with Kevin Korsyn. It was easily made into a piece for saxophone choir. After realizing the suite was incomplete with the later three movements (Marziale, Hymn, and Gigue), I composed additional material (F major) in 2012 to prolong the piece and give it more color.

Marziale comes from my tuba-euphonium quartet, Quartet No 1, which was composed for three friends of mine: Kristof Schneider, Tony Halloin, and Todd Shafer.. It was inspired by the Hindemith Trombone Sonata, which I first heard performed in 1994 by my brother, Bradford Mallory.

Hymn was originally written as “Jesus is Lord.” It was commissioned as a band piece by Frank Perez and Graceland University and premiered December 8, 2011. An alternate version with choir was premiered by Edward P. Quick and the Michigan State University New Horizons Band.

Gigue also comes from my tuba-euphonium quartet. I loved Kristof’s sound on euphonium and was thoroughly impressed with Todd’s and Tony’s range on tuba. Their abilities inspired me to compose habitually. This piece was also inspired by the Violoncello Suites of Johann Sebastian Bach and Second Suite in F: Fantasia on a Dargason by Gustav Holst.

Thank You,

Chad “Sir Wick” Hughes

“Symphonic Suite No.1” was premiered by the University of Memphis Symphonic Band on April 24, 2014 under the direction of Armand Hall.

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Introspection, for Concert Band "COMING SOON!"
  • Introspection, for Concert Band "COMING SOON!"

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Introspection has an interesting compositional history. First, the composition went through a myriad of names: Alexandra’s Prayer, Alexandra’s Cry, Hallelujah - Glory to Lord God, Judas’s Cry, and lastly Lord, What Have I Done. Next, when I started writing this prayer-soliloquy scene in the original version of my then operetta A Tale of Two Fools, Lord, What Have I Done was to be a vocal canon-quartet, with three of the roles written specifically for my good friends Courtenay Schowalter Casey, Ross Benoliel, and Scott Piper. I had always loved canons since I was a little child; they always mesmerized me. When I started college and learned more compositional techniques, I began to wonder if my love for canons was too jovial and juvenile especially since I only knew of them in children’s music or in cartoons. It wasn’t until I was in a music history class at the University of Michigan that I learned of Beethoven’s only opera, Fidelio. In this opera was ironically a canon-quartet named Mir ist so wunderbar (a wondrous feeling fills me).” I was completely enamored that the composer I loved so dearly used the canon in such a historic composition and was equally excited that it was a quartet! Plus, I found myself drawn to the work along with its many Leonore overtures. This work gave me the “pass” to say, “It’s okay to use canons.” In the original concept of Lord, What Have I Done, Alexandra was grieving over her betrayal of her fiancé Eleazar, even after going against her father’s wishes of dating him. Eleazar would brood over her disloyalty, her dad Harrison would brood over losing his daughter to a man he wrongly despises, while a friend would complain over everybody being so miserable.

Unfortunately, I never finished A Tale of Two Fools as an operetta. I eventually came up with the idea to place Lord, What Have I Done as Intermezzo in my Low Brass Quartet for my good friends Kristof Schneider, Todd Shafer, and Anthony Halloin. As with my Tribute to Sinfonia, I always felt I could have done more with the development. Eventually, I rewrote the entire A Tale of Two Fools and came up with the concept with the novical (musical novel). However, Lord, What Have I Done didn’t quite fit in the novical or even the upcoming sequels. It didn’t have a musical home or identity. Enter Timothy Beattie. I ran into my Louisiana State University (LSU) classmate and fellow composer Tim Beattie at the Midwest Clinic. He asked me if I could write a piece for his band in Mobile, AL. Mind you, Dr. Beattie himself is a phenomenal composer. I was honored. I told him I had a piece that’s been buried in the back of my mind for a while and I could make it into a band piece for him. This was finally the kickstart I would need to make Lord, What Have I Done finally complete. After its initial readthrough, Tim came to me and said, “Great piece…needs percussion.” After six perilous months of America experiencing the impact of COVID-19, I would finally take the time to rewrite this piece once again, in particularly focusing on several transitions of this piece and adding percussion. Finally, I chose the title Introspection to parallel Alexandra’s and Harrison’s reflections of their actions of wrongdoing, with a hopefulness that people would reflect on their own actions, take responsibility for them, and fix their respective situations.

Musically Yours, Chad "Sir Wick" Hughes

Piccolo Flutes I Flutes II

Oboes I-II English Horn

Clarinets in Bb I Clarinets in Bb II Clarinets in Bb III Bb Bass Clarinet

Bassoons I-III

Eb Alto Saxophones I Eb Alto Saxophones II Bb Tenor Saxophone Eb Baritone Saxophone

Trumpets in Bb I Trumpets in Bb II Trumpets in Bb III Trumpets in Bb IV

Horns in F I-II Horns in F III-IV

Trombones I Trombones II Trombones III Euphonium Tuba Doublebass

Timpani Percussionist 1 Snare Suspended Cymbal Xylophone

Percussionist 2 Marimba Suspended Cymbal

Percussionist 3 Bass Drum Marimba Triangle

Percussionist 4 Xylophone Tambourine Vibraphone

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Lazarus, for Concert Band "COMING SOON"
  • Lazarus, for Concert Band "COMING SOON"

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The opening misterioso delineates the pain and hunger of Lazarus as the night is storming as he has no food or home. He prays to God of his torment and wishes for food. The all the hope is has to be with his Heavenly Father. He falls asleep and waits for the new day.

The pizzicato bass enters, Lazarus is begging for money and food. The rich man (along with other people) ignores him constantly. After this happens repeatedly, the rich man scolds him (as the soaring french horns enters with melody ) After the final discourse, the peasant dies (measure 75.) Abraham appears to him (measure 82) and tells him "Welcome home!" The rich man then dies and the dark angels then take him to him to Hell. He finds himself in agony and begs to Abraham for his family to be notified of his transgressions and for cool water from Lazarus. Abraham then proclaims ,"If they don't listen to Moses and the prophets, neither will they be persuaded if one rises from the dead." Luke 19, WEB.

Lazarus rejoices in being in Heaven, falling at the feet of the Lord Almighty, the God of Abraham.

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