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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Emotions: Art Songs for Medium Voice and Orchestra
  • Emotions: Art Songs for Medium Voice and Orchestra
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$120.00

Emotions: Songs for Tami “Emotions”, composed by Chad “Sir Wick” Hughes, that show the love and frustrations of a relationship. Originally a piece for orchestra, This world-premiere performance and transcription shall present three of the four movements: Thankfulness, Anger, and Love. I. Thankfulness Lonely and broken was I. ‘Til I found you, I was alone. God has blessed me with someone
Who loves me, who loves me so! Lord, thank you for given me someone! Oh, I thank you Lord for my given me my dream, my soul mate!

II. Anger I want you to know you get on my nerves. You aggravate me to the highest degree. Don't call, no hugs, I wish not to see you right now! On Saturday, I won't be with you! Just go alone, I'll find something to do! I'm mad. My heart is cold! Go away!

IV. Love I want to say how much you mean to me. I want to say how much I love you so.
No one else has mean so much to me. You are the one that I’ve been praying for. When I first saw you in the morning sun, I knew right then you were the one to make all my dreams come true every night, every day! My heart melts when my eyes are upon yours. I want to say you are my fantasy! I Love you!

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Symphonic Suite No. 1 for Wind band
  • Symphonic Suite No. 1 for Wind band
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$75.00

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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Movt. 1: Joshua and Caleb (Score Only)
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Free

PART ONE. JOSHUA: SYMPHONIC SUITE NO. 2

INSTRUMENTATION

1 Piccolo 2 Flutes 2 Oboes 1 English Horn 2 Clarinets in B♭ 1 B♭ Bass Clarinet 2 Bassoons

4 Horns in F 3 Trumpets in C 3 Trombones Tuba

Timpani Percussionist 1 Snare, Suspended Cymbal, Crash Cymbals, Ride Cymbal, High Hat Percussionist 2 Triangle, Temple blocks, Bell Tree, High Hat, Cabasa, Congas Percussionist 3 Bass Drum

Harp

Violin 1 Violin 2 Violas Violoncellos Double bass

PROGRAM NOTES In November 1998, I attended a Cleveland Orchestra concert that featured Stravinsky’s arrangements of Variation d’Aurore and Entr’acte, and Bluebird Pas de Deux from Tchaikovsky’s ballet Sleeping Beauty. When William Preucil, concertmaster, began his first solo in the performance, I was immediately captured by his sound and virtuosity. I had never heard such beautiful playing, and I was intrigued by the prominence of the solo violin in a work that is not a concerto. Although there were several great works in that performance, Preucil’s masterful playing and the music of Sleeping Beauty lingered in my head, not only at the end of the concert but during the following weeks. I had just experienced one of the most memorable concerts of my life, and I knew I wanted to write a similar work in the future. In my ballet composition, Joshua: Symphonic Suite No. 2, I, too, use the solo violin prominently. It represents Joshua, one of the central figures in the Bible’s chronicle of the Israelites’ journey into the Promised Land. Additionally, I use several other instruments to portray key figures in this story, including the following: • a solo cello to represent Caleb, Joshua’s faithful companion, • two trombones to represent the two spies Joshua sent to Jericho before conquering the city, • the English horn to represent Rahab, a prostitute who assisted and hid the spies Joshua sent to Jericho, and • a solo tuba to represent the King of Jericho, who was defeated by the Israelites as they entered the Promised Land.

Movement 1: Joshua and Caleb Deuteronomy 34 (NIV)
 7 Moses was a hundred and twenty years old when he died, yet his eyes were not weak nor his strength gone. 8 The Israelites grieved for Moses in the plains of Moab thirty days, until the time of weeping and mourning was over. 9 Now Joshua son of Nun was filled with the spirit of wisdom because Moses had laid his hands on him. So, the Israelites listened to him and did what the LORD had commanded Moses.

Joshua 1 (NIV)
10 So Joshua ordered the officers of the people: 11 “Go through the camp and tell the people, ‘Get your provisions ready. Three days from now you will cross the Jordan here to go in and take possession of the land the LORD your God is giving you for your own.’”

The piece has a tranquil beginning, in a largo 4/4 meter as Moses sees the Promised Land, dies, and is laid to rest. After Moses’ passing, Joshua and Caleb become the new leaders of the Israelites. Their mission is to lead the Israelites into the Promised Land as God commanded. As Joshua and the Israelites begin their journey, the meter shifts to 6/8 and the tempo increases to allegro. The change reflects the excitement of the Israelites as they anticipate the fulfillment of a long-awaited promise. Caleb, represented by the solo cello, makes his first appearance in this movement as he talks to Joshua about the Promised Land. He, too, is looking forward to an assured victory in Jericho. This movement is inspired by the following musical artists: Beethoven, whose orchestration in the Seventh Symphony proved to be a great model; Paul Dukas, who writes brilliant French horn and bassoon lines in his Sorcerer’s Apprentice; Emmanuel Chabier, who displays mastery for brass writing; and Camille Saint-Saëns, who presents virtuosic solo violin work in Danse Macabre.
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