A “tour de force” for concert band in the form of a fanfare and theme.
A short theme for concert band. The primary motive stated in the low instruments and is varied throughout. The secondary motive in the brass is the main theme.
A concert march for concert band. The title aludes to the Dover shore in England on the opposite side of the English Channel from the famed Normany D-Day Invasion in World War II. Strain form is AABBCDCDCA.
All Hail the Queen is a concert fantasia based on Great Britain’s national anthem of “God Save the Queen.” The theme is presented with an explosion of energy with three separate, non-theme motives decorating the theme in D-flat Lydian. The theme and it’s accompanying motives are passed about the band being fragmented and transposed at a terrific pace, like a fleeting set of variations, each telling its own tale in parody. As the music reaches its first dissonant climax, the British brass band is heard. Now in it’s traditional key of F Major, the theme is heard in all its original glory until the stubborn flutes and piccolo, which caricature the theme in D-flat, cut it off. More variations follow, more extreme with glissando and staggered entrances. Slowly, the music progresses back to the original material heard at the beginning of the piece. The final repetition shows the final climax with full force and absolute dignity concluding with a chase towards the final bar line.
A concert march in a tongue-in-cheek style.
French Horn Foxhunt is an overture for band originally written for orchestra in early 2005 and later revised and arranged for band in 2006. While the title may suggest that the piece is a programmatic work, it does not have any particular program in mind. The piece is based on four themes that are repeated and varied throughout over the three major sections. The first is an exposition of sorts and energetically introduces the horns’ theme in E-flat major. The woodwind theme and low brass theme are heard soon after. In the second section, the oboe plays a melancholy solo in the sub-dominant minor of E-flat, A-flat minor, considered by many to be the “darkest” key. Through this sorrowful section we hear the horn solo giving hope in A-flat major, though a funeral march disallows this hope to rise. However, slowly but surely we arrive in a tremendous crescendo to the third section, a recapitulation of the original horn theme. The music reaches its full glory upon modulating into G Major as the horn theme boasts its majesty and grandeur.