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Fantasy and Fugue (Sebesky)

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Gerald Sebesky

Gerald Sebesky

General Info

Year: 2017
Duration: c. 3:35
Difficulty: II (see Ratings for explanation)
Publisher: Ludwig Masters
Cost: Score and Parts (print) - $48.00   |   Score Only (print) - $12.00


Full Score
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II
Trombone I-II-III
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Orchestra Bells
  • Snare Drum
  • Suspended Cymbal


None discovered thus far.

Program Notes

Drawing upon traditional musical forms, here is a well written, first-rate introduction to musical styles for young bands. Carefully written for the grade level, it's very well scored and the parts lay very well under the fingers for ease in playing. And best of all, it's very pleasing to the ear, a sure-fire winner.

- Program Note from publisher

This interesting work draws upon two traditional music forms: the fantasy, a rather free form that allowed composers to experiment with musical content, and the fugue, which is more rigid but also allows some freedom and experimentation. A majestic introduction leads to a flowing, noble melody stated initially by first trumpets and alto saxophones. Other instruments are added as the piece builds to a slightly slower full ensemble section. The animated fugue then begins with trumpets offering the opening statement. Melodic material is passed throughout the ensemble as the intensity builds to a powerful full band passage that is followed by a slower, lush final section drawing from earlier material as the composition moves to a dramatic conclusion.

-Program Note from The Instrumentalist

For the J.P. Stevens High School (Edison, NJ) Symphonic Band, Andrew De Nicola and John Zazzali, Directors.

- Program Note from score


State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

Works for Winds by This Composer


  • "New Music Reviews." The Instrumentalist, 72/5 (December 2017), p. 39.