E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV-V-VI
Horn in F I-II-III-IV-V-VI-VII-VIII
Percussion I-II-III-IV, including:
- Coil Spring (lg)
- Cymbals (crash (lg) and suspended (2))
- Finger Cymbals
- Gong (Tam-tam)
- Mark Tree
- Railroad Tie
- Snare Drum
- Tom-Toms (4)
- Tubular Bells
None discovered thus far.
pas.sage n 1: the action or process of passing from one place or condition to another 2a: a road, path, channel, or course by which something can pass 3a: a specific act of traveling ...4: ENACTMENT 5a: INCIDENT 5b: something that takes place between two persons mutually...
3: pass n 1: the act or an instance of passing: PASSAGE 2: REALIZATION (brought their dreams to pass) 3: a usually difficult or disturbing state of affairs...7: a refusal to bid, bet, or draw an additional card.....
2pass vb 1: GO 1, PROCEED 2a: to go away: DEPART b: DIE...11: to go beyond...
Definitions from Webster's New Encyclopedic Dictionary 1993, Black Dog & Leventhal Publishers Inc. New York
In the spring of 1997 I was approached by Barry Johnson, the director of bands at Lamar University in Beaumont Texas about writing a piece for his band which would be a memorial piece for his mentor, Fisher Tull. Unfortunately for me, I had not ever had the opportunity to meet Mickey Tull, since he passed away the very day I arrived in Huntsville to teach at Sam Houston State University. But, I certainly got to know him through the myriad of stories that his colleagues told about him, and his widow taught in the office next to me. What I learned of him was his sense of humor, his optimistic outlook on life and his love of producing great music. What sort of piece could his memorial from me be?
In the end, I tried to write a narrative piece that would describe the last part of one’s journey, which is not really an end, but a door that must be traversed. What is this passage like? Certainly there’s a large degree of unacceptance that this part of the journey has to undertaken at all, and there’s a struggle to maintain the status quo rather than to let go and pass through. A decent amount of nostalgia or reminiscing is present (especially of those fond mischievous moments), acting almost like a balm or a redemptive space, but it’s not a time that can last – the journey is inexorable in its drive, and soon you have to pass from life through death to whatever lays beyond that door for you. For Mickey as a Christian, that door took him away from the pain of his illness to a paradise that comes from his acceptance of Christ as Lord. However! This passage is not easily undertaken – it is fought against, worried over, and the acceptance of the inevitable does not come with ease, however strong one’s faith may be.
-Program Note by Frank Felice
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Baylor University (Waco, Tx.) Wind Ensemble (J. Eric Wilson, conductor) – 21 March 2013 (CBDNA 2013 National Conference, Greensboro, N.C.)
Works for Winds by This Composer
- Antics (Pagliacciata)
- Ecstatic Cling (2018)
- Fanfare and Dances from the Court of the Woodland King (2004)
- Passage (1997)
- Power Plays (2013)
- Sleight of Band (2000)
- Sunrise at Angler's Roost (2021)
- Three Fanfares (Circle City Fanfare, Campane in Aria, Fanfare for a Common Band) (2007)