E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet I-II
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III-IV
Horn in F I-II-III-IV
Percussion (5 players), including:
- Bass Drum
- Guiro (large metal)
- Kick Drum
- Mark Tree
- Snare Drum (loud)
- Suspended China Cymbal
- Suspended Crash Cymbals
- Tam-tam (large)
- Tom-toms (4)
None discovered thus far.
It was difficult to know what to write about in 2020. To write music that acknowledged the pandemic felt on-the-nose and unnecessary, yet work that didn’t felt like it was ignoring the one thing anybody could think about. I started writing without a clear idea, instead deciding (hoping) that an idea or narrative would emerge as I wrote, one that felt more honest to the moment. As a result, Zoom is about a few things. It’s about the word itself: gestures that zoom in and out of focus, a sense of constant movement and momentum -- life experienced through a moving camera. It’s about internet-based living, entertainment, education and work in late 2020 and the anxiety that came with it. It is about a longing to hear musicians playing together again, orchestrated in such a way that everyone plays simultaneously almost all of the time. It is also about optimism; I look forward to the day that audiences see the title of this piece in their programs, and instead of recalling the gloom of pandemic-era video conferencing, think about, well, literally anything else.
Zoom consists of three sections. The first is a rollercoaster ride through contrasting sets of thematic musical materials: driving rhythms, twists and accelerations which gradually increase in intensity until they snap and fall apart, the piece coming to a complete standstill.
The second section attempts to rebuild, finding scraps from the first section and building from them a slow, lush, inviting swirl of chromatically winding harmonies and textures, starting from the very middle of the ensemble’s range (a unison middle-C) and gradually expanding out to the extreme high and low ranges of the ensemble, successfully charging itself back up.
This brings the piece to its third and final section, a raucous, heavy finale. The themes from the first section, now stabilized, reconstructed and recontextualized, take us to the finish line: one final intense musical zoom.
- Program Note by composer
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- University of North Texas (Denton) Wind Symphony (Rob Truan, conductor) – 28 April 2022
- University of Texas (Austin) Wind Ensemble (Christopher Dickey, conductor) - 26 September 2021
Works for Winds by This Composer