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Keith Christopher

Keith Christopher

General Info

Year: 2014
Duration: c. 3:20
Difficulty: II (see Ratings for explanation)
Publisher: TRN Music

Cost: Score and Parts - $55.00   |   Score Only - $10.00


Full Score
Flute I-II
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
String Bass (optional)
Percussion I-II-III, including:

  • Bass Drum
  • Chimes
  • Finger Cymbals
  • Glockenspiel
  • Gong
  • Mark Tree
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Triangle
  • Xylophone


None discovered thus far.

Program Notes

Adelphia is dedicated to the memory of Dr. W. Francis McBeth, longtime friend and mentor of the composer. In genuine McBeth style Adelphia is built on a simple motive upon which the rest of the piece evolves. McBeth’s term for this technique was “organic,” in that the piece grows out of itself. The title of the piece is derived from Arkadelphia, Arkansas, where McBeth lived for years and taught at Ouachita Baptist University.

The piece begins with a simple percussion ensemble section, after which a three-note motive is introduced. An extended section that builds harmonically ensues, making way to a slow, rubato section still making use of the original motive. Tonal color and contrasts are used in this expressive section, which eventually segues to the original tempo announced with a sudden burst of percussion. The theme is now presented in fanfare-like style in the horns and brass. More harmonic contrasts and rhythmic elongation of the melody in the low brass and reeds create a grand full-¬band section with accented percussion and woodwind interjections. This ushers in a dramatic conclusion where the opening motive of the piece makes the final, declamatory conclusion.

-Program Note from publisher

This is an organic work built upon a simple three-note motif first played by the flutes, and it is dedicated to the memory of W. Francis McBeth (1933- 2012), a longtime friend and mentor of the composer.

Marked “Building,” the selection begins quietly in the percussion section and grows progressively to a vibrant finale. The percussion plays an important role throughout and calls for a minimum of six players, including timpani and two mallet players covering chimes, xylophone and glockenspiel.

- Program Note from The Instrumentalist


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, 69/9 (April 2015), p. 40.