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Gathering, The (flex)

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Brooke Pierson

Brooke Pierson

Subtitle: Waltz for Flexible Concert Band

General Info

Year: 2019 /2020
Duration: c. 1:45
Difficulty: I-1/2 (see Ratings for explanation)
Publisher: Brooke Pierson
Cost: Score and Parts (print) - $55.00; (digital) - $45.00   |   Score Only (print) - $25.00

Instrumentation (Flexible)

Part 1
Part 2
Part 3 - with divisi
Part 4

B-flat Soprano Clarinet
Bass Clarinet

Alto Saxophone
Tenor Saxophone
Baritone Saxophone

B-flat Trumpet
F Horn

Percussion 4 to 6 players (drop parts as needed, but Timpani and Percussion I are essential)
Timpani (2 drums - G and C)
Mallets : 1 or 2 players

  • Bells
  • Xylophone

Percussion I : 2 players (or a very clever single player)

  • Bass Drum
  • Snare Drum

Percussion II : 1 player

  • Crash Cymbal
  • Suspended Cymbal
  • Triangle


None discovered thus far.

Program Notes

This waltz is the perfect piece to teach 3/4 time as well as reinforcing playing in the minor mode. All players have interesting parts including the low voices who are featured melodically.

The waltz is a musical form that has been popular for several hundred years, originating in the folk dances of European communities as far back the 16th century. While the waltz eventually became an acceptable form of music and dance, its origins were considered scandalous at the time: dancers holding hands and moving in close proximity with one another. It would seem fitting that such a "scandalous" past would have allowed composers, such as Camille Saint-Saëns, to interpret waltzes in a variety of ways. Danse Macabre, a famous and unconventional waltz by Saint-Saëns, tells the story of Death appearing at midnight on Halloween and dancing with the dead.

This waltz was composed with the same type of imagery and feeling in mind: to illicit a sense of magic and whimsy.

- Program Note from publisher

Performance Notes

This flexible instrumentation allows for any combination of band instruments to play this work. The piece is structured in SATB - parts 1-4. While any part may work, the order of listed instruments best correspond to the number.

Part 3 often utilizes divisi to enhance chord structures. Which instruments play top or bottom are at the director's discretion .

For example:

B-flat Clarinet, B-flat Trumpet, B-flat Tenor Sax, Bass Clarinet
Each of those work best in the order of 1-4, respectively.

Parts with Divisi/Splits: However, in order to best accommodate flexibility, I have indicated split parts at key moments to adjust for the range capabilities of those instruments. Generally, clarinet will take the higher split, and trumpets the lower. Tenor sax should generally take the higher split.

When splitting parts, also keep in mind that the SATB designation may not necessarily mean the subsequent part is lower in register. This is sometimes the case, but other times, it may not be (and sometimes a split octave is indicated).


State Ratings

None discovered thus far.


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