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Cody Brookshire

Cody Brookshire

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General Info

Year: 2016
Duration: c. 5:00
Difficulty: (see Ratings for explanation)
Publisher: 1303 Publishing
Cost: Score and Parts - Contact publisher


Full Score
C Piccolo
Flute I-II
Oboe I
Oboe II/English Horn
Bassoon I
B-flat Soprano Clarinet I-II
B-flat Soprano Clarinet III/Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Piccolo Trumpet/B-flat Trumpet I
B-flat Trumpet II
Horn in F I-II-III-IV
Trombone I-II
Trombone III (may be played on Bass Trombone)
String Bass
Percussion I-II-III-IV, including:

  • Bass Drum, large
  • Chimes
  • Crash Cymbals
  • Crotales
  • Glockenspiel
  • Hi-Hat
  • Kick Drum
  • Marimba
  • Suspended Cymbal
  • Tam-Tam
  • Vibraphone
  • Xylophone

Electronics : synchronized audio sounding from audience devices (using SynkroTakt technology)


None discovered thus far.

Program Notes

As my time at the University of Georgia’s Hugh Hodgson School of Music draws to a close [2017], I have thought much about and appreciated the sense of industry in music schools, the dynamics of ensembles in general, and shared experiences among a large group of people. At the same time, myself along with a few other tech-savvy musicians created a new audio streaming technology called SynkroTakt, which synchronizes the playback of different audio tracks across multiple web-enabled devices. Having written two chamber pieces utilizing this technology with the devices of audience members as part of the performance, I was eager to share this technology and aural experience with a larger crowd by writing an electro-acoustic piece for a bigger ensemble. My desire to write such a piece converged with my appreciation for the industry of music schools, ensemble dynamics, and shared experiences as I was given the opportunity to compose a new work for performance at the Hugh Hodgson School of Music’s Fall 2016 Opening Convocation.

Cynthia Johnston Turner conducted the premiere of the chamber version of Honeycomb for chamber orchestra and electronics, while some of my dearest friends and the school’s best musicians performed. After the premiere, Turner commissioned a new version of Honeycomb for the University of Georgia’s Hodgson Wind Ensemble to be performed at the 2017 CBDNA National Conference in Kansas City, Missouri, under the baton of Jaclyn Hartenberger.

In Honeycomb, pointillistic textures from live instruments align with audio from audience members’ smartphones, tablets, or laptops, creating an immersive aural environment as the many devices throughout the crowd play different segments of staccato-laden music. At times, the sound of the hall is, quite literally, honeycombed with separate parts of a moto perpetuo 16th-note ostinato that are spread variably throughout the crowd. At some points, music hockets from the live instruments on stage to the audience devices and back for antiphonal call-and-response effects, while at other times webs of glissandi interact with glissandi from the stage. With this work, I wanted to make each musician’s part, as well as the music coming out of each audience member’s phone, just one unit of something bigger and greater when all the separate components come together.

- Program Note by composer


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State Ratings

None discovered thus far.


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Works for Winds by This Composer