Phasing Thunder

From Wind Repertory Project
Brian Balmages

Brian Balmages

General Info

Year: 2014
Duration: c. 5:05
Difficulty: II 1/2 (see Ratings for explanation)
Publisher: FJH Music Company
Cost: Score and Parts (print) - $60.00   |   Score Only (print) - $9.00


Full Score
Flute I-II
B-flat Soprano Clarinet I-II
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II
Horn in F
Trombone I-II
Percussion I-II, including:

  • Bass Drum
  • Bells
  • Cabasa
  • Chimes
  • China Cymbals
  • Crash Cymbals
  • Crystal Glasses (3)
  • Finger Cymbals
  • Hi-Hat
  • Suspended Cymbal
  • Tambourine
  • Triangle
  • Vibraphone


None discovered thus far.

Program Notes

Commissioned by the Temecula Middle School Band, Temecula, California, Brad Hinkson, Director.

- Program Note from score

This work began with its title and seeks to take a sound of nature and set it musically in a minimalistic style. Essentially, the entire piece is based on simple rhythms and sequences of notes that are slowly combined and then broken down again. These small sequences shift between directions throughout the piece, beginning with downward movement, transitioning to upward movement and eventually back to downward movement. As the title implies, these small cells are also juxtaposed with other cells that wind up being “out of phase,” either because of staggered entrances or augmented note values. Elements of thunder are present throughout, including literal depictions as well as figurative depictions. Ultimately, the storm passes and leaves a soft rain accompanied by lingering minimalistic devices and effects.

- Program Note from Flower Mound High School Wind Symphony concert program, 18 December 2015


State Ratings

  • North Carolina: III


To submit a performance please join The Wind Repertory Project

Works for Winds by This Composer

Adaptable Music

All Wind Works


  • Brian Balmages website Accessed 15 September 2020
  • "New Music Reviews." The Instrumentalist 70.3 (2015): 97. Print