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David Holsinger

David Holsinger

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Subtitle: A Ballet for Winds and Percussion

General Info

Year: 2001
Duration: c. 30:00
Difficulty: V (see Ratings for explanation)
Publisher: TRN Music

Movements are published and available separately.


1. Zamar
2. Halal Yadah
3. Barak
4. Towdah
5. Shabach
6. Tehillah


Full Score
C Piccolo
E-flat Soprano Clarinet
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 Cornet I-II-III
Horn in F I-II
Trombone I-II-III

(Percussion detail desired)


None discovered thus far.

Program Notes

The word "praise" in the English language is defined rather succinctly as "an expression of approval either by commendation, worship, or value merit." We tend to think of "praise" as being, for the most part, celebratory in nature.

In the English translations of the Old Testament, the word "praise" occurs numerous times, anywhere from 246 times in the King James version to nearly 350 times in more modern translations. The seven Hebrew words which are translated to the English word "praises" each have very distinct individual definitions, some surprisingly different than our Western minds would define as "celebratory." It was on these seven distinctive words that the composer based these dance episodes, written for Robert Musser's adult ensemble, the Tacoma Concert Band, in Tacoma, Washington.

Over six movements, the composer has expressed his impression of the seven Hebrew words for "praise" found in the Old Testament Psalms. In Movement One, Zamar means to celebrate accompanied by musical instruments (one reference to that is Psalm 57:7).

Movement Two is based on the words, Halal, meaning to be clamorously foolish and boastful in praise (Ps. 102:18), and Yadah, indicating that individuals are thrusting their hands skyward victoriously (Ps. 67:3).

The Third Movement is based on the Hebrew word, "Barak", which is defined as kneeling and bowing as an act of humble adoration (Ps. 72:156), a surprisingly different stance than Westerners would normally associate with "praise".

Movement Four is based on the word Towdah, indicating extending the hands upward in thankful adoration, specifically by a choir of worshipers (Ps. 50:23), certainly an early indication of unison choreography.

The last two movements have very short definitions. Movement Five is based on the word Shabach which, simply put, means that the praises are shouted (Ps. 63:3); and Movement Six concludes the ballet with the word Tehillah, indicating that the praisers are meant to sing their "halals" (Ps. 147:1).

For his inspiration, teaching, and example of "praiselife", the composer dedicates the inspiration of this ballet to his friend and former pastor, Rev. Olen Griffing.

- Program Notes by Tacoma Concert Band


(Needed - please join the WRP if you can help.)

State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • Lee University (Cleveland, Tenn.) Wind Ensemble (David Holsinger, conductor) – 28 November 2017

Works for Winds by This Composer