Rain and Snow on the Cedar Cliffs

From Wind Repertory Project
Ed Kiefer

Ed Kiefer


General Info

Year: 2015
Duration: c. 7:25
Difficulty: IV (see Ratings for explanation)
Publisher: Fischer
Cost: Score and Parts (print) - $125.00; (digital) - $125.00   |   Score Only (print) - $12.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe
Bassoon
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
Bass Trombone
Euphonium
Tuba
Timpani
Percussion I-II-III-IV-V, including:

  • Bass Drum
  • Bells
  • Chimes
  • Crash Cymbals
  • Marimba
  • Snare Drum
  • Tambourine
  • Triangle
  • Vibraphone
  • Wood Block
  • Xylophone


Errata

None discovered thus far.


Program Notes

Commissioned by the A.C. Reynolds High School Band, Sean Smith, Director, in Honor of William and Janis Bryant.

- Program Note from score


This creative, commissioned work is based on two old Appalachian mountain tunes. The composition begins with an off-stage trumpet solo freely stating the beautiful yet haunting folk melody Rain and Snow. Clarinets and euphonium are then given the melody as the opening section builds to a powerful climax. A soft passage for upper woodwinds and low brass then reintroduces the off-stage trumpet stating a portion of the original melody. An abrupt tempo change and lively rhythmic figures stated initially by saxophones and brass introduces the familiar tune Old Joe Clark. Scored as a fantasy, this section features changing meters, a variety of attractive textures, and engaging lines of similar difficulty for each section. The opening melody returns during the final section, bringing the piece to a rousing conclusion.

- Program Note from publisher


Media


State Ratings

  • North Carolina: V


Performances

To submit a performance please join The Wind Repertory Project


Works for Winds by This Composer

Adaptable Music


All Wind Works


Resources

  • "New Music Reviews." The Instrumentalist 70.8 (2016): 28. Print