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Send & Receive

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David Reeves

David Reeves

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Subtitle: Concerto for Percussion Soloist and Wind Band

General Info

Year: 2016 / 2019
Duration: c. 10:00
Difficulty: VI (see Ratings for explanation)
Original Medium: Percussion solo and orchestra
Publisher: David Reeves Music
Cost: Score and Parts (print) - $75.00; (digital) - $55.00


Full Score
Solo Percussion
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
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 Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
String Bass
Percussion I-II-III-IV-V, including:

  • Bass Drum
  • Chimes
  • China Cymbals, small
  • Crash Cymbals
  • Crotales
  • Hi-Hat
  • Marimba
  • Orchestra Bells
  • Ratchet
  • Sizzle Cymbal
  • Snare Drum
  • Splash Cymbal
  • Suspended Cymbal, medium and large
  • Tambourine
  • Tam-Tam
  • Temple Blocks (5)
  • Triangle, large, medium and small
  • Vibraphone
  • Wind Chimes, double row
  • Xylophone
  • Zil Bell

Percussion Soloist:

  • Bass Drum
  • Bongos (2)
  • China Cymbals
  • Concert Toms (4)
  • Cowbell, large
  • Field Drum
  • Hi-Hat
  • Snare Drum
  • Splash Cymbals, small, medium and large
  • Suspended Cymbal, small, medium and large
  • Triangles (2)


None discovered thus far.

Program Notes

In Morse Code we find dash versus dot, or simply long versus short. In music we can realize these two durations with practical applications like: articulation (tenuto vs. staccato), note length (quarter note vs. sixteenth note), meter (5/8 vs. 3+2), rhythmic groupings (six notes vs. four notes) and even in a set of pitches like G, A, B vs. E, F. These are the main ingredients that make up Send & Receive. Virtually every phrase of this 12-minute concerto highlights the Morse Code concept. The piece can be simplified as a series of vignettes found in a variety of settings and styles. Dance, lyrical, funky and march are but a few musical environments found in S&R. The percussion solo part is written in the style of a stand-up drum set combined with rudimental snare drumming and some room for improvisation. I mentioned in the first paragraph the main set of pitches used. The grouping of three consecutive pitches, G, A & B, followed by two consecutive pitches, E & F, follows the long-short model, but it has a double meaning.

Send & Receive was originally written for Sgt. Gabriel Filkins of the 2nd Division Marine Band. Gabe Filkins, or G.A.B.E.F., conveniently fits into the staff! The first few bars of the piece has the vibraphone rhythmically tapping out G (dash dash dot), A (dot dash), B (dash dot dot dot), and E (dot). And we'll hear this rhythm a few times throughout the work. The rhythmic and melodic representation of his name makes this music truly a form of communication. And that's the long and short of it.

- Program Note by composer

Send & Receive was originally written as a one-movement concerto for orchestra and percussion soloist. The piece was commissioned and premiered in 2016 by the Cadillac Symphony Orchestra under the direction of Michael Filkins with percussion soloist Gabriel Filkins. This new version was written for the Symphonic Band of the Indiana University Jacobs School of Music, Eric Smedley, director, Kevin Bobo, percussion soloist.

Commercial Discography

None discovered thus far.

State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • Indiana University (Bloomington) Symphonic Band (Eric M. Smedley, conductor; Kevin Bobo, percussion) – 2 April 2019

Works for Winds by this Composer