Something Old, Something New, Something Borrowed, Something Blue

From Wind Repertory Project
Rachael Coleman

Rachael Coleman

General Info

Year: 2010
Duration: c. 7:00
Difficulty: IV (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Rachael Coleman
Cost: Score and Parts - Unknown


Full Score
C Piccolo
Flute I-II
Oboe I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet (optional)
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
C Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Bass Tuba
String Bass
Percussion (6 players), including:

  • Bass Drum, large
  • Chimes
  • Finger Cymbals, suspended (2)
  • Glockenspiels (2)
  • Marimba
  • Sizzle Cymbal
  • Snare Drum
  • Suspended Cymbal
  • Tam-Tam
  • Triangles (2)
  • Vibraphone


None discovered thus far.

Program Notes

Something Old, Something New; Something Borrowed, Something Blue takes its title from the Victorian-era wedding tradition of endowing a bride with ornaments symbolic of her new life and her deep connection to family. The title was suggested to me by Professor Johnny Poon, director of the Hong Kong Baptist University Symphony Orchestra, who commissioned the work in celebration of the inauguration of BU’s new president, Albert Chan.

As a dedicated postmodernist, I jumped at the opportunity to combine old and new, and with the addition of the letter ’s’ at the end, to write some Blues. When the additional suggestion was made that I write for two tubas (later expanded to three!) I thought of the antiphonal music of the great Renaissance composer Giovanni Gabrieli, whose music is commonly played by large brass choirs today. Aside from the attractive instrumentation and spatial effects, I’ve loved Gabrieli’s music for his fascinating rhythmic sense, which sometimes seems to approach big band swing music in its sophisticated syncopation. And so the piece was born, a jubilant mash-up of Gabrieli, and Gustav Mahler with touches of George Gershwin and even the faintest background hint of Felix Mendelssohn’s Wedding March. As to whether or not the material is actually borrowed or merely appropriated, I await the phone call, “Hello, this is Giovanni, and I want my sonata back!”

- Program Note by composer


State Ratings

None discovered thus far.


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Works for Winds by This Composer