Streets and Inroads
Subtitle: Fantasy for Winds and Percussion
Players read directly from score.
(Needed, please join the WRP if you can help.)
None discovered thus far.
Much of the sound-texture/open-form music composed during the last several decades has been intended for orchestra; Streets and Inroads tries to balance the scales, as it were, by providing materials for this type of music that are designed for bands, i.e., variously sized ensembles of winds and percussion instruments.
Many of the sounds called for in the piece are nontraditional: rattling of woodwind keys, playing of mouthpieces removed from instruments, unpitched glissandi, etc. Most of the sounds in the piece do not require specific pitches to be played; accordingly, the players have a great deal of influence on the various effects which the score contains. The composer has provided an overall shape and general structure, but many of the details of the piece are left to conductor and players. Such textures may be called aleatoric.
There are also aspects of aleatoric (or open) form in the piece: The conductor and players have options with regard to the order in which certain events of the score take place. It is thus likely that no two performances of Streets and Inroads will be the same. However, this is not to say that Streets and Inroads is an aleatoric work, per se, because, to a greater extent it does always have similar content, the same components, and a set (if variable) form. Therefore, although it contains aleatoric elements, it is not overall a "chance" piece.
There are special educational and teaching opportunities. For example, for most players this will be the first time they get to see a full score up close. Their way of thinking about notation will be expanded, since in an open form piece such as this a player can go far afield from the notation. There is no one way that the music sounds best: Consider the notation to be a set of materials for improvisation.
There is also the question of contest use. Judges are accustomed to making determinations according to traditional criteria: intonation, ensemble accuracy, phrasing, and such. These criteria have less importance in a work such as this. How then to judge a performance of Streets and Inroads? I suggest these criteria: Is it convincing? Is it well done? Is it performed with conviction? Does it have expressive power? What should be demonstrated in performance more than anything else is versatility.
How is the listener supposed to react to such music as this? In most of the traditional ways of listening I would suggest that the audience concentrates on melody, harmonic change, counterpoint, and structure or form. In Streets and Inroads, melody and harmony are replaced by abstract sound. There are aspects of counterpoint in the piece, and, as mentioned, there is a perceivable form for the composition. So, despite the unusual sounds heard in this piece, the listener does not have to "bring a different set of ears" to a performance of it. It is fun for performers and listeners to travel on some different musical avenues, at least once in a while.
Streets and Inroads was composed in 1975 for the Manasquan Elementary School Concert Band, Manasquan, New Jersey. The score was revised in 1980.
- Program Note by composer
Suitable for middle school bands and free-thinkers everywhere.
- Program Note from score
None discovered thus far.
- Audio: Reference recording. California State University Fullerton Wind Ensemble (Mitchell Fennell, conductor)
- West Virginia: II
To submit a performance please join The Wind Repertory Project
- University of Charleston (S.C.) Symphonic Wind Ensemble (John Christian, conductor) - 27 October 2019
Works for Winds by this Composer
- A Fable and a Folk Tale
- America Verses (1997)
- Bartok Variations
- Blue Alien Accumulation
- Blue Goose Rag (as arranger) (1916/1986)
- Burlesco for Band (2006)
- Charlotte Doyle's Voyage
- The Child and the Kings (1995)
- Climbing Eagle Mountain
- Concerto for Marimba
- Dreams and Fancies (1988)
- El Jardin de Esperanza
- Enumeration of the Actual
- Forest Green
- Four Breton Songs
- Geography of the Dream (Three Pieces for American Band, Set III)
- Green Passacaglia (2005)
- Grizzly Bear Rag
- Headless Horseman, The (1973/1980)
- Kum Ba Yah
- Mysterian Landscapes (2001)
- No Sun, No Shadow, Elegy for Charles Mingus
- Peace Song (1990)
- Pilgrim Traveler
- Procession and Torch Dance
- Prelude and Fughetta (2005)
- Rhythm Machine (1986)
- Rhythm Games: The Waukesha Rondo
- Sinfonia III: Hymns and Dances
- Sinfonia IV: Suite for Winds and Percussion
- Sinfonia V: Symphonia Sacra et Profana
- Sinfonia VI: The Four Elements
- Sinfonia XII: Southern Heart, Sacred Harp
- Sinfonia XIII: Storm Variations
- Sinfonia XIV: Three Canzonas
- Sinfonia XV: Ursa Major
- Sinfonia XVI: Transcendental Vienna
- Sinfonia XVII: The Four Winds
- Sinfonia XVIII: Aurora
- Sinfonia XIX: Preludes and Grounds
- Slow March with Celebration
- Song and Variations
- Streets and Inroads (1975/1980/1996)
- Surfboard Blues
- Tango Disappearing, The (2010)
- Theme and Variations
- Three Pieces for American Band, Set I (1974)
- Three Pieces for American Band, Set II (1982)
- Train Heading West and Other Outdoor Scenes (1998)
- Yuletide Dances
- The Water is Wide From A Jack Stamp Suite
- Wicked Story
- Broege, T. (1996). Streets and Inroads : Fantasy for Wind and Percussion [score]. Manhattan Beach Music: Brooklyn, N.Y.
- Timothy Broege website Accessed 10 January 2020