The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

abstract: Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”. Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth. / Dissertation/Thesis / Masters Thesis Music 2019

Composition for symphonic wind ensemble.

Ouverture fur Harmoniemusik, op. 24 / Felix Mendelssohn-Bartholdy -- Concertino for flute, op. 107 / Cecile Chaminade -- Octet, op. 103 / Ludwig van Beethoven -- Ragtime for eleven instruments / Igor Stravinsky. / text

abstract: Convergences, one of the best known orchestral pieces by Marlos Nobre, was originally written in 1968 and scored for winds, percussion and piano; however, that version was neither performed nor published. Upon contacting the composer, the author learned that there was no performance-ready edition available. The purpose of this project, therefore, was to create a performance edition of Convergences Op. 28a by Marlos Nobre; to lead the premiere performance of the original version of the work; and to provide potential future performers with a descriptive analysis of the work, along with biographical information about the composer. After receiving revisions from the composer, the author created a new score, using a music notation program; the score appears at the end of this document. Additionally, performance parts were extracted from the new score. The analytical portion of this paper discusses the structure of the three movements (Vivo, Adagio, Vivo), their interrelationships, and the organic use of motivic transformation that binds the movements together. The work is approximately twenty-one minutes long and is scored for a small wind ensemble comprising: flute/piccolo, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, six percussionists, and piano. / Dissertation/Thesis / D.M.A. Music 2012

Kernel is a fifteen-minute work for wind ensemble. Its unifying strands of rhythm, melody, and harmony are spun out of simple four-note tone clusters which undergo changes in contour, intervallic inversion, register, texture, and harmonic environment. These four notes make up the "kernel" of the work, a word used by Breton to refer to the indestructible element of darkness prior to all creative invention, as well as a term used in computer science to refer to the crucial element of a system that, if it should fail, does so loudly.

abstract: American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests. / Dissertation/Thesis / M.M. Composition 2014

Hailstones and Birdcages is a composition of approximately thirteen minutes' duration and is scored for two flutes and piccolo, two oboes and english horn, three Eb clarinets, E clarinete, bass clarinet, two bassoons, two Eb alto saxophones, Bb tenor saxophone, three Bb trumpets, four F horns, three trombones, euphonium, two tubas, and three percussionists. Four instruments--one each of flute, oboe, Bb clarinet, and trombone--are used in concertante like fashion, and there are prominent solo passages for the first bassoon, as well. The work is a single movement in three sections, fast - slow - fast, with ritornello. and employs a free use of the total chromatic. Technically, the work is within the capabilities of an above-average high school or average college wind ensemble

Of Variegated Shadows is an original composition for wind ensemble. The purpose of the composition is to contribute a work to college level wind ensemble literature which employs established instrumental techniques and explores the various colors or timbres of the ensemble. The work is a single movement of approximately 15 - 20 minutes duration. It is divided into three continuous sections, each reflecting a different character or mood. A transition couples the first and second sections and a coda concludes the composition with a brief return of the opening section. Textures of the piece are transparent with an emphasis given to the blending of different colors in the ensemble. Instrumentation includes antique cymbals, vibraphone and tam-tam to add subtle shades of color. Thematic materials woven into the texture are linearly constructed as well as vertically layered and fragmented. There is no order or system in which pitches occur, although intervals used reflect the motivic structures in the work.