Collisions
An imaginative and original grade 3 1/2 work for a Wind Ensemble or Concert Band
and a flexible ensemble (Jazz Combo, Jazz Ensemble, Brass Band, or Flexible Instrumentation)
Perusal Score
Commissioned by the Colorado Mesa University Wind Symphony & Rowdy Brass Band
Dr. Jonathan Hinkle, conductor with generous support from Karen Combs
Premiered at the Best of the West Festival at the Asteria Theater, CMU Campus, Grand Junction, CO on Friday, December 6, 2024
“Collisions” - a musical work inspired by the divided world of the 21st century. With the advent of contemporary forces such as social media, new technology, radical politics, and an ever changing society, we are often collectively faced with an uncertain landscape that can see new ideas challenge old ideas in a radical and unexpected way.
This work represents the ‘collision’ of two contrasting and oppositional ideologies - but could also apply to two different cultures, traditions, belief systems, sets of values, or anything of this nature. In this extended metaphor, each ensemble musically depicts and represents one side of these sets of ideologies and traditions. The ensemble with concert band instrumentation represents the more established side, which I refer to as the ‘traditional’ side. As for the side with the flexible brass band or jazz ensemble/combo instrumentation, that is the new idea, or the ‘radical’ side. They are the side of change. In the premier, this ‘invading ensemble’ role is filled by the Denver based brass band Guerrilla Fanfare.
Breakdown of the work: (0:00) Like coming together for a rehearsal or a traditional gathering, the work begins with aleatory from the symphonic winds and percussion, before introducing the motivic chords that set in motion the introduction of their theme. Surrounded by aleatory from the reeds and c woodwinds, and percussion instruments, the symphonic brass interrupts with exclamatory chords (0:32 then at 0:43) - highlighting the motive of natural minor and how with just a change in perspective, life can easily be bright and lydian instead - before fading back into the texture, symbolizing that the collision is perhaps already known to happen soon and that even under the surface there is tension. After more introductions, a woodwind feature moment (2:03) highlighting traditional wind music breaks the texture, before an A B theme is stated twice (2:28) - first with brass and low reeds, and second with the whole ensemble. This section of the work then ends with a chorale (3:14), ending with perhaps a moment of hope with a picardy third. (3:47) As the wind ensemble has now introduced their theme, they return to a state of ostinato - as a holding pattern. Sometimes in our own thinking, we can become stuck and stagnant. It is then that the bass voices from the invading band erupts into the performance space both musically and physically, taking over the space and introducing a radical new theme and mode of performance. This theme is quicker, contains syncopation, and improvised ornamentation and freedom to alter the melody as the performer decides. This section is a more contemporary jazz head with a mode change to the darker phrygian mode (5:28), various solos (5:38 CMU's Alex Pawlowski/6:01 GuFa's Sean Bocinsky), a breakdown section (6:21 w/ KJ Liss Soloing), and finally a drum cadenza (6:59 Austin Hass & Noah Woolard) to end the exciting contrasting second section. (7:17) Then, there is a musical disagreement - a literal and figurative collision of the two sides starting with an objection yet from the wind ensemble, which ensnares both the wind band and the brass band in confrontation and a musical battle that continues to escalate out of control. Each group performs on top of each other. There is not harmony here, in fact it is the opposite. Both ensembles use their best techniques to try to ‘win the battle’ with the wind ensemble having precise parts with brass standing and percussion playing intricate lines and woodwinds supporting. At the same time, the invading band has quick drums, group improvisation and solos. Every member of GuFa joins in on the solos - led here by Evan King, Ethan Harris and Miles McKee. This cannot last! (8:20) There is a large musical explosion which reduces to one solo voice (in the premiere performance, GuFa's Jordan Skomal), pleading for the confrontation to stop. Perhaps it is realistic that the work ends here, with dissonance and destruction. But, musicians always see hope and the bright side. As there is a collective realization that it is more powerful to cooperate, a full group effort from both the wind ensemble and the invading band finally occurs, with a grand entrance (9:00) for both ensembles to perform in a cooperative and collective way, which celebrates both and stands up stronger than when they were separate. (10:20) The piece ends with understanding, and integration of the two groups representing the two contrasting ideologies and with that - finally sweet major and resolved sounds. These two ideologies have integrated, and now stand stronger together than they did when they were apart. The hope is there is a message with this dramatic work - that we can find peace and understanding with people who are different from ourselves. Our collective future depends on all of humanity learning this lesson. Every individual has a story and every group has their own values. By finding commonality, we make ourselves all stronger - integrated - together.
Performance Notes: - This work is extremely hard to capture on video and audio and is best experienced in person, like most music, but especially this work. Much of the sonic design comes from feeling and hearing music coming at the listener from many different angles. Similarly, with the elements of improvisation woven into this piece, no two performances are the same. - In the premiere, the invading band is a brass band. However, I envision that this could be a flexible ensemble of choice including a jazz combo, jazz ensemble, small pep band, modern band, brass band, really any sort of group that highlights the performing organization’s skills and values in a unique way. - The audio is a combination of two up high microphones and a zoom recording in the audience back left section of the theater which have been roughly mixed together. Hopefully there will be further live performances to better mic and capture this dynamic work. - One 'goof' on our end was the tenor sax solos are supposed to be acoustic for the purposes of building dynamics and not entirely overtaking the other textures happening at the same time.
Other notes: - Chord structure: in general there are less changes than a traditional wind ensemble more, and many sections are set more like a modal jazz/ jam session on purpose. This was to give vibes with different modes that we linger in and develop slowly. As such, there has to be interest from other places since the macro chords only move every 2-4 measures, but in there, there are ‘micro’ chords where certain parts are changing over the overall static harmony. - This was intentionally written with lots of elements of individual and collective improvisation, again like a jam session or even practice session or a group warm up before a gig, and individual freedom. The takeaway is that an individual’s choice makes a difference on the end product and as such no two performances of this tune will ever be the same. - This piece was written to really be a unique utilization of the wind ensemble medium and lots of tutti sections where everyone plays and contributes. Not just like a lead sheet that was orchestrated by someone who doesn’t consider the individual player. I really wanted to go out of my way to make sure that this was an engaging work for the musicians performing. - This is not a jazz head that I just orchestrated out “real quick” like is sometimes heard. Rather, from its conception, this was written with the players in mind so people have a fun sandbox of moments to improvise and play over, and everyone either gets their own cool moments, or gets to share in them with everyone, together. Everyone contributes, and that is why there is an abundance of tutti sections. - The message is really about finding unity even over division. That is why at the end, themes and ideas from both groups come together as one - sometimes not obviously, but like with anyone who influences you, little easter eggs and little nods are usually how they come out. - These types of commissions are supposed to be pushing the envelope, taking risks and doing something new and unexpected and I fully tried to embrace that idea and create something new that has never been heard before, and something that can only be performed with the great medium of wind ensemble and a flexible jazz group. - I am a jazz composer mostly, but I have about a decade of experience in the concert band and jazz ensemble world being a band director for years, so I bring a different perspective in that regard coming from the classroom and the ‘real world’ of composing and arranging for my band which does commercial music and popular styles. - This work came about from several conversations with Dr. Hinkle and myself. I was impressed by his Rowdy Brass Band - a University level ensemble that was sanctioned and that he developed himself. We aligned in a lot of ways from a philosophical standpoint, and it naturally led to a collaboration such as this. We wanted to create music that fused something more traditional - like a Wind Symphony - with something more 'progressive' - like a brass band that was embellished with a lot of musical ideas like our brass bands.
Special Recognition: - Thank you to Dr. Hinkle for taking a chance on this young musician and giving me a shot to get into the foray of composing music for large ensembles. To say this has been a dream come true is an understatement. Dr. Hinkle is one of the best in the business, and has built an incredible program at CMU, and it shows with the quality and attitude his students have. - Thank you to the musicians of the CMU Wind Symphony and Rowdy Brass Band for your amazing time, dedication, effort and inspiration. Thank you to Martin Faut for being an incredible student liaison while we were on campus! - Thank you to Guerrilla Fanfare for going with me on this wild journey, and each of you bring so much value to the band. Could not be here without each of you. - Thank you to Karen Combs for the financial support of me, Guerrilla Fanfare and CMU. You have brought amazing music to this community, thank you. - Thank you to Dr. Darin Kamstra, head of the CMU Music Department, for the opportunity and support. - Thank you to my colleagues in Mapleton and former colleagues in St. Vrain, and elsewhere for the support, and the chances to bounce ideas and honest feedback during the composition process. Thank you to Kyle Liss, Carrie Borja, Francisco Borja, Kirby Dillmann, David Cutting, Hannah Harm, Nick Johnson, and Celeste Landy for providing direct feedback on the piece during the writing process. - Thank you to my friends and family for supporting me and believing in me.
Credits: CMU Wind Ensemble Dr. Jonathan Hinkle, Director of Bands Recording Audio/Video - Cas Knight, CMU Student (& Zach Brake’s zoom) Guerrilla Fanfare - Sousaphone & Director: Zach Brake Trumpets: Billy Rivera, Evan King, Jordan Skomal, Sean Bocinsky with special guest Alex Pawlowski CMU Student Saxophone: Steve Nelson, Miles McKee Trombone: Ethan Harris, Eddie Wellman III, Anna Panella Drumset: Austin Hass, Noah Woolard Keyboards: Kyle Liss
Performance Options
Contact me to purchase and collaborate on which version is best for your ensemble!
Full PDF Set - Wind Ensemble
and Brass Band
$150
Full PDF Set - Wind Ensemble and Jazz Ensemble/Jazz Combo
$150
Full PDF Set - Wind Ensemble and Flexible Band
$175
Want to perform with Guerrilla Fanfare?
The premiere version written especially for GuFa and Wind Symphony is available for hire.
We are available for extra rehearsals, masterclasses, and clinics in addition to the side-by-side performance.
Four additional GuFa pieces have Wind Ensemble/Concert Band accompaniments already created and are included as options for any potential collaboration.
Contact me to discuss this possibility!
Excerpt from The Sunken Cathedral
A special arrangement of the exciting work by Claude Debussy!
Created for combined concerts featuring groups of different experiences and abilities.
This excerpt is scored for three ensembles of different skill levels. At roughly three minutes, this version of the original work has been moved to a different key to facilitate easier technique. This arrangement is specifically created for a feeder concert where there are ensembles from one or two middle schools/junior highs and a high school band with students from all grades.
Playing music in a large group setting can create lasting memories for the students involved, and can be an important recruitment tool for your music program. Finding quality music that is dynamic and engaging for all abilities and ages of students can be extremely difficult.
*I will build a custom version that fits your needs with 2-3 levels of instrumentation. Contact me to tell me about what you are needing for your special feeder or other combined concert. The perusal score offers an example, but your version will fit your needs!
Pricing starts at just $100.
Perusal Score*
Zach Brake is currently available for commissions
I am available for custom arrangements and commissions of original compositions.
I compose/arrange jazz ensemble, concert band, brass band, marching band, string orchestra, full orchestra, flex ensemble, and specialized collaborations between various ensemble types