Faster, Higher, Louder
for Concert Band
Composed 2009, arranged March 13--May 7, 2015
Duration: about 7 minutes
cover photo: the Composer in Fighting Trim
This is the third movement of Popular
Music of Planet X. It is offered as a separate piece.
the recording is from the chamber version,
the second movement of Clarinet Sextet
under Music for Strings)
2009 to early 2010 I wrote Clarinet
Sextet for clarinet, string quartet, plus and extra cello. In 2012 I
expanded this in a version for clarinet and string orchestra. The chamber
version was premiered in February 2012 at Duke University.
became clear that two of the movements of this piece were suited for larger
forces, and would probably be thereby much improved and far more likely to be
heard. I arranged one of the movements, Curious
Interlude, for orchestra. When I turned to the second movement, Faster, Higher, Louder, it did not seem
well suited for an orchestra, and I put it back on the shelf.
1990, I wrote a large four-movement quasi-symphony for jazz band, Popular Music of Planet X. However over
the years, performance by a jazz band proved impossible. In early 2015 I
started work on a complete reworking for concert band. Only one of the original
1990 movements survived in recognizable form, which is now the final movement, Bump and Grind. This Faster, Higher, Louder movement from the Clarinet Sextet appeared to be a
perfect fit for a third movement, and so I arranged it with considerable
expansion and a few extra measures. (Note that the tempo marking in the concert
band version is a bit slower than in the chamber version; however, the band
version is both higher and louder.)
am offering all four of the PMPX movements
as separate works, since the whole symphony might be too long to fit on many
programs, or to submit to composition contests.
The String Bass part is intended for
an acoustic bass, as there are bowed passages. An electric bass may not be used
in its stead. If an electronic keyboard is used instead of an acoustic piano,
it should have a concert grand piano sound. However, the preference is strongly
in favor of a real piano. Accidentals hold through the measure and not beyond.
This is a C score with the usual transpositions in the parts. If a conductor
requires a transposed score, I will provide one, with considerable grumbling.