{"success":true,"data":{"id":"1ff8cc9f-36f1-809b-89b6-e424b7837540","title":"A Toddler in an Amusement Park","slug":"a-toddler-in-an-amusement-park","instrumentation":"Wind Ensemble","year":"2011/2020","duration":"8 min","difficulty":"","genre":"","tags":[],"popular":false,"featured":false,"available":true,"new_in_catalog":false,"popular_order":null,"new_in_cat_order":null,"price":"69.99","payment_link":"https://buy.stripe.com/14A00jbZK8JZ1Kh5a7gbm0k","free_file":"","score_pdf":"/pdfs/Dicks - A Toddler in an Amusement Park - 9x12 Score.pdf","audio_link":null,"score_link":null,"status":"Published","commissioned_by":"","dedication":"","program_notes":"This piece creates a musical narrative depicting a toddler's first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.","performance_notes":"-The performers are required to both scream and shout at various points throughout this piece. Measures 126-129 should be a particularly terrifying scream, as the programmatic narrative at this point in the piece depicts a rollercoaster zooming by.\n\n-Measure 154:\n--Percussion 1 should pop a real balloon. If this is not available, they may cover this measure on whip.\n--OPTIONAL (beat 2 - Meas. 155, beat 3): One member of the ensemble can make a wailing \"baby\" cry beginning at beat 2, after Percussion 1 has either popped a real balloon or played the whip.\n\n-Meas. 164-165: Have one member of the ensemble make an \"evil laugh\" at 164. Immediately follow this by having another member of the ensemble make a startled scream at 165.\n\n-Measure 261-263: In the programmatic narrative for this work, the toddler rides his first big roller coaster at this specific point in the piece. This section is constructed as a freely cued event designated as 3, in which there are 3 cues in total that will need to be given.\n\nIn the first cue, freely indicate upwards and downwards directional cues to the ensemble. For upwards cues, the ensemble should scream as loudly as possible while the percussion section plays softly. At downwards cues, the ensemble should barely scream while the percussion section plays loudly. In order to facilitate movement into the next cue, have the last directional cue be downwards so that the percussion section is playing loudly. In the second cue, all wind ensemble players drop out and the percussion section begins to diminuendo. In the third cue, proceed as indicated into the next bar of music.","program_notes_html":"<p>This piece creates a musical narrative depicting a toddler&#39;s first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.</p>","performance_notes_html":"<ul class=\"performance-notes-list\"><li>-The performers are required to both scream and shout at various points throughout this piece. Measures 126-129 should be a particularly terrifying scream, as the programmatic narrative at this point in the piece depicts a rollercoaster zooming by.</li><li>-Measure 154:<br>--Percussion 1 should pop a real balloon. If this is not available, they may cover this measure on whip.<br>--OPTIONAL (beat 2 - Meas. 155, beat 3): One member of the ensemble can make a wailing &quot;baby&quot; cry beginning at beat 2, after Percussion 1 has either popped a real balloon or played the whip.</li><li>-Meas. 164-165: Have one member of the ensemble make an &quot;evil laugh&quot; at 164. Immediately follow this by having another member of the ensemble make a startled scream at 165.</li><li>-Measure 261-263: In the programmatic narrative for this work, the toddler rides his first big roller coaster at this specific point in the piece. This section is constructed as a freely cued event designated as 3, in which there are 3 cues in total that will need to be given.</li><li>In the first cue, freely indicate upwards and downwards directional cues to the ensemble. For upwards cues, the ensemble should scream as loudly as possible while the percussion section plays softly. At downwards cues, the ensemble should barely scream while the percussion section plays loudly. In order to facilitate movement into the next cue, have the last directional cue be downwards so that the percussion section is playing loudly. In the second cue, all wind ensemble players drop out and the percussion section begins to diminuendo. In the third cue, proceed as indicated into the next bar of music.</li></ul>","short_instrument_list":"Grade 4","cover_image":"/cover-images/a-toddler-in-an-amusement-park.png","composition_type":"Composition","page_content":null,"page_content_html":null,"seo_blob":"Title: A Toddler in an Amusement Park\n\nOverview: This composition, titled \"A Toddler in an Amusement Park,\" is designed for wind ensemble and has a duration of 8 minutes. It creatively narrates a toddler's exhilarating experience at an amusement park, culminating in the thrill of riding a roller coaster for the first time.\n\nComposition Details:\n- Instrumentation:\n- 2 Flutes\n- Oboe\n- Bassoon\n- 2 Bb Clarinets\n- Bb Bass Clarinet\n- Alto Saxophone\n- Tenor Saxophone\n- Baritone Saxophone\n- 3 Bb Trumpets\n- 4 Horns\n- 3 Trombones\n- Euphonium\n- Tuba\n- Timpani\n- 5 Percussionists\n\nProgram Notes: The piece creates a musical journey illustrating a toddler's visit to an amusement park, featuring moments of joy, excitement, and the climax of riding a big roller coaster.\n\nPerformance Notes:\n- Unique requirements for performers include vocal expressions such as screaming and shouting at specific measures to enhance the narrative experience.\n- Measure-specific instructions detail sound effects like popping a balloon and imitating a baby’s cry, along with vocal expressions like evil laughter and startled screams.\n- The piece includes dynamically cued events that require ensemble coordination based on directional cues.\n\nSales Information:\n- Price: $69.99\n- Buy Link: Buy Now Here\n- Availability: This piece is currently available for purchase and is not marked as popular or new in the catalog.\n\nAccessibility & Usability Features:\n- The composition includes specific cues and performance notes for enhanced user engagement, making it suitable for educational settings and performances.\n- The score is available in PDF format, ensuring easy access and usability for musicians and educators.\n\nKeywords for SEO Optimization: toddler, amusement park, wind ensemble, musical composition, performance notes, educational music, fun music for kids, excitement, roller coaster music, unique instrumentation, creative music narrative, engaging performance, wind ensemble music, child-friendly compositions, music for young audiences.\n\nAdditional Information:\n- Year of Composition: 2011/2020\n- Last Edited: September 7, 2025, 5:17 AM\n- Score PDF Link: [Score PDF](pdfs/Dicks - A Toddler in an Amusement Park - 9x12 Score.pdf)\n\nThis detailed description is crafted to enhance searchability and provide comprehensive information for users and AI crawlers, making it an optimal entry in the music composition catalog.","created_time":null,"last_edited_time":null,"created_at":"2025-08-06T00:32:54.811Z","updated_at":"2025-11-19T02:42:34.310Z","similarWorks":[{"id":"1ff8cc9f-36f1-8055-a409-de2814f80b5c","type":"relation","title":"Aerial Escape","slug":"aerial-escape","instrumentation":"Wind Ensemble","year":"2017","duration":"3 min 30 sec","difficulty":"Professional","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":"59.99","paymentLink":"https://buy.stripe.com/fZu00jbZK6BR0Gd6ebgbm0j","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Dicks - Aerial Escape - 8.5x11 Score.pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"","dedication":"","programNotes":"Aerial Escape is a fast three-minute work that shifts from multiple different characters and rhythmic styles. The title and theme of Aerial Escape is in reference to my first compositional influences - I wrote a large collection of works based on flight in my younger age. These pieces varied from works based on a flying phoenix, dogfights in the sky, and gliding down mountains at high speeds.To represent all of these past creations, the old melodies from these past compositions were used to construct the motives and themes of this brand-new work. The sense of flight is still prominent in this work, which is how the title became known as ‘Aerial’, with the ‘escape’ showcasing the urge to try and move away from these old conventions.","performanceNotes":"","shortInstrumentList":"Grade 3-4","coverImage":"/cover-images/aerial-escape.png","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-809b-89b6-e424b7837540","type":"relation","title":"A Toddler in an Amusement Park","slug":"a-toddler-in-an-amusement-park","instrumentation":"Wind Ensemble","year":"2011/2020","duration":"8 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":"69.99","paymentLink":"https://buy.stripe.com/14A00jbZK8JZ1Kh5a7gbm0k","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Dicks - A Toddler in an Amusement Park - 9x12 Score.pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"","dedication":"","programNotes":"This piece creates a musical narrative depicting a toddler's first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.","performanceNotes":"-The performers are required to both scream and shout at various points throughout this piece. Measures 126-129 should be a particularly terrifying scream, as the programmatic narrative at this point in the piece depicts a rollercoaster zooming by.\n\n-Measure 154:\n--Percussion 1 should pop a real balloon. If this is not available, they may cover this measure on whip.\n--OPTIONAL (beat 2 - Meas. 155, beat 3): One member of the ensemble can make a wailing \"baby\" cry beginning at beat 2, after Percussion 1 has either popped a real balloon or played the whip.\n\n-Meas. 164-165: Have one member of the ensemble make an \"evil laugh\" at 164. Immediately follow this by having another member of the ensemble make a startled scream at 165.\n\n-Measure 261-263: In the programmatic narrative for this work, the toddler rides his first big roller coaster at this specific point in the piece. This section is constructed as a freely cued event designated as 3, in which there are 3 cues in total that will need to be given.\n\nIn the first cue, freely indicate upwards and downwards directional cues to the ensemble. For upwards cues, the ensemble should scream as loudly as possible while the percussion section plays softly. At downwards cues, the ensemble should barely scream while the percussion section plays loudly. In order to facilitate movement into the next cue, have the last directional cue be downwards so that the percussion section is playing loudly. In the second cue, all wind ensemble players drop out and the percussion section begins to diminuendo. In the third cue, proceed as indicated into the next bar of music.","shortInstrumentList":"Grade 4","coverImage":"/cover-images/a-toddler-in-an-amusement-park.png","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-80cb-b5ac-ff49e6468232","type":"relation","title":"Echoing Flares","slug":"echoing-flares","instrumentation":"Wind Ensemble","year":"2019/2022","duration":"9 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":"79.99","paymentLink":"https://buy.stripe.com/bJe14naVG1hx0GdcCzgbm0l","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Dicks_Echoing Flares - Full score.pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"","dedication":"","programNotes":"Echoing Flares takes inspiration from Nasa's time-lapsed video \"SDO: Year 5\". The video showcases how our massive sun changes over a year. Instead of its enormous size, the video focuses on the solar flares that emerge out of it. These flares expand, explode, ooze, shimmer, and spiral out of the sun. These expressive gestures establish the main material for the composition. Rhythmic values are stretched throughout the piece to get the sense of expansion. Explosions come from many percussive impacts that strike in unexpected places. The oozing is shown from many trombone glissandos and sliding elements throughout the work. Many different mutes in the brass, such as the Harmon mute, and colorful percussion instruments, such as bowed crotales, show the shimmering through the ensemble. The woodwinds perform fast circling passages resulting in a spiraling effect. All these elements react to each other to create an overwhelming colorful image of the sun with a wind ensemble.","performanceNotes":"-This piece REQUIRES Contrabassoon, Bass Trombone, and Contrabass Clarinet. No substitutions or omissions are allowed.\n\n-Tempos should be taken at their specified markings, no slower and no faster. Performers should also keep the rhythmic momentum lively by not slowing down the tempo of the work as time goes on.\n\n-Different Time Signatures are given at the same time for certain instruments. The beat is the same whether in duple or triple meter. This is done to help clean up the notation and help musicians obtain a clear style of triple or duple meter.\n\n-Articulations are given to help execute the right style for each section. Follow the given directions to help propel the music forward.\n\n-Dynamics are given to show intended effects. However, performers do not need to stretch their dynamics, in particular at the higher decibels. The orchestration and harmonies throughout the ensemble will create louder and fuller sounds for each performer.\n\n-Staccatos in this work determine the style of the point of attack, rather than the length of the note. Be sure that staccatos still have length to help propel rhythmic momentum.","shortInstrumentList":"Grade 6","coverImage":"/cover-images/echoing-flares.png","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-800a-9fed-f98e9e0546a3","type":"relation","title":"Humanity Vs. Time and Space","slug":"humanity-vs-time-and-space","instrumentation":"Brass Ensemble","year":"2014","duration":"2 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":"25.99","paymentLink":"https://buy.stripe.com/28EdR92pae4jagN0TRgbm0w","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Humanity vs Time and Space [Final] - Tranposing Score, (8.5x11).pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"","dedication":"","programNotes":"Humanity Vs. Time and Space is inspired by two well-known American composers, Aaron Copland and John Williams. This clash between broad and compact shows the conflict between Humanity and Time and Space. Humanity tries to make its mark in the world today. However, Time and space tries to stop humanity with strict timing and quantity of space around. This bring problems for humanity in many different ways. In the end, humanity will always have its struggles, but it will move forward as much as it possibly can.","performanceNotes":"","shortInstrumentList":"Brass Ensemble","coverImage":"/cover-images/humanity-vs.-time-and-space","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-8082-bc89-fb40d0272288","type":"relation","title":"Inferno","slug":"inferno","instrumentation":"Wind Ensemble","year":"2021","duration":"2 min 30 sec","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":"49.99","paymentLink":"https://buy.stripe.com/6oU5kDaVGaS7coV5a7gbm0h","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Inferno v1.0 (Final) - Transposing Reduction Score, (8.5x11).pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"","dedication":"","programNotes":"'Inferno' is an energetic dance inspired by the genre of Fire Dancing. The piece features a large set of percussionists (although there are only four percussionists required to play the work), hefty low winds/brass melody, and rhythmic clapping from the whole ensemble.\n\nThis piece is perfect to build up students’ rhythmic understanding. This work is designed to be playable for a flexible-sized ensemble. While it is preferable to be performed by a large number of performers, All the parts are heavily doubled to accommodate missing members of the ensemble.","performanceNotes":"","shortInstrumentList":"Grade 1.5","coverImage":"/cover-images/inferno.png","compositionType":"Composition","pageContent":"[{\"id\": \"28e8cc9f-36f1-80eb-b7ea-d0a002ef0ace\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-80eb-b7ea-d0a002ef0ace\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"Inferno\"}, \"type\": \"text\", \"plain_text\": \"Inferno\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": true, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" was composed as one of six new works for “The Young Band Composition Consortium.” The composition consortium was created and organized by Zachary J. Friedland and includes fellow composers: \\n\"}, \"type\": \"text\", \"plain_text\": \" was composed as one of six new works for “The Young Band Composition Consortium.” The composition consortium was created and organized by Zachary J. Friedland and includes fellow composers: \\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"Katherine Bergman, Brandon Dicks, Benjamin Horne, Jennifer E. Rose, and Onsby C. Rose.\"}, \"type\": \"text\", \"plain_text\": \"Katherine Bergman, Brandon Dicks, Benjamin Horne, Jennifer E. Rose, and Onsby C. Rose.\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}]}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:30:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-80fe-bd11-d1bb1ba0d97d\", \"type\": \"heading_3\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"heading_3\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-80fe-bd11-d1bb1ba0d97d\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"During the time of this consortium, Zachary J. Friedland unexpectedly passed away.\"}, \"type\": \"text\", \"plain_text\": \"During the time of this consortium, Zachary J. Friedland unexpectedly passed away.\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}], \"is_toggleable\": false}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:31:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-8053-830a-d8196b97def7\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-8053-830a-d8196b97def7\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"He was 31.\"}, \"type\": \"text\", \"plain_text\": \"He was 31.\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}]}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:31:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-80d0-91b7-f8021da1ebbf\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-80d0-91b7-f8021da1ebbf\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"We would like to honor Zach and his memory by dedicating this consortium to him. His portion of the commission fee was donated to Friedland Recording Ensemble (previously the Rhode Island Recording Ensemble, renamed after his passing), an organization Zach founded to provide opportunities for emerging composers to have their work played and recorded. The Friedland Recording Ensemble will continue with Zach’s mission of fostering the creation and recording of new music for the symphonic band genre, giving aspiring and accomplished composers and performers the opportunity to enrich their professions through artistic expression and the collaborative experience.\"}, \"type\": \"text\", \"plain_text\": \"We would like to honor Zach and his memory by dedicating this consortium to him. His portion of the commission fee was donated to Friedland Recording Ensemble (previously the Rhode Island Recording Ensemble, renamed after his passing), an organization Zach founded to provide opportunities for emerging composers to have their work played and recorded. The Friedland Recording Ensemble will continue with Zach’s mission of fostering the creation and recording of new music for the symphonic band genre, giving aspiring and accomplished composers and performers the opportunity to enrich their professions through artistic expression and the collaborative experience.\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}]}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:30:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-8058-af30-ead8088c7f1b\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-8058-af30-ead8088c7f1b\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"We are all so grateful to have been invited to compose a new piece of music for this consortium. Zach’s goal for this particular project was to expand the repertoire for young bands by bringing five other composers together who would compose new works along with him. It took little convincing for each of us to get on board. He was great at bringing people together.\"}, \"type\": \"text\", \"plain_text\": \"We are all so grateful to have been invited to compose a new piece of music for this consortium. Zach’s goal for this particular project was to expand the repertoire for young bands by bringing five other composers together who would compose new works along with him. It took little convincing for each of us to get on board. He was great at bringing people together.\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}]}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:31:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-802c-a395-e2e2d5348b55\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-802c-a395-e2e2d5348b55\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"Thank you Zach.\\n\"}, \"type\": \"text\", \"plain_text\": \"Thank you Zach.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"Katherine, Brandon, Ben, Jennifer, & Onsby\"}, \"type\": \"text\", \"plain_text\": \"Katherine, Brandon, Ben, Jennifer, & Onsby\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": true, \"underline\": false, \"strikethrough\": false}}]}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:31:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-8069-af4c-e309288690c8\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-8082-bc89-fb40d0272288\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-8069-af4c-e309288690c8\", \"rich_text\": []}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T08:31:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T08:31:00.000Z\"}]","pageContentHtml":"<p><em class=\"notion-italic\">Inferno</em> was composed as one of six new works for “The Young Band Composition Consortium.” The composition consortium was created and organized by Zachary J. Friedland and includes fellow composers: <br><strong class=\"notion-bold\">Katherine Bergman, Brandon Dicks, Benjamin Horne, Jennifer E. Rose, and Onsby C. Rose.</strong></p><h3 id=\"during-the-time-of-this-consortium-zachary-j-friedland-unexpectedly-passed-away\">During the time of this consortium, Zachary J. Friedland unexpectedly passed away.</h3><p>He was 31.</p><p>We would like to honor Zach and his memory by dedicating this consortium to him. His portion of the commission fee was donated to Friedland Recording Ensemble (previously the Rhode Island Recording Ensemble, renamed after his passing), an organization Zach founded to provide opportunities for emerging composers to have their work played and recorded. The Friedland Recording Ensemble will continue with Zach’s mission of fostering the creation and recording of new music for the symphonic band genre, giving aspiring and accomplished composers and performers the opportunity to enrich their professions through artistic expression and the collaborative experience.</p><p>We are all so grateful to have been invited to compose a new piece of music for this consortium. Zach’s goal for this particular project was to expand the repertoire for young bands by bringing five other composers together who would compose new works along with him. It took little convincing for each of us to get on board. He was great at bringing people together.</p><p>Thank you Zach.<br><em class=\"notion-italic\">Katherine, Brandon, Ben, Jennifer, &amp; Onsby</em></p><p><br></p>","performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-807f-96a2-d7ff674d1f6d","type":"relation","title":"Radiant Ascent: Brass Band","slug":"radiant-ascent-brass-band","instrumentation":"Solo with Brass Band","year":"2025*","duration":"7 min","difficulty":"","genre":"","popular":true,"featured":false,"available":true,"newInCatalog":false,"price":"49.99","paymentLink":"https://buy.stripe.com/14A9AT7Ju7FVcoV1XVgbm0z","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/v1 3 Radiant Ascent (Brass Band) - Score_ Treble Soloist (8.5x11).pdf","audioLink":null,"scoreLink":null,"status":"Published","commissionedBy":"Salt River Brass","dedication":"In Memoriam of Zachary Friedland","programNotes":"Radiant Ascent describes the emotions of an individual living in the shadows their whole live and their first witness of the sun’s radiant light. A more detailed picture of this is land covered by a massive mountain, and clouds. While there is enough light to see, there is no true clarity in sight. However, one day, the sun slowly pierces the skyline, giving a beacon on the mountaintop. Eventually, one beam scatters to become a kaleidoscope of colors. Not only was it mesmerizing but gave great clarity to the surrounding mountainside. Every individual, object, and landscape altered its appearance and gained a new perception and meaning. Everyone who witnessed this radiant light marveled at the beauty of an\nindescribable force, and the land was forever transformed.\n\nZachary Friedland’s compositions are very similar to his lively personality. Many of his wind ensemble works are dedicated to individual passing, tragic events, or even catastrophic events occurring in our world. However, each work features the purest qualities of the individuals/locations of these events. ‘Radiant Ascent’ attempts to balance those pure qualities with the powerful suppressed emotions held back from dealing with loss. The style of ‘Radiant Ascent’ is taken directly from Zach’s deep love for wind band literature, with such referencing composers as, Gustav Holst, Frank Ticheli, Omar Thomas, and John Mackey.\n\nThere are Two Scores for each version of this Arrangement: 1 for Treble Clef Soloist, and 1 for Bass Clef Soloist\nSolo Parts are Included as a Free Download Below","performanceNotes":"- Entering the final Cadenza, the Ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. It is up to the Director/Soloist.\n\n- Tempos should be moderately accurate with adjustments considered for the Solo Musicians Rubato\n\n- Articulations are given to help execute the right style for each section. Follow the directions to help propel the music forward.\n\n- Dynamics are given to show intended effects. However, performers do not need to stretch their dynamics, in particular in the higher decibels. The orchestration and harmonies create louder sounds for the performers.","shortInstrumentList":"Solo Trumpet, Euphonium with Brass Band","coverImage":"/cover-images/radiant-ascent-brass-band.png","compositionType":"Composition","pageContent":"[{\"id\": \"28e8cc9f-36f1-800d-b0a2-d682bd53c61f\", \"type\": \"heading_3\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-807f-96a2-d7ff674d1f6d\"}, \"archived\": false, \"in_trash\": false, \"heading_3\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-800d-b0a2-d682bd53c61f\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"SPECIFIC NOTES\"}, \"type\": \"text\", \"plain_text\": \"SPECIFIC NOTES\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}], \"is_toggleable\": false}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T06:44:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T06:44:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-80d3-8919-f173c4a20d75\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-807f-96a2-d7ff674d1f6d\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-80d3-8919-f173c4a20d75\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"___________________________________________________________________________________________________\\n\"}, \"type\": \"text\", \"plain_text\": \"___________________________________________________________________________________________________\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 14\"}, \"type\": \"text\", \"plain_text\": \"measure 14\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \": if parts are not fully aligned, this okay. 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Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 59-71:\"}, \"type\": \"text\", \"plain_text\": \"measure 59-71:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. 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Make sure the downbeat of 16 is aligned correctly.<br><strong class=\"notion-bold\">measure 22:</strong> give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.<br><strong class=\"notion-bold\">measure 33 and 50:</strong> Keep up the musical momument throughout this section.<br><strong class=\"notion-bold\">measure 45-49:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 59-71:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 92: </strong>The conductor can chose where this is between an attaca, or caesura dividing the sections.<br><strong class=\"notion-bold\">measure 104-105:</strong> This fermata must be attaca and link to measure 105 (a true hold)<br><strong class=\"notion-bold\">measure 110:</strong> Entering the final cadenza, the ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. 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A more detailed picture of this is land covered by a massive mountain, and clouds. While there is enough light to see, there is no true clarity in sight. However, one day, the sun slowly pierces the skyline, giving a beacon on the mountaintop. Eventually, one beam scatters to become a kaleidoscope of colors. Not only was it mesmerizing but gave great clarity to the surrounding mountainside. Every individual, object, and landscape altered its appearance and gained a new perception and meaning. Everyone who witnessed this radiant light marveled at the beauty of an\nindescribable force, and the land was forever transformed.\n\nZachary Friedland’s compositions are very similar to his lively personality. Many of his wind ensemble works are dedicated to individual passing, tragic events, or even catastrophic events occurring in our world. However, each work features the purest qualities of the individuals/locations of these events. ‘Radiant Ascent’ attempts to balance those pure qualities with the powerful suppressed emotions held back from dealing with loss. The style of ‘Radiant Ascent’ is taken directly from Zach’s deep love for wind band literature, with such referencing composers as, Gustav Holst, Frank Ticheli, Omar Thomas, and John Mackey.\n\nThere are Two Scores for each version of this Arrangement: 1 for Treble Clef Soloist, and 1 for Bass Clef Soloist\nSolo Parts are Included as a Free Download Below","performanceNotes":"- Entering the final Cadenza, the Ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. It is up to the Director/Soloist.\n\n- Tempos should be moderately accurate with adjustments considered for the Solo Musicians Rubato\n\n- Articulations are given to help execute the right style for each section. Follow the directions to help propel the music forward.\n\n- Dynamics are given to show intended effects. However, performers do not need to stretch their dynamics, in particular in the higher decibels. The orchestration and harmonies create louder sounds for the performers.\n\n- Ossias are given to help performers execute difficult sections in need be (in this, in the solo part).","shortInstrumentList":"Solo Trumpet or Solo Euphonium with Brass Ensemble","coverImage":"/cover-images/radiant-ascent-brass-ensemble.png","compositionType":"Composition","pageContent":"[{\"id\": \"28e8cc9f-36f1-80f2-a3ec-ec8540ce3792\", \"type\": \"heading_3\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-80ad-a457-fc6ec218cdb1\"}, \"archived\": false, \"in_trash\": false, \"heading_3\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-80f2-a3ec-ec8540ce3792\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"SPECIFIC NOTES\"}, \"type\": \"text\", \"plain_text\": \"SPECIFIC NOTES\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}], \"is_toggleable\": false}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-10-16T06:44:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T06:44:00.000Z\"}, {\"id\": \"28e8cc9f-36f1-8093-8849-ccdba43ee77c\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1ff8cc9f-36f1-80ad-a457-fc6ec218cdb1\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"28e8cc9f-36f1-8093-8849-ccdba43ee77c\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"___________________________________________________________________________________________________\\n\"}, \"type\": \"text\", \"plain_text\": \"___________________________________________________________________________________________________\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 14\"}, \"type\": \"text\", \"plain_text\": \"measure 14\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \": if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.\\n\"}, \"type\": \"text\", \"plain_text\": \": if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 22:\"}, \"type\": \"text\", \"plain_text\": \"measure 22:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.\\n\"}, \"type\": \"text\", \"plain_text\": \" give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 33 and 50:\"}, \"type\": \"text\", \"plain_text\": \"measure 33 and 50:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" Keep up the musical momument throughout this section.\\n\"}, \"type\": \"text\", \"plain_text\": \" Keep up the musical momument throughout this section.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 45-49:\"}, \"type\": \"text\", \"plain_text\": \"measure 45-49:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 59-71:\"}, \"type\": \"text\", \"plain_text\": \"measure 59-71:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 92: \"}, \"type\": \"text\", \"plain_text\": \"measure 92: \", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"The conductor can chose where this is between an attaca, or caesura dividing the sections.\\n\"}, \"type\": \"text\", \"plain_text\": \"The conductor can chose where this is between an attaca, or caesura dividing the sections.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 104-105:\"}, \"type\": \"text\", \"plain_text\": \"measure 104-105:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This fermata must be attaca and link to measure 105 (a true hold)\\n\"}, \"type\": \"text\", \"plain_text\": \" This fermata must be attaca and link to measure 105 (a true hold)\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 110:\"}, \"type\": \"text\", \"plain_text\": \"measure 110:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" Entering the final cadenza, the ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. 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Make sure the downbeat of 16 is aligned correctly.<br><strong class=\"notion-bold\">measure 22:</strong> give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.<br><strong class=\"notion-bold\">measure 33 and 50:</strong> Keep up the musical momument throughout this section.<br><strong class=\"notion-bold\">measure 45-49:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 59-71:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 92: </strong>The conductor can chose where this is between an attaca, or caesura dividing the sections.<br><strong class=\"notion-bold\">measure 104-105:</strong> This fermata must be attaca and link to measure 105 (a true hold)<br><strong class=\"notion-bold\">measure 110:</strong> Entering the final cadenza, the ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. 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A more detailed picture of this is land covered by a massive mountain, and clouds. While there is enough light to see, there is no true clarity in sight. However, one day, the sun slowly pierces the skyline, giving a beacon on the mountaintop. Eventually, one beam scatters to become a kaleidoscope of colors. Not only was it mesmerizing but gave great clarity to the surrounding mountainside. Every individual, object, and landscape altered its appearance and gained a new perception and meaning. Everyone who witnessed this radiant light marveled at the beauty of an\nindescribable force, and the land was forever transformed.\n\nZachary Friedland’s compositions are very similar to his lively personality. Many of his wind ensemble works are dedicated to individual passing, tragic events, or even catastrophic events occurring in our world. However, each work features the purest qualities of the individuals/locations of these events. ‘Radiant Ascent’ attempts to balance those pure qualities with the powerful suppressed emotions held back from dealing with loss. The style of ‘Radiant Ascent’ is taken directly from Zach’s deep love for wind band literature, with such referencing composers as, Gustav Holst, Frank Ticheli, Omar Thomas, and John Mackey.\n\nThere are Two Scores for each version of this Arrangement: 1 for Treble Clef Soloist, and 1 for Bass Clef Soloist\nSolo Parts are Included as a Free Download Below","performanceNotes":"- Entering the final Cadenza, the Ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. It is up to the Director/Soloist.\n\n- Tempos should be moderately accurate with adjustments considered for the Solo Musicians Rubato\n\n- Articulations are given to help execute the right style for each section. Follow the directions to help propel the music forward.\n\n- Dynamics are given to show intended effects. However, performers do not need to stretch their dynamics, in particular in the higher decibels. The orchestration and harmonies create louder sounds for the performers.","shortInstrumentList":"Solo Trumpet, Euphonium with Wind Ensemble","coverImage":"/cover-images/radiant-ascent-wind-ensemble.png","compositionType":"Composition","pageContent":"[{\"id\": \"27d8cc9f-36f1-80e1-92a7-ff01b62d707b\", \"type\": \"heading_3\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1fc8cc9f-36f1-8154-b3d3-ed15a9514694\"}, \"archived\": false, \"in_trash\": false, \"heading_3\": {\"color\": \"default\", \"_block_id\": \"27d8cc9f-36f1-80e1-92a7-ff01b62d707b\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"SPECIFIC NOTES\"}, \"type\": \"text\", \"plain_text\": \"SPECIFIC NOTES\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}], \"is_toggleable\": false}, \"created_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"created_time\": \"2025-09-29T22:36:00.000Z\", \"has_children\": false, \"last_edited_by\": {\"id\": \"6999e86c-9004-43ed-8278-ce1f45d8081c\", \"object\": \"user\"}, \"last_edited_time\": \"2025-10-16T06:34:00.000Z\"}, {\"id\": \"27d8cc9f-36f1-801a-b635-ce8aa1b82c01\", \"type\": \"paragraph\", \"object\": \"block\", \"parent\": {\"type\": \"page_id\", \"page_id\": \"1fc8cc9f-36f1-8154-b3d3-ed15a9514694\"}, \"archived\": false, \"in_trash\": false, \"paragraph\": {\"color\": \"default\", \"_block_id\": \"27d8cc9f-36f1-801a-b635-ce8aa1b82c01\", \"rich_text\": [{\"href\": null, \"text\": {\"link\": null, \"content\": \"TRUMPET 4, BASS TROMBONE [Optional Parts]\"}, \"type\": \"text\", \"plain_text\": \"TRUMPET 4, BASS TROMBONE [Optional Parts]\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"\\nIf you have the performers, add in these parts to get a fuller sound throughout the piece. If you only have 3 trumpets, and no bass trombone, the piece will work perfectly fine without them. These parts fill some parts that are missing from the Brass Band/Wind Ensemble arrangements.\\n___________________________________________________________________________________________________\\n\"}, \"type\": \"text\", \"plain_text\": \"\\nIf you have the performers, add in these parts to get a fuller sound throughout the piece. If you only have 3 trumpets, and no bass trombone, the piece will work perfectly fine without them. These parts fill some parts that are missing from the Brass Band/Wind Ensemble arrangements.\\n___________________________________________________________________________________________________\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 14\"}, \"type\": \"text\", \"plain_text\": \"measure 14\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \": if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.\\n\"}, \"type\": \"text\", \"plain_text\": \": if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 22:\"}, \"type\": \"text\", \"plain_text\": \"measure 22:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.\\n\"}, \"type\": \"text\", \"plain_text\": \" give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 33 and 50:\"}, \"type\": \"text\", \"plain_text\": \"measure 33 and 50:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" Keep up the musical momument throughout this section.\\n\"}, \"type\": \"text\", \"plain_text\": \" Keep up the musical momument throughout this section.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 45-49:\"}, \"type\": \"text\", \"plain_text\": \"measure 45-49:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\", \"annotations\": {\"bold\": false, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \"measure 59-71:\"}, \"type\": \"text\", \"plain_text\": \"measure 59-71:\", \"annotations\": {\"bold\": true, \"code\": false, \"color\": \"default\", \"italic\": false, \"underline\": false, \"strikethrough\": false}}, {\"href\": null, \"text\": {\"link\": null, \"content\": \" This should truly be a poco accelerando. Going too fast could trip up the soloist.\\n\"}, \"type\": \"text\", \"plain_text\": \" This should truly be a poco accelerando. 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If you only have 3 trumpets, and no bass trombone, the piece will work perfectly fine without them. These parts fill some parts that are missing from the Brass Band/Wind Ensemble arrangements.<br>___________________________________________________________________________________________________<br><strong class=\"notion-bold\">measure 14</strong>: if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.<br><strong class=\"notion-bold\">measure 22:</strong> give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.<br><strong class=\"notion-bold\">measure 33 and 50:</strong> Keep up the musical momument throughout this section.<br><strong class=\"notion-bold\">measure 45-49:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 59-71:</strong> This should truly be a poco accelerando. Going too fast could trip up the soloist.<br><strong class=\"notion-bold\">measure 92: </strong>The conductor can chose where this is between an attaca, or caesura dividing the sections.<br><strong class=\"notion-bold\">measure 104-105:</strong> This fermata must be attaca and link to measure 105 (a true hold)<br><strong class=\"notion-bold\">measure 110:</strong> Entering the final cadenza, the ensemble can either cut off before the soloist comes in, or the soloist can come in while the ensemble is holding their fermata. It is up to the Director/Soloist.</p><div class=\"notion-file\"><a class=\"file-link\" 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href=\"https://prod-files-secure.s3.us-west-2.amazonaws.com/fa29efda-948c-4378-9da5-ea0d4058a01f/4715755e-2dc5-4cb3-b34c-f05b8263e426/v1.2_Radiant_Ascent_%28Solo_Part%29_-_Bass_Solo.pdf?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Credential=ASIAZI2LB466R4UPY2QJ%2F20251119%2Fus-west-2%2Fs3%2Faws4_request&X-Amz-Date=20251119T023720Z&X-Amz-Expires=3600&X-Amz-Security-Token=IQoJb3JpZ2luX2VjEAoaCXVzLXdlc3QtMiJGMEQCIBHlXkuiApcjs0eJCVa%2FQ1RWOy3q2HkyFRcCr6Ee9mTbAiA43sSbQrJ5IdXjUgMN%2BQS55Wa55aRQBUOEtV7JzPm9sSqIBAjT%2F%2F%2F%2F%2F%2F%2F%2F%2F%2F8BEAAaDDYzNzQyMzE4MzgwNSIM%2F%2BDI6R6u0ZHW9ZMgKtwD5JRLK83cXv2XronfuS50femfyOjF2XOlY%2F2HcMXLBxarX6I%2FitlhvUpMb5jxEWS8a9iHiEgEbqCUO%2Fh8QxxuEIdLX6oZNDxSX2Jzk43gMyg%2FuYO7fSxG3nSvVD2yRMZFGvjvKxq8eiwzShFlIqTPVOYyUcvs%2B5%2BE3iO9Qd87WXj%2BYcm3%2F9eXjLMtr9O7XXc39KUDpfw5gPMm%2FCH9scWoQOeQvyheC5FZHGFdP9D7HJseWwEAv3YjA3Ui7b703q%2BwKHR%2FzFPBz%2BLXBnFStGwuuCiH2kGjk7CJ0gjtsvYbHpyt4J4rcbtSrwccypV4k6I7Km0Nc1Qgtqbav%2F2GuuK1PnSeCV%2Fc6FD9qfiUSzqp2fdZoceG2WbCNUY7%2FMlkQ2MhBM3NtaNbUX4mtvD29pId7RFLNjrkj6ax%2B%2FXgPJChxiV11uAPU4lj7LK751kbBeQaQubL0vAg8fLNMGwuJQAsJFi5K3isEgxkNdNfjlej2tWkxjslLr2dMrIbzTA5HXJN6HpA03G31VxXJKkAV3xGGsUWhX5nlZ9dDj%2BCMzoLVrkylnCq1ZZYSY3vooJ%2BBa745uO449T%2F8oabPsK5uCtNJV1%2FwRPCmJikAeS2K3W7zK%2FMVitpS6tHYDSrnGYwzMv0yAY6pgGbRJE9CwH8fGMbAW5lvFB%2FQaLrtXbnP8n%2FZdT5nm2YfCuwRGTKJFfCMfyrTl5%2Bi7vetXJr3zjQOhAlcoc7GzpwZzLpC5VIVQtqyZhQRNfMXJRz0gvpknNv0hJGoTiAu%2B7EcDGv1GTyUrKp4Oms%2Btv7nOETZLcTJ9G7UdPPpOvALYtowyticDR8G%2Bcu6UFtKEJzlBSfOSxXwLnWFOEK%2FErIdc6XgTe1&X-Amz-Signature=49e6135e30028350653fdae6bdf1a691004116d6967db197a88b76c9e6bb80cb&X-Amz-SignedHeaders=host&x-amz-checksum-mode=ENABLED&x-id=GetObject\" target=\"_blank\" rel=\"noopener\"><span class=\"file-icon\">📄</span><span class=\"file-name\">v1.2_Radiant_Ascent_(Solo_Part)_-_Bass_Solo.pdf</span></a></div><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p>","performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-8004-89ce-da93610f3ba2","type":"relation","title":"Tales of a Resting Garden","slug":"tales-of-a-resting-garden","instrumentation":"Orchestra","year":"2013","duration":"8 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":null,"paymentLink":"","websiteDownloadFile":"","freeFile":"","scorePdf":null,"audioLink":null,"scoreLink":null,"status":"Contact to Purchase","commissionedBy":"","dedication":"","programNotes":"","performanceNotes":"","shortInstrumentList":"","coverImage":"/cover-images/tales-of-a-resting-garden","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-805c-bf3e-e816bd307227","type":"relation","title":"The Traveler’s Loop","slug":"the-traveler-s-loop","instrumentation":"Wind Ensemble","year":"2020","duration":"18 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":null,"paymentLink":"","websiteDownloadFile":"","freeFile":"","scorePdf":null,"audioLink":null,"scoreLink":null,"status":"Contact to Purchase","commissionedBy":"","dedication":"","programNotes":"'The Traveler's Loop' centers on an image of a traveler who embarks on a journey around the world by train; however, the passenger is never allowed to leave the train. The ensemble begins the piece with a bleak introduction called ‘The Train’. The protagonist, the Solo Bass Trombone, is introduced in the first movement ‘Through the Cityscapes’. The soloist reacts to the everchanging world that that is seen, as represented by the wind ensemble. The soloist's character will track a clear emotional arc on its journey. In the first movement, The Soloist's is filled with excitement as they are passing a lively city. This excitement leaves as they come to the realization that they are not getting off the train.  \nThe second movement ‘Viewing the World’ shifts focus from outward to inward as the soloist longs to be a part of the outside world. Changing textures in the wind ensemble evoke a sense of jealousy that evolves to longing and anger.  \nThe third movement, ‘Tearing Metal’ deals with the culminating anger. The soloist is literally trying to smash the train open to be free. The piece accelerates into a dense chaotic texture, as the soloist weeps and yells for freedom. The trains continous to march forward with the passenger stuck on the endless train ride.","performanceNotes":"","shortInstrumentList":"","coverImage":"/cover-images/the-traveler’s-loop","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null},{"id":"1ff8cc9f-36f1-8051-8f3d-ef64dea28411","type":"relation","title":"Thunders of Calbuco","slug":"thunders-of-calbuco","instrumentation":"Orchestra","year":"2015","duration":"8 min","difficulty":"","genre":"","popular":false,"featured":false,"available":true,"newInCatalog":false,"price":null,"paymentLink":"","websiteDownloadFile":"","freeFile":"","scorePdf":null,"audioLink":null,"scoreLink":null,"status":"Contact to Purchase","commissionedBy":"","dedication":"","programNotes":"Thunders of Calbuco takes the emotional impact and visual aesthetics of numerous pictures and videos of the eruption of Mount Calbuco (located in Chile). These medias showcase an enormous ash cloud dwarfing the landscapes and covering the large area like a tree. This cloud continuously rising higher and higher in the sky. The rise of ash creates two very distinct sections of the cloud. The trunk of the ash is rough and bulgy in texture, but also bubbles and expands unpredictably. Above the giant tower of ash is a smooth, wispy, and luminous layer of clouds that change in a spectrum of colors as time passes. As day becomes night, the ash slowly turns from a bland grey to a bold black. The atmosphere becomes dark and violent while magma morphs and lightning dances. Taking these images in mind, Thunders of Calbuco is constructed in two big sections.\n\nThe first section showcases the ash cloud in its two main sections. It moves back and forth between the rough bulging trunk of the cloud and the luminous layer of cloud. The two ideas are shown through a set of variations, each variation showcasing different aspects of the continuous rising cloud of ash. The second section showcases the destructive qualities of the volcano at night time with a chaotic dance to conclude the piece.","performanceNotes":"","shortInstrumentList":"","coverImage":"/cover-images/thunders-of-calbuco","compositionType":"Composition","pageContent":null,"pageContentHtml":null,"performedBy":"[MIDI]","createdTime":null,"lastEditedTime":null}],"otherArrangements":[],"audioToComp":[{"id":"2418cc9f-36f1-8078-8e04-e538cba0d63b","type":"relation"}],"videoToComp":[],"audioFiles":[{"id":"2418cc9f-36f1-8078-8e04-e538cba0d63b","title":"A Toddler in an Amusement Park [MIDI]","type":"Audio","url":"/audio/A Toddler in an Amusement Park (Audio).mp3","movementTitle":"","movementNumber":null,"duration":"","fileSize":null,"performanceBy":"[MIDI]"}],"videoFiles":[],"scoreVideoFiles":[],"scoreFiles":[],"relatedVideoUrls":[],"relatedScoreUrls":[],"pageContent":null,"pageContentHtml":null,"description":"This piece creates a musical narrative depicting a toddler's first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.","newInCatalog":false,"paymentLink":"https://buy.stripe.com/14A00jbZK8JZ1Kh5a7gbm0k","websiteDownloadFile":"","freeFile":"","scorePdf":"/pdfs/Dicks - A Toddler in an Amusement Park - 9x12 Score.pdf","audioLink":null,"scoreLink":null,"commissionedBy":"","shortInstrumentList":"Grade 4","performedBy":"[MIDI]","coverImage":"/cover-images/a-toddler-in-an-amusement-park.png","compositionType":"Composition","programNotes":"This piece creates a musical narrative depicting a toddler's first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.","performanceNotes":"-The performers are required to both scream and shout at various points throughout this piece. Measures 126-129 should be a particularly terrifying scream, as the programmatic narrative at this point in the piece depicts a rollercoaster zooming by.\n\n-Measure 154:\n--Percussion 1 should pop a real balloon. If this is not available, they may cover this measure on whip.\n--OPTIONAL (beat 2 - Meas. 155, beat 3): One member of the ensemble can make a wailing \"baby\" cry beginning at beat 2, after Percussion 1 has either popped a real balloon or played the whip.\n\n-Meas. 164-165: Have one member of the ensemble make an \"evil laugh\" at 164. Immediately follow this by having another member of the ensemble make a startled scream at 165.\n\n-Measure 261-263: In the programmatic narrative for this work, the toddler rides his first big roller coaster at this specific point in the piece. This section is constructed as a freely cued event designated as 3, in which there are 3 cues in total that will need to be given.\n\nIn the first cue, freely indicate upwards and downwards directional cues to the ensemble. For upwards cues, the ensemble should scream as loudly as possible while the percussion section plays softly. At downwards cues, the ensemble should barely scream while the percussion section plays loudly. In order to facilitate movement into the next cue, have the last directional cue be downwards so that the percussion section is playing loudly. In the second cue, all wind ensemble players drop out and the percussion section begins to diminuendo. In the third cue, proceed as indicated into the next bar of music.","programNotesHtml":"<p>This piece creates a musical narrative depicting a toddler&#39;s first experience through an amusement park. Throughout the piece, the toddler gets to visit a carnival, a fun and mystical area. All of this culminates into the big event, in which the toddler rides his first big roller coaster.</p>","performanceNotesHtml":"<ul class=\"performance-notes-list\"><li>-The performers are required to both scream and shout at various points throughout this piece. Measures 126-129 should be a particularly terrifying scream, as the programmatic narrative at this point in the piece depicts a rollercoaster zooming by.</li><li>-Measure 154:<br>--Percussion 1 should pop a real balloon. If this is not available, they may cover this measure on whip.<br>--OPTIONAL (beat 2 - Meas. 155, beat 3): One member of the ensemble can make a wailing &quot;baby&quot; cry beginning at beat 2, after Percussion 1 has either popped a real balloon or played the whip.</li><li>-Meas. 164-165: Have one member of the ensemble make an &quot;evil laugh&quot; at 164. Immediately follow this by having another member of the ensemble make a startled scream at 165.</li><li>-Measure 261-263: In the programmatic narrative for this work, the toddler rides his first big roller coaster at this specific point in the piece. This section is constructed as a freely cued event designated as 3, in which there are 3 cues in total that will need to be given.</li><li>In the first cue, freely indicate upwards and downwards directional cues to the ensemble. For upwards cues, the ensemble should scream as loudly as possible while the percussion section plays softly. At downwards cues, the ensemble should barely scream while the percussion section plays loudly. In order to facilitate movement into the next cue, have the last directional cue be downwards so that the percussion section is playing loudly. In the second cue, all wind ensemble players drop out and the percussion section begins to diminuendo. In the third cue, proceed as indicated into the next bar of music.</li></ul>","spotifyRelations":[{"id":"ab12e5ee-f690-49cc-9182-f00865f56c8b","spotifyMediaId":"2418cc9f-36f1-8078-8e04-e538cba0d63b","compositionId":"1ff8cc9f-36f1-809b-89b6-e424b7837540","title":"A Toddler in an Amusement Park [MIDI]","url":"/audio/A Toddler in an Amusement Park (Audio).mp3","type":"Audio","createdAt":"2025-09-29T08:00:23.700Z"}],"collections":[],"resources":[]},"timestamp":"2026-04-05T17:43:18.708Z"}