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
indescribable force, and the land was forever transformed.
Zachary 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.
There are Two Scores for each version of this Arrangement: 1 for Treble Clef Soloist, and 1 for Bass Clef Soloist
Solo Parts are Included as a Free Download Below
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measure 14: if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.
measure 22: give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.
measure 33 and 50: Keep up the musical momument throughout this section.
measure 45-49: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 59-71: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 92: The conductor can chose where this is between an attaca, or caesura dividing the sections.
measure 104-105: This fermata must be attaca and link to measure 105 (a true hold)
measure 110: 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.
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measure 14: if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.
measure 22: give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.
measure 33 and 50: Keep up the musical momument throughout this section.
measure 45-49: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 59-71: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 92: The conductor can chose where this is between an attaca, or caesura dividing the sections.
measure 104-105: This fermata must be attaca and link to measure 105 (a true hold)
measure 110: 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.
TRUMPET 4, BASS TROMBONE [Optional Parts]
If 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.
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measure 14: if parts are not fully aligned, this okay. Make sure the downbeat of 16 is aligned correctly.
measure 22: give atleast 7 seconds for the percussion to fade out, and for the audience to reflect.
measure 33 and 50: Keep up the musical momument throughout this section.
measure 45-49: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 59-71: This should truly be a poco accelerando. Going too fast could trip up the soloist.
measure 92: The conductor can chose where this is between an attaca, or caesura dividing the sections.
measure 104-105: This fermata must be attaca and link to measure 105 (a true hold)
measure 110: 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.
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
indescribable force, and the land was forever transformed.
Zachary 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.
There are Two Scores for each version of this Arrangement: 1 for Treble Clef Soloist, and 1 for Bass Clef Soloist
Solo Parts are Included as a Free Download Below