Alan Blackshear

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This is a medley of three Christmas tunes:  Deck the Hall; What Child Is This? (Greensleeves); and Good King Wenceslas.  The piece begins with Good King Wenceslas in imitation followed by an introduction to What Child Is This? and Deck the Hall. After a brief modulation we hear Good King Wenceslas in full, followed by Deck the Hall and finally a full version of What Child Is This?  Deck the Hall returns next in a brief setting that leads to Good King Wenceslas, first in imitation and then a more complete setting.  A brief Coda brings the medley to a close.

Ye Olde English Christmas

Concert Band Score & Parts

This work is dedicated to Colonel Carleton K. Butler, director of the University of Alabama Million Dollar Band from 1935-1969.  This piece is a musical description of him.
He was short of stature (at 5' 7"), but full of energy and life.  I have tried to capture his spirit in this work.  It is in A B A format, with the middle section in a slow, hymn-like setting; sandwiched between the A sections, which are lively and full of energy, like the Colonel.

The Capstone Colonel

This familiar Christmas tune is treated in Hollywood fashion.  There is an opening fanfare with the low brass and winds playing the verse slowly with a brass fanfare answer.  The tune is then stated in the high woodwinds, followed by the full ensemble on the refrain.  The melody is then stated in broad fashion in the low brass and reeds with answering trumpet fanfares like the beginning. After a short modulation the tune is treated in a straight forward fashion. There is a short coda to round out the work.

Dashing Through the Snow

This work brings back the excitement of the Old West (Billy the Kid and Wyatt Earp).  After a rousing motive is stated in the low brass, the horns, saxes and trumpets answer.  This call and response is developed further until the Horns enter with a jaunty theme in M17.  This theme is then repeated in the Clarinets and Saxes in M33.  The piece then slows down to a nice (OK)  chorale at M49.  The chorale is developed further until a return of the beginning in M73.  The original theme is played with full orchestration starting in M85.  After this statement, the opening motive returns in M97 to close out the work.

A Western Adventure

Druid Oaks Overture starts with a motive stated in the low brass and winds in a majestic style that is imitated by horns and saxes, then trumpets and finally all high woodwinds.  This slow introduction gives way to a modal flute melody which is repeated by the horns and reaches a climax soon afterwards.  A percussion soli takes us to a new dance-like theme in the woodwinds.  The low brass enter with a theme based on the inverted opening motive and is soon imitated by the trumpets.  The trombones state a four measure introduction to the  last theme played in the woodwinds and soon joined by the rest of the ensemble.  The opening returns with the modal melody stated in full orchestration.  A coda rounds out the work.

Druid Oaks Overture

This traditional carol is arranged into two parts.  Part I.  The tune is treated in chorale-like style with jazz-infused chords.
Part II.  After the drums and bass set the tempo, the tune is treated in swing style, with a short coda.

God Rest Ye Merry, Bandsmen

This is a fun piece about a bouncing ball. It starts off bouncing down a steep embankment and after a few adventures, comes to rest.

Bouncing Ball

This is a set of variations on a theme by Giles Farnaby (1563- 1640).  The theme is known as "The Toye," and appeared in the Fitzwilliam Virginal Book around 1610.
The theme is stated in the trumpets at the beginning, and is followed by four variations and a coda. Variation 1 is a lively dance in 6/4.  Variation 2 is based on triplet figures.
Variation 3 is bounced back and forth between the woodwinds and the brass.  Variation 4 features the low winds and brass with a percussion accompaniment.  The coda features the 
 abbreviated theme notated in 12/8 type tripletts.

Variations on a Theme by Giles Farnaby

This is an exciting work for young/small bands.  The low winds and low brass as well as 2nd and 3rd clarinets are featured with the melodies.  After a short introduction, the main theme is introduced in the trombones and low brass/woodwinds, and repeated in the trumpets and high woodwinds. A jaunty theme comes next stated in the high woodwinds; this is followed by a more lyrical melody played in the 2nd and 3rd clarinets and saxes. This dialogue continues, interrupted by two short percussion soli. After the restatement of the opening there is a brief coda which brings the piece to a nice conclusion.

The Buccaneers

Highgrove is the name of the Royal Gardens in England which is administered by King Charles III.  The Fanfare is in deference to royalty, and the Air is a modal theme, influenced by the   English folk music of the 16th and 17th centuries.  The March is based on the melody of the Air, but in  a march format.

Highgrove - Fanfare, Air and March

This piece is dedicated to the hope that all of our "Johnnys" will come marching home someday. It is based on the well known tune "When Johnny Comes Marching Home, Again". After an introduction, the timpani and snare drum set the mood for the first statement played by the strings in counterpoint. That is followed by a second statement played by the bqne, also in imitation. The first complete playing of the tune comes next; with each section of the band playing a part of the tune. After a brief modulation, the flutes and muted trumpets then play their version of the melody in staccato style. After another short modulation the introduction is repeated in a different key and there are two more versions of the tune played by the orchestra, which finishes with a short coda.

Johnny: A Fantasy

This piece is dedicated to the hope that all of our "Johnnys" will come marching home someday.  It is based on the well known tune "When Johnny Comes Marching Home, Again".
After an introduction, the timpani and snare drum set the mood for the first statement played by the strings in counterpoint.  That is followed by a second statement played by the orchestra, also in imitation.  The first complete playing of the tune comes next;  with each section of the orchestra playing a part of the tune.  After a brief modulation, the strings then play their version of the melody in pizzicato style.  After another short modulation the introduction is repeated in a different key and there are two more versions of the tune played by the orchestra, which finishes with a short coda.

"Johnny" - A Fantasia

Full Orchestra Score & Parts

This is a good piece for Halloween or a scary tale.  A journey through the bayou is depicted.  Imagine danger lurking at every turn, every bend in the river.  The main theme is stated in the oboe, and later by the horns.  There are slithery sounds that accompany the motive throughout the work.  After navigating danger all the way through, the arrival at the destination is safely attained.  Or is it?

On The Bayou

As the name implies, this is a three-section piece consisting of a Fanfare, an Air (hymn-like tune) and Dance.  The dance is based on material from the Fanfare and Air.

Fanfare, Air and Dance

The Southern Crescent is a train.  It starts in New Orleans and forms an arc (or crescent) as it journeys up through Jackson, MS; Birmingham,AL; Atlanta, GA and on up the eastern seaboard.  This is a musical representation of that railroad.

The Southern Crescent

This is arrangement/medley of three favorite Christmas carols.  Angels, We Have Heard on High, Hark the Herald Angels Sing and Joy to the World.
It begins with a quiet chorale version of Angels We Have Heard on High answered by muted brass and timpani. Hark the Herald Angels appears next predominately in the low brass and winds.  Joy to the World enters as a fanfare followed by a hymn-like setting of the tune.  The three tunes are then bandied about and finished with a coda that returns the early fanfare.

The Joy of Angels

Global Sections - CORE [DO NOT TOUCH]*

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