The Monk's Turned Topsy-Turvy

The revised edition (2026) includes expanded percussion, some orchestration changes, and more cues. “The Monk’s Turned Topsy-Turvy” was composed as an original fantasy for clarinet choir, then scored for concert band by the composer. It is based on the old French-Canadian children’s song, “Ah! Si mon moine voulait danser! (Danse, mon moine, danse).” The title is a play on words: “moine” means both “monk” and “spinning top” in French. The lyrics speak of persuading “mon moine” to dance by offering various articles of clothing, such as a hood or frock. After a brief, yet bold, introduction, the piece jumps into a straightforward rendition of the tune. From there, the melody is repeated, bringing in other voices and added flourishes. While the tune starts to repeat a third time, it doesn’t get to finish its full statement. It’s interrupted by a run up through the ensemble into a rollicking 7/8 section. With a rhythmic accompaniment underneath, the jaunty melody begins in the brass. The upper instruments take over briefly in 6/8, then the tune returns to 7/8. After a quick breather, the accompaniment introduces an upward sweep motif. This alternates with the accompaniment pattern heard at the beginning of the 7/8 section. The lower voices then take control, driving downward into a different tonality and mood. An undulating accompaniment sets a dreamlike feel, with different voices quoting fragments of the theme. The accompaniment transfers between voices throughout the section, eventually changing back into a 3/4, then a 2/4 feel, resulting in a transition back to the original feel of the piece. The low voices get the melody, with rhythmic accompaniment and racing runs throughout the other sections. The melody goes a bit topsy-turvy before the group comes together in the descending quarter note motif from the beginning of the piece, bringing us to the coda. There’s one final quote of the opening of the main theme from the low voices, leading to a whirlwind in the high winds with accented notes and suspensions underneath. The high voices pipe up with one last comment and the group closes out the piece.