1. About

The modern concert band has almost supplanted the symphony orchestra in terms of new compositions.  However, the potential of the medium is untapped.  In fact, most of the music coming out now is utterly dull and colorless.

The blog is meant to serve as a guide for new and creative ways to score for the modern wind band.

Review from Thomas Goss

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7 thoughts on “1. About

  1. Hi! I can’t seem to figure out how to send you a private message, so I’m posting here:

    Do you know of any website like this that is for percussion? I need something that’s just as in depth as this for percussion, as it is a very unfamiliar field for me. Thanks!

  2. At some point, I do plan on including percussion. At least the basic percussion instruments. There is no way anyone can cover every percussion instrument. For books, I would suggest Teaching Percussion by Gary Cook and the Yehudi Menuhin guide Percussion by James Holland.

  3. Hello, Dear Newton. First of all, congratulations for this wonderfull work. My name is Natan Ourives. I´m a Brazilian composer and copyist of the main orchestra of my state (Orquestra Sinfônica da Bahia). There is a contrabassonist friend of mine that is interested to play your composition, the Concerto for Contrabassoon and Orchestra. It is possible? If yes, how?

    Best regards,
    Natan Ourives

  4. Niles Loughlin

    Mr. Newton,
    I cannot express how thankful I am to have come across your sight. It brings me great joy and reassurance, as well as a continued sense of optomism, that there are people like you in the world who believe in the innovation of the full spectrum of all wind and brass instruments, in the wind band and orchestra, and in the possibilities of music as a whole. Often times I find myself wondering about the same topics you have taken the time to put down in words and in writing; such as the lack of development of the double reed family, a comprehensive history and coverage of the sarrusophone, the creation of new instruments, and the possibilities of color and tonal blends with the experimentation and implemrntation of full wind families and instrumrnt combinations. Where I fall short is that I do not take the time you have so clearly dedicated to actually communicate these ideas to the public, as I simply share them with friends as they come across my mind. I believe what you are doing is important, and I understand the frustration that comes with having ideas that seem crazy or impossible to carry out (what’s so wrong about wondering what a mellophone sonata would sound like, what a violin octet family symphony would be capable of, or what a career as a tenor sarrusophonist would be like right?). I commend you for what seems to be tireless effort that has been put forth to study, research, conceptualize, and communicate your ideas in some way for people to reach them. I can tell you that it is heard and understood, at least by myself, and that I believe in what you stand for. I’m currently a junior (3rd year) undergraduate student at the University of South Florida studying clarinet and bass clarinet (my primary), through our school’s music studies program, as well as international studies as a double major. I hope to continue as a graduate student in music performance in the future. My hopes in you receiving this message is that you hear another voice that agrees with what I believe to be the future in the possibilities in music, and with proper funding (it’s frustrating to want to own all of the instrument families that exist in brand new condition to play, yet be confined to a handful of school instruments that you don’t even own) could be a reality someday. I wish you good luck in all of your future compositional endeavours, with time and proper circumstances I’m sure such unique pieces will be played someday (I know I would be an advocate), and feel free to keep in touch if you wish.
    Sincerely,
    Niles L.

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