Boom Town Concert Band - Sheet Music

Concert band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet in Bb, Euphonium, Euphonium Treble Clef, Flute, Hi-hat Cymbal, Horn, Mallets, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Tom-tom, Triangle, Trombone, Trumpet in Bb and more. (Flute, Oboe, Bassoon, Clarinet in Bb, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb, Horn, Trombone, Euphonium, Euphonium Treble Clef, Tuba, Mallets, Bells, Xylophone, Timpani, Percussion 1, Snare Drum, Bass Drum, Suspe) - Grade 2

SKU: CF.YPS298

Composed by Zachary B. Poulter. This edition: folio. Folio. Score and parts. Composed 2025. 146 pages. Duration 0:02:23. Carl Fischer Music #YPS298. Published by Carl Fischer Music (CF.YPS298).

ISBN 9781491168097. UPC: 798408101077. 9x12 inches. Key: F dorian.

The idea of a "boom town" has strong connections to the American west, usually referencing settlements that quickly grew into bustling cities wherever gold was discovered. For me, the imagery of a boom town brings to mind the sounds of constantly swinging hammers, bootsteps down wooden boardwalks, and the use of dynamite to loosen hidden veins of gold. It implies countless strangers working furiously toward a common goal. (You know, kind of like a band.)This sense of excitement, competition, and explosiveness provided half the inspiration for Boom Town. The other half comes from a much less volatile experience: the booming pre-concert sounds seated musicians often make while adjusting their chairs. Coordinate all that movement together and it’s (safely) explosive. Boom!Please don’t misunderstand. We don’t want students reenacting any pro-wrestling moves! To accomplish the chair-lifting technique, each seated musician simply lifts the front of their chair a few inches, just as they might to help them scoot the chair forward. Then, in time with the rhythm, the chairs are dropped back to the floor. On a wooden stage or gym floor the effect is especially impressive. (Please use discretion with your tubists and bassoonists, and with any other fragile/ heavy instrument. If there’s doubt a student can safely do the technique, have them stomp their foot instead.)The shouts of "Boom! Boom!" should, of course, be loud and explosive. They can also provide a fun audience participation opportunity for conductors who feel inclined to involve the crowd.Hold the fermata at the end of m. 56 (prolonging a rest) long enough for all musicians to reposition themselves before continuing. The quieter, more lyrical section at m. 57 should use light articulation and connected phrasing. Think of it as the dust settling over a meadow between dynamite blasts.Throughout Boom Town, take full advantage of the quieter dynamics and separated staccatos so the accents and louder moments stick out without overblowing. Encourage percussionists to be theatrical with their stick clicks at m. 33, m. 81, and m. 97, so the audience can see what is happening.
The idea of a "boom town" has strong connections to the American west, usually referencing settlements that quickly grew into bustling cities wherever gold was discovered. For me, the imagery of a boom town brings to mind the sounds of constantly swinging hammers, bootsteps down wooden boardwalks, and the use of dynamite to loosen hidden veins of gold. It implies countless strangers working furiously toward a common goal. (You know, kind of like a band.)This sense of excitement, competition, and explosiveness provided half the inspiration for Boom Town. The other half comes from a much less volatile experience: the booming pre-concert sounds seated musicians often make while adjusting their chairs. Coordinate all that movement together and it’s (safely) explosive. Boom!Please don’t misunderstand. We don’t want students reenacting any pro-wrestling moves! To accomplish the chair-lifting technique, each seated musician simply lifts the front of their chair a few inches, just as they might to help them scoot the chair forward. Then, in time with the rhythm, the chairs are dropped back to the floor. On a wooden stage or gym floor the effect is especially impressive. (Please use discretion with your tubists and bassoonists, and with any other fragile/ heavy instrument. If there’s doubt a student can safely do the technique, have them stomp their foot instead.)The shouts of “Boom! Boom!” should, of course, be loud and explosive. They can also provide a fun audience participation opportunity for conductors who feel inclined to involve the crowd.Hold the fermata at the end of m. 56 (prolonging a rest) long enough for all musicians to reposition themselves before continuing. The quieter, more lyrical section at m. 57 should use light articulation and connected phrasing. Think of it as the dust settling over a meadow between dynamite blasts.Throughout Boom Town, take full advantage of the quieter dynamics and separated staccatos so the accents and louder moments stick out without overblowing. Encourage percussionists to be theatrical with their stick clicks at m. 33, m. 81, and m. 97, so the audience can see what is happening.