Chase the Horizon Concert Band - Sheet Music

Concert band Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Chime, Clarinet in Bb 1, Clarinet in Bb 2, Crash Cymbals, Euphonium, Flute, Flute 2, Glockenspiel, Horn in F, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. (Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Clarinet in Bb 1, Clarinet in Bb 2, Crash Cymbals, Euphonium, Flute, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet in Bb 1 and more.) - Grade 2

SKU: CF.YPS197

Composed by John Pasternak. Folio. Young Band (YPS). Score and parts. With Standard notation. 148 pages. Duration 0:03:57. Carl Fischer Music #YPS197. Published by Carl Fischer Music (CF.YPS197).

ISBN 9781491152171. UPC: 680160909674. 9.0138888888889 x 12.013888888889 inches. Key: Eb major.

Chase the Horizon is axa0musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. Itxa0begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion.
This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m.xa092, let the horns and saxophones really shine through.