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This
is the woeful tale of a day in the kitchen with a recipe that
called for, among other things, sun-dried tomatoes and red
wine. I like to think of myself as a cook, though I cannot
convince many others of that fact, but had not encountered
sun-dried tomatoes before. I had plenty of tomatoes growing in
my little garden, and as hot as it was, there were a few on
the vine that were almost dried already due to a little
neglect on my part. Needless to say, after baking them to a
crisp, which didn’t work, and microwaving them into
oblivion, another disaster, the recipe was a complete failure
and by the end of the day, a salami sandwich and a pickle was
my fare. I know now you can buy sun-dried
tomatoes in the store, but I will never partake of that
particular recipe again.
Notes
to the Conductor
The
great contrasts in tempo and dynamics, not to mention the
percussion parts, help to make this piece a wonderful crowd
pleaser. Originally I composed this march so I could perform
one with the many clinic bands that I conduct. There is never
enough time for rehearsal, and working up a march to the level
it needs to be takes too long, as you well know. So I wrote
this piece as an easier march, that could be attained in a
short amount of time. Much to my surprise, it has turned out
to be a hands down crowd favorite and goes extremely well in a
concert that is on the heavy side and perfect for Spring,
encores and outdoor concerts.
The baritone saxophone is essential. You will note the
fortissimo
marking which brings its down beats to the forefront
with an overstated, comical quality, which is what is
intended. The percussion parts, excluding the snare, bass drum
and crash cymbal parts, may all be substituted. The bird
whistle is really a must. Try and have a good one on hand. The
ones that you fill with water are good, however, they can
sound more like a pterodactyl if the water level isn’t just
right. "With great liberties" means exactly that.
Feel free to move the tempo around during all but the truly
march-sounding parts. It adds to the dramatic entrances of the
full-fledged march sections and to the jocularity of the
piece.
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