The P's of Success


Thank you for your good work last night. I am so proud of what you’ve accomplished as I hope you are too. The CLCB sounds amazing. I will be sad to let this music go after Tuesday.


Now is a good time to send a reminder to those you have invited to the concert. You truly deserve a full house on Tuesday, but to get there each of us has to ensure at least 5 attendees with several going beyond that. Work your contacts and social media. And remind them to come early to get a good parking spot and seat. I think if you tell them about our concert and that you’d really like them to attend, they will.


Thank you for coming early to set up last night. We even started early. It would be great to start early every Tuesday. Julie gave us the timeline for this Tuesday last night. Be sure to tell your section leader if you are running late. And try to leave the best parking spots for our fans.


Shine up your horn for the big show and for the pics that follow. And while you’re at it, be sure to take care of yourself too. Plenty of water, gatorade, rest, etc…


I know I still need to practice and listen to those recordings. Et tu?


Remember the concert black dress code. Consider wearing your best concert black, including a coat for the men if you have it. Choose slacks over jeans, etc… And please wear black shoes and socks. Just saying’.


We have had some outstanding March concerts with Carmina Burana, Ireland, Firebird, Planets et al. This one promises to be the best.


We’re using ‘copious’ program notes for this concert, but we’ve had to edit them due to program space. If you’d like to peruse the entire notes, here ya’ go:


A Festival Prelude

Alfred Reed

Written in 1956, this work was dedicated to and premiered by the Phillips University Band of Enid, Oklahoma, with the composer conducting, as part of the 25th anniversary of the Tri‐State Music Festival. Alfred Reed (1921-2005) said, “The work was conceived specifically in terms of its title as an opening kind of piece...the music was to establish a bright and brilliant mood throughout, with no other connotation in mind.” Two fanfare‐like motifs and a main theme occur throughout the composition using the brass and woodwinds separately and combined to impart tone color and majesty. In 1991, the composer commented, “A Festival Prelude was originally written for performance by a university group of players, and I do recall there having been some difficulties with some of the more demanding textures of the work at that time, 34 years ago. I also recall not offering the work for performance for nearly four years after its first performance, despite the willingness of the publisher. I was hesitant to publish on the ground that I did not feel there were a sufficient number of high school bands in the country who could cope with it as a whole.”

Sonata in A minor

Georg Phillipp Telemann (1681-1767)

Arranged by Alfred Reed


Les Plaisirs

Libby Brown, flute

Libby Brown graduated in 2016 from St. Olaf College, where she majored in biology with a concentration in biomolecular science and played in the St. Olaf Band. Currently, she works as a laboratory technician at American Preclinical Services. She has been playing with the City of Lakes Community Band for two years and is excited to share her performance of Telemann’s Suite in A Minor with you.


March of the Belgian Paratroopers

Pierre Leemans

Arranged by Charles Wiley

While Leemans (1987-1980) was serving in the Belgian army during World War I, on a request from his commander he began to write a march, which he did not finish. During World War II, when the Belgian parachute brigade was formed, he was having dinner with a group of paratroopers and was again asked to compose a march. During one single night Leemans composed this march on themes recalled from his earlier effort. The trio of the march originated from a march written for a N.I.R. radio contest. After only winning the consolation prize, the march was abandoned and is known with the competition designation ‘V.’ A quiet, unaggressive essay in the easy-paced European style, it is set in the form of a “patrol,” the music marches on from the distance, plays, and passes.



Gaspar Cassado

Credited to Girolamo Frescobaldi

Arranged by Earl Slocum

A toccata is a rhapsodic form of instrumental music. Originally written for the organ, it is essentially a solo piece which was improvised. The name “toccata” indicates that it was conceived as a “touch piece” characterized by rhapsodic sections with sustained chords, scale passages, and broken figuration. The present toccata consists of three sections with tempos of slow, fast, and slow. The rhapsodic beginning and closing sections enclose a quick middle section, featuring french horns, which is based on a development of a tuneful fanfare motif. The subject is treated antiphonally and is varied continually through the addition of new counter-subjects and accompaniments. The movement concludes with a short, fast coda. 

Girolamo Frescobaldi was originally credited as the composer of the Toccata. Musical scholars in the late 20th century began to question the existence of Romantic references within the Baroque setting of the piece. In 1982, it was discovered that Gaspar Cassadó (1897-1966), the son of Spanish composer Joaquin Cassadó and a student of Pablo Casals, had written the work in 1925 for cello and piano and had attributed it to Frescobaldi to promote the work. Attributing new works to established composers has occurred frequently in musical history. Gaspar Cassadó was an accomplished cellist. In addition to the Toccata, he wrote an oratorio, a cello concerto, a rhapsody, and several chamber works. 



Symphony No. I, The Divine Comedy (1995-1997)

Robert W. Smith

Commissioned by The James Madison University Band and The George Mason University Band


The Divine Comedy is a four movement work based on Dante Alighieri’s celebrated work, now known as The Divine Comedy. “La Commedia”, as Dante originally named it, is an imaginary journey through the three realms of the afterlife: inferno (hell), purgatorio (purgatory) and paradiso (heaven).

Dante wrote the comedy during his exile from Florence between 1302 and his death in 1321. The epic poem is termed a comedy because unlike tragedies that begin on a high note and end tragically, comedies begin badly but end well. The poem indeed ends well, with the protagonist, Dante himself, reaching his desired destination – heaven – a place of beauty and calm, light, and ultimate good. Conversely, the inferno is dark, morose and inhabited by irredeemable sinners.

Dante set the beginning of the story on Maundy Thursday, 1300, when he was 35 years old. He alludes to being “middle aged” in the opening lines of the poem:

Halfway through our life’s journey

I woke to find myself within a dark wood

because I had strayed from the correct path.

Oh how hard it is to describe

how harsh and tough that savage wood was

The very thought of it renews the fear!

Dante alludes to an apocalyptic dream of the biblical Book of Revelation:

Lost in a dark wood Dante is faced with three menacing beasts, a leopard, a lion, and a she-wolf - respectively symbolizing lust, pride and greed preventing his escape. As Dante despairs, a character based on the Roman poet Virgil appears, announcing that he has been sent to guide him through hell. Later, having confessed his sins, and with his beloved Beatrice as his guide, Dante is led into Paradise and attains a glimpse of the face of God granting his return to Earth.



Abandon all hope, ye who enter here!

So warns the inscription on the gates of the inferno, the first realm of Dante’s celebrated work. The movement follows the epic poem, using musical references to the events in select cantos of Inferno. Dante first enters Limbo where souls that died before Jesus wait, neither in heaven nor hell. Enormous crescendos, violent percussion, and towering blocks of sound quickly lead into Dante’s vision of The Wall of Dis (Gates of Hell). He soon passes through Hell’s seven realms.  The music depicts the sins of “violence” with its intense storms and fiery sands. The crimes of “ordinary fraud” follow the violent sinners. The composer used the sin of hypocrisy as visual imagery in the formation of this section. Dante describes the hypocrites as they file endlessly in a circle, clothed in coats of lead which represent the weight of the their hypocrisy on earth.  During this dirge the sinners step on the corpse of Caiaphas. The final section of the Inferno features the sins of “treacherous fraud.” Here malicious chaos and whip cracks are followed by howls of pain. As Dante enters this circle of Hell, he hears the dreadful blast of a bugle. “Not even Roland’s horn, which followed on the sad defeat when Charlemagne had lost his holy army, was as dread as this.”  Dante and Virgil are lowered into the last section of Hell by giants who are constantly pelted with bolts of lightning. As their journey nears the end, they are confronted with the sight of Dis (Lucifer) whose three mouths are eternally rending traitors Judas, Brutus and Cassius. Dante and Virgil climb down the flanks of Satan, exiting to the other hemisphere, leaving the fiery world of the Inferno behind.



Dante, having completed his journey through the Inferno, is brought by Virgil to the shores of the island mountain of Purgatory in the midst of the southern ocean. The mountain is comprised of seven terraces leading to the top in concentric circles, each representing one of the “seven deadly sins.” In each terrace sinners are given an appropriate penance, which is symbolically tied to their transgressions on earth. The sufferings are voluntarily accepted by the spirits in atonement for their sins. The composer has woven together musical elements depicting each of the sins of the seven terraces. The sin of the first terrace is “pride.” The souls plod slowly around the mountain, doubled over by huge rocks on their backs, which represent their level of sin. As the composition develops, the sounds of lamenting souls dragging the heavy loads can be heard against the mournful, haunting melodic line. The souls of Purgatory are often musical beings: they express their sensations in songs, hymns, and psalms. Purgatory is the realm of hope where the proud, envious, wrathful, slothful, prodigal (avaricious), gluttonous, and lustful may atone for their sins on earth. As Dante and Virgil continue up the mountain, they feel a violent earthquake at which all of the spirits proclaim “Gloria in excelsis Deo!” (Glory to God in the highest). Dante learns that the quaking signals the completion of one soul’s penance, for which all the other souls give thanks and pray it will be there turn next as they return to their endless march. The completion of the penance allows the soul to ascend to “Paradiso” (heaven), taking his or her rightful position in relation to God.



The Ascension begins with Dante gazing up to the stars from atop the Mountain of Purgatory. Having been instructed and purified in Purgatory, he is prepared for his journey to Paradise. In the distance he hears the most beautiful sound he’s ever heard, the “Music of the Spheres,” accompanied by beams of light. Beatrice, now his guide, lifts her eyes toward the sun. Following her example, Dante looks to the sun and is at that moment transformed (“trans-human-ized”) in preparation for his great adventure. A swift horn call starts the ascension, a flight faster than the speed of thought accompanied by sounds of wondrous beauty and intensity. He ascends to the Sphere of Fire before arriving at Heaven’s Gate.



In “Paradiso,” the composer was faced with the same basic problem that confronted Dante in his literary masterpiece. What description of heaven will have a universal appeal? The sensory experiences on which Dante built his heaven were sights and sounds. The sights consisted of brilliant lights with varied colors, symbolic formations, and combined with their hypnotic movements. The sounds were those of the imagination, conjured by the reader’s own past experience with unheard melodies “sweeter than those heard on earth.” It was Dante’s hope that scenes presented to our imagination through the language of poetry may surpass the remembered scenes of our own experiences.

In “Paradiso,” Dante awakes lost in a black void but is soon enamored with the sight of light growing brighter and more intense with each sphere of his journey. The composer has called upon the mallet percussion and triangles to represent those beans of light. Beginning with a single tone (beam), the intensity grows with each entrance until we are surrounded by lights of multiple colors and complexities. As the light engulfs the listener, we are presented with the sounds of joy, peace, love, and hope… growing even brighter as the journey through the spheres progress. 

As the listener arrives at the Empyrean (the region of pure light), the “Music of the Spheres” is restated in brilliant fashion by the brass. The light continues to intensify as woodwind colors swirl around the brass figures. The sights and sounds grow even brighter as Dante sees a river of light which is transformed into a great rose at whose center is the wonderful source of the lights. Upon the petals are seated the saints, clad in the whitest of robes. Angels fly up from the heart of the rose to the petals, their faces of living flame, their wings of gold, their bodies white as the purest snow. Dante looks to the highest tier, where Mary sits enthroned, surrounded by a thousand angels. She is surrounded by heroines of the Old Testament: Eve, Rachel, Sarah, Rebecca, Judith, and Ruth. On Mary’s opposite side are the male figures of the Christian era: John the Baptist, St. Francis, St. Benedict and St. Augustine as well as Adam, Peter, Moses, and the apostle John. The lower tiers of the rose are filled with thousands of infants, purified in their glorious innocence. With a gracious smile form the Virgin Mary, Dante is permitted the Beatific Vision. He lifts his eyes toward the heart of the rose. Within one blinding light, he recognizes three separate lights in the form of interlocking circles (a symbol of the Trinity). Within one circle he perceives the dim image of a human face, a glimpse of the face of God, a reminder that God, through Christ, lived - and still lives - as man on earth.

Robert W. Smith (b. 1958) is a Professor of Music and Coordinator of the Music Industry Program in Troy University’s John M. Long School of Music. In addition to his teaching responsibilities, he is one of the most popular composers in the world today with over 700 published works. The majority of his work was published through his long association with Warner Bros. Publications. Mr. Smith is the President/CEO of RWS Music Company, exclusively distributed through C. L. Barnhouse.

He studied at Troy University and earned a masters degree at the University of Miami where he studied composition with Alfred Reed.

Mr. Smith’s works for band and orchestra have been programmed by countless professional, university, and school ensembles throughout the North America, Europe, Australia, South America and Asia. His music has received extensive airplay on network television as well as inclusion in multiple motion pictures and television productions. His “Into The Storm” was featured on the 2009 CBS Emmy Awards telecast for the HBO’s mini-series documenting the life of Winston Churchill.

Mr. Smith’s teaching responsibilities at Troy University are focused in media composition, audio and live event production, publishing and entrepreneurship.

now is the time

Divine Team,

Great job on Tuesday everyone, After a slow start we got a lot accomplished. I appreciate your attention and patience.

If there was ever a time to invite your friends to a concert, now is the time, Get the word out. Let’s share this with a packed hall. SRO!

This Tuesday is dress rehearsal. It will be on stage. Thank you for coming early to set up - and if all goes well we’ll start early too as there is a lot to do before 8:30 when we have to tear down.

Here’s the order for the Dress and for the Concert:

Festival Prelude

Flute Solo



Divine Comedy

Remember when we are standing for the DC.

Two measures before vocal entrances.

In Mvt 1 Dustin stand in pit to start concert. Kari stand front stage right

Mvt 2Ryan, Flute soloists and Dustin (3 times!) stand for your solos,

In mvt 3 Jason stand front stage left.

I am a bit nervous about the crystals for DC. I need four volunteers to tune and play these. Let me know if you are interested asap.

Here is the youtube video with Smith conducting the Oklahoma All State Band. His descriptions of his music are quite interesting:

Thank you to everyone for making this concert cycle a success, especially with all our challenges. Kudos to all.


all for one and one for all


Thank you for your prompt attendance last night. I appreciate you patience and attendance as we addressed some last details in the DC. Whether it’s bringing a chain, putting up posters, suggesting performance ideas, volunteering for percussion, or practicing - we’re all doing our part. I am so excited for your performance on the 26th.

If you missed rehearsal please contact your section leader as there were some changes.

We passed out the music commission last night which we will perform at the May pops concert and on the summer series. (“Extra, Extra, Read All About It”) Unfortunately we didn’t have time to read it last night, but if you have time, give it a read in your practice.

Let me know if you have any other performance ideas for the Comedy, or anything you’d like me to work on in rehearsal next week, or if you have any questions on the DC.

One last rehearsal, then dress rehearsal, then the concert. “Snow, Snow, Stay Away.’ Remember to come early next week as parking will be at a premium.

Let’s set it up this way:

DC all, in order - putting it back together with some stopping

announcements/flute solo (Les Plaisirs)/break

A Festival Prelude


Then there were 3


Good rehearsal last Tuesday. Even with a limited turnout we continue to get work done. If you were absent or late, please check with your section leader to catch up on anything missed. Let’s all do what we can to be at our last 3 rehearsals - and on time. We will deep dive on Divine Comedy one more time before putting it back together. Let’s set it up like this.

Divine Comedy (chunks)


March Fresco

A Feistival Prelude

If we have time, we will sight read the piece commissioned for my mom.

As promised, here are the marked tempos for A Festival Prelude - 1st number is the measure, 2nd is the mm:














One of you mentioned after rehearsal last week that there is no tempi markings on your parts and that it would be helpful to have them to practice with. Great idea! First number is the measure number, next number is the tempo marking in the score (no promises I will hit them exactly!)






















Here’s the order for Tuesday:

Festival Prelude

March Fresco



if time: Inferno, Purgatorio



I sure am enjoying the Divine Comedy. I appreciate your work last week as well as listening to the story and the composer’s thoughts. We will keep digging this Tuesday. Since this is the ultimate ‘program’ piece, expect some programmatic approaches. Please strive to be there on Tuesday and to be on time. We will make the most of the rehearsals we have left. In the meantime, get the word out to your fans about the concert:

Festival Prelune

Mitch (March, Fresco)

Flute: Overture


Divine (Inferno, Purgatorio, Ascension, Paradiso)

Neither snow nor sleet...


I certainly understand and respect that many were unable to attend rehearsal last week due the the weather. But was impressed with the 45 members that made it and the productive rehearsal that we had. Kudos to the oboes, trombone and percussion sections for 100% attendance!

They say this Tuesday may bring more snow, but fear not, we will make it through this. We only have 5 (possibly 6 if we can rehearse during township elections) before our March Concert featuring the Divine Comedy. We can do this - with your help: attend rehearsals, practice and listen to the recordings will help. And it’s never too early to get the word out about this special performance - Tuesday, March 26.

This Tuesday we will finally get to the rehearsal planned for a couple weeks ago, when we get into the story and inspiration of the fantastic programatic masterpiece. Set it up this way:





Telemann (break)


March if time

Festival Prelude

Order and an invitation


This week we will play the Divine Comedy in order. While doing so I will share the composer’s thoughts mentioned in the score to give us a better understanding of the piece. Let’s set it up like this:





Telemann (break)



Festival Prelude

The Telemann flute solo rehearsals will be limited to 10 minutes while the rest of the band takes a break. Section leaders may want to take this time for short sectionals as needed. Please feel free to walk back into rehearsal quietly after the 10 minutes (even if we’re still rehearsing) so we can move right into the next piece.


Many of you remember when the CLCB used to be the MBDA reading band at the state music convention. The MMEA Convention is a showcase for jr and sr high music groups as well as college and community ensembles. There are also clinics, exhibits and much networking. Lately more and more community bands have performed, recently the St Louis Park CB. This year the Northern Lights Variety Band and the Medalist Band will be featured.

Besides the CLCB, I also direct (and play drums) in a community jazz band, Southern Minnesota’s Real Big Band. The RBB has also been invited to perform at this year’s Convention. It is open to the public and you are invited to attend. We are featuring piano soloist Nachito Herrera on several tunes. Nachito is a professional jazz and classical pianist often performing at the Dakota. I’m very excited about this opportunity. We are performing Thursday Feb 14 from 4:45-5:30 in the Minneapolis Convention Center room 205. I would be thrilled if you could join us and not often you can see a free concert by Nachito Herrera.


Off to a Divine start

Just a quick note to thank all of you for a remarkable reading session last night. What fun. You sounded great reading some tough literature. I think we are in for an amazing March concert. And kudos to Dustin alto sax on your soloing - and sight reading at that. What a treat to hear you play.

If you are interested/willing in playing percussion for one movement of the Divine Comedy, please contact Margie asap as she starts making part assignments. Thank you in advance - there’s a ton of parts to cover.

I look forward to seeing you all for the next rehearsal on Jan 22. In the meantime take a listen to the Divine Comedy. There is a great recording of all 4 movements on youtube listed in the last Directors Note.


Concert Kudos

Congrats on an excellent Christmas Concert! I thought it went great and it seems our audience agreed.

Some Kudos:

-Kim Ode for the reading of Twas the Night Before Christmas - mostly by memory with our lighting challenges. We will get the sound and light challenges fixed for the next concert.

-Everyone for helping the set up and tear down. I was really caught up with the energy of everyone working together to set up. There were so many of you there by 6:00 setting up and helping each other. Great teamwork made it fun.

-Everyone for helping recruit a large audience to enjoy the music you had prepared.

-Everyone for looking terrific with your concert dress black and holiday flair.

-Everyone who performed as a percussionist. You played well and really helped us out. There is so much great music out there that simply cannot be done without a full percussion section.

-Everyone for your flexibility through the Twas The Night Before Christmas set and the Christmas in the Round opener. They required all of us working together and you made it happen.

-All of our talented soloists for your superior musicianship.

-The board for your work organizing the event and to our amazing librarian Kelli.

-Everyone for a stunning and memorable performance.

The March concert is where we pull out heavier music to showcase the band’s talents. It has become one of our favorites. Past major works have included Carmina Burana, The Firebird Suite and the Sousa Concert. This year will be performing Robert W. Smith’s Symphony No. 1, “The Divine Comedy,” among other works. We are doing all four movements. Please take a listen before our January 8 reading session:

(remember to click on all 4 links)

Hope you are having a great holiday season. All the best and see you soon.


Now THAT was a dress rehearsal


Thanks everyone for your work setting up, rehearsing and tearing down last Tuesday. We got a lot done and are ready for what is sure to be a fantastic concert.

Some thoughts:


last minute practicing and listening to quality recordings of our music

Make sure horn is polished and in perfect performance condition

Remind invited guests that the concert is this Tuesday at 7.

Do last minute advertising

Pick out something nice to wear and remember the added holiday flair

pack and extra music stand

Think thru production aspects of concert and get your music in order

Healthy diet day of program

Be at school by 6p on Tuesday to help with set up. If time, warm up and tune on own.

Tell Section leader if running late

Full ensemble warm up and tune at 6:30

Have fun making wonderful music with the team and for our audience. Remember to acknowledge their applause.

Let me know if you have questions. It’s going to be a blast



I’m looking forward to Tuesday’s dress rehearsal. It will be important and I think it’s going to be fun. Everyone working together to make our holiday concert a special one. We will start on stage as there will be some set up issues to solve. Then we’ll go to our places for Christmas in the Round, run the concert and see what we have. Kim Ode will also be there to do her reading of ‘Twas the Night before Christmas. Here is the order of the dress rehearsal and the concert:


Welcome - Tedd


reading part 1


reading part 2


reading part 3


reading part 4


reading part 5


Ask - Mary


Thank - Tedd



Get the word out


The program is really coming together for our Christmas Concert. Thank you for your continued good work. I think Christmas in the Round will be a hit. I’m looking forward to what we can accomplish this week. Our biggest challenge is the Hallelujah Chorus.


If you are a guest percussionist on any of the pieces, a big thank you from me and the section. You’ve made these great pieces possible to perform as their is a lot of percussion parts presented. Just a reminder, please get ready quickly when it’s your turn to play. You will need to make a quick transition to and from during the concert as well. And if your piece is first in the rehearsal (or concert) please be ready to start the night there.

Here’s the order for our last rehearsal before the dress:

Sleigh Ride







Sing Along

Let me know if you have any questions or comments.


Better late than never


Sorry for the tardiness of this post. I hope you all had a terrific Thanksgiving weekend. Good rehearsal last week. Thanks for your work on putting together Christmas In the Round so quickly. If you have a minute, take a listen to it here:

Tempos are:

measure 1 = 120

m 64 = 96

m 88 = 96

m 104 = 144

m 156 = 144+

m 179 = 126

m 210 - 96

m 231 = 104

m 243 = 210

m 282 = 138

m 318 = 112

m 324 = 84

Thank you to everyone who has donated to the music commission project so far! We were thrilled to gain $300 since it was announced to the band.

Looking forward to seeing you all tomorrow night. It will be the last rehearsal, before the dress rehearsal, before the concert. Get those posters out!




You sounded terrific again on Tuesday night. This will be a fun concert for the audience and the band. Be sure to start getting the word out to friends and family.

I have been really impressed lately with the sense of community growing in the band. The volunteerism is inspirational and the leadership from the board has been organized and positive. It’s been a very good season.

We’ll do it again on Tuesday, I will put the order on the board. Our one last piece - the opener - will be passed out and read. I think you will enjoy it.

Thanks for giving me a few minutes to describe the commissioning project we are doing for my mom. The Lakes Band will be premiering this new work at our spring concert. I will let you know how the process is going in the mean time. The piece is being written by native Minnesotan Mark Wolfram. He has been great to work with. If you’d like to support the project financially go to the Syb Gullickson Music Commission page on gofundme. This is totally optional as the project is a go.

Mom was one of the band’s biggest supporters coming to all our summer concerts and many spring and fall performances. She even flew up special from her Mesa home to see our Sousa concert. My brothers and I are grateful to all of you for being so kind to her at our events. She was a staunch supporter of my music endeavors in addition to her grandson’s. I so look forward to first hearing the band read this special new piece.

Looking forward to Tuesday


Its beginning to look a lot like a Christmas Concert

Good job at last week’s reading session everyone. I was really impressed with the great turnout and the terrific music you made. I think the concert will be a real crowd pleaser. We have 4 rehearsals to put it together plus a dress rehearsal - which will be a straight play thru this time. Plan to play everything we read last Tuesday plus two more tunes coming this Tuesday - Sleigh Bells and an opener. See you in a few.



Lakes Band,

Congrats on a fantastic performance Tuesday night. Like so many others, I was impressed with your performance. So many great comments. And the hall itself was terrific as well. Acoustically, aesthetically and size it’s a perfect hall for us and the balcony proved to be a hit. A great start to the season and to the City of Lakes Band.

American Salute was solid as the opener. Heart of the Morn was a highlight. I’m pleased with how much you did with Hamilton and Star! exceeded expectations. The whole concert was very good, but there were some moments that were truly special. Remarkable when you consider the difficulty of the program and the short and truncated rehearsal time. And the band LOOKED great. Very professional all around. Again, it is an absolute pleasure to be associated with the band and each of you. CoLB is a very special thing.

With apologies to those I will miss, here goes some acknowledgements:

Everyone who brought that great crowd in. Especially to those who passed out programs.

All that helped set up and tear down, especially with limited time. Many hands make light work.

Our Soloists: Ann Flute, Emily Clarinet, Sara Bassoon, Betsy Alto, Jason Trumpet, Nick Trumpet (not brothers), Adam Trombone, Andrew Trombone (are brothers), Margie Timpani.

Kudos to our bassoon trio. Never has a community band had such a great section.

Kudos to the trombones for a very strong performance overall.

Mitch for your performance.

Kelly for covering the keyboard parts.

All those who pitched in to cover percussion. We could not have done much of this music without you.

Margie and Megan for the pr and program.

Jason for cueing the loons.

The board for all their work and planning.

And everyone else that I forgot!

After that big program and before our ‘heavier’ March concert, we are going to take time to enjoy some light Christmas music. I’m excited to share it with you at our reading session this coming Tuesday.

Make it a great weekend,




Thanks for coming to my birthday party on Tuesday. What a great time gathering everyone for musical chairs and cake - and what a great rendition of Happy Birthday to You! (I will remember this!!) Hope you all had a good time.

This Tuesday will be the ‘dress’ for the season opener. You’ve done great work getting the music ready. We will be playing thru and touching up everything in order. We will do Hamilton twice and make sure everyone has all the road map info they need. I will also rewrite the ending insert for trumpet and clarinet 1.


American Salute


Heart of the Morn

Always United




Be sure to invite at least 10 people to this special performance. The balcony will be open for those that prefer better site lines and acoustics. I’m looking forward to it.


Our Shot

Team Cool,

Always fun to see you all and make music. Tuesday was fun - wish we could do it again tonight.

From the good news department - someone who heard us last summer has requested permission to perform Chris’ arrangement of Planet Krypton. Kudos!

Get the word out on the concert 7:00 Tuesday Oct 30 at JP. Would be fun to share this great music and performance with a full house.

Tuesday will be:

American Salute

Hamilton - play through, let’s see what we’ve got





Have a great week,


Lakes Band

That was some legit work last Tuesday Lakes Band. I am looking forward to Tuesday and to the concert on Halloween Eve. Get the word out that JP will be the place to be on Oct 30.

Order for Tuesday:

Am Salute

Hamilton in order presented in musical





Some edits to clean up on Hamilton:

m 7 - euph slur note 2 into 3 and note 6 into 7

m 40 trumpet solo change back accent articulation to one 16th later

m 42 flute & oboe change back accent articulation to one 16th later, change dynamic to FF

m 56 etc bass clar, bari sax, bass bone, tuba, drums - first 3 notes loud, short and accented

m 68 & 69 bsn, clar, bass clar, bari, tuba, drums start from soft and cresc

m 74 etc flute & oboe all notes long

m 118 sus cym roll with cresc

m 122 rall starts here

m 125 2 bsns and 2 tubas down 8va

m 1320134 bari, bass bone, tuba, drums - accent every note, very aggressive

m 132-134 2 bsns down 8va

m 134 all mark as FF

m 137 flute 1 up 8va, 2 bsns down 8va, 3rd clar down 8va, 2 bass clar down 8va, 1 tenor sax down 8va, bari down 8va, bass trombones down 8va, 2 tubas down 8va

m 138 flute 1 up 8va, 2 bsns down 8va, 3rd clar down 8va, 1st altos up 8va, bari down 8va, trumpet 1 up 8va, trombone 1 up 8va, trombone 3 down 8va, 2 tubas down 8va