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Title	Among The Stars  NEW!
Article no.	4123470
Category	Concert/wind/brass band
Subcategory	Opening, closing and encore music
Instrumentation	Ha (concert/wind band); YB (young band)
Format	PrtStm (full score and parts)
Country of publication	USA (us)
Publisher *	C.L. Barnhouse Company
Publisher's article no. *	BA 011-4777-00
Series title	Command Series
Year of publication	2019
Price	click here
Composer	Galvin, Lisa
Difficulty level	3
Duration	4:35
Additional info/contents	“Among the Stars” is an exciting composition, perfect for a concert opener, feature or closer! The dotted rhythms and interesting syncopation will coax your developing young band into sounding like a much more advanced ensemble. The lyrical middle section begins with a brass quartet, providing an opportunity to showcase some of your outstanding players. (© Barnhouse Music)
Sample sheet music	click here
Sample score *	click here
Sound sample *
Video sample *
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Programme notes *: “Among The Stars” by Lisa Galvin: An Effective Concert Piece with Clear Pedagogical Focus Lisa Galvin’s “Among The Stars” is designed for intermediate concert bands or student ensembles and is rated at a difficulty level of 3. The score calls for a large wind ensemble, including woodwinds, brass, tuba, and percussion. The instrumentation features, among others, flute, oboe, clarinets, saxophones, trumpets, horns, and trombones. A percussion section—comprising glockenspiel, marimba, vibraphone, chimes, timpani, and two auxiliary percussion parts—further enriches the tonal palette. The work was commissioned by the Hilliard Weaver Middle School Band and dedicated to the memory of John E. Crumley, who served for many years as a conductor, brass player, educator, and adjudicator. The lyrical section incorporates the 1844 hymn tune “Maitland.” According to the program notes, the brass quartet featured in this passage serves as a symbol for the many brass students whom Crumley taught. • Contrasting Form and Timbre The piece begins with the marking “Bright” at a tempo of quarter note = 132. Dotted rhythms, sixteenth-note passages, and syncopated accents define its energetic character. Short, precise articulations give shape to the musical motifs, while recurring fanfare-like figures in the low brass provide clear structural landmarks. The score requires the entire ensemble to carefully coordinate accents and the preceding staccato eighth notes. This creates a unified rhythmic impulse, ensuring that the piece’s impact relies on more than just its tempo. Dynamic contrasts help structure the progression of the work. Sudden shifts to *mezzo-piano*—notably in measures 21 and 114—create distinct, audible contrasts. *Crescendi* should begin late, ensuring that active melodic lines are not obscured by an early swell in the overall sound. Recurring suspensions—notes that delay their resolution into a more harmonically stable position—further heighten the tension; these appear at several points in the score, including measures 6, 14, 22, 42, and 54. From measure 59, a brass quartet comes to the fore. As the melody moves between the individual parts, the interplay and balance between the players become particularly important. The full ensemble’s sonority recedes, giving way to a more transparent, chamber-music-like texture. In the lyrical passage that follows, the focus shifts to phrasing and a sustained, resonant tone quality. The character changes again at measure 75; a brief *accelerando* in measures 92 and 93 leads back to a livelier tempo from measure 94 onward. The final section brings together the previously established rhythmic and sonic elements, culminating in a powerful conclusion. • Instrumentation and Ensemble Balance The instrumentation allows for clear transitions between full *tutti* passages and smaller instrumental groupings. Both woodwinds and brass can take on either rhythmic figures or melodic lines. The percussion section supports the pulse and adds timbral color: in addition to snare drum, bass drum, and timpani, the instrumentation includes a suspended cymbal, triangle, wind chimes, cabasa, and cymbals. Mallet percussion instruments—tuned percussion—add clear, resonant colors to the ensemble’s overall sound. This diversity requires careful balancing. Especially in the lyrical section, the leading voice must remain clearly audible, even as the melody is passed between the parts of the quartet. In the section beginning at measure 35, the cabasa—or a shaker used as a substitute—must not overpower the horn melody. If necessary, the mallet part may be divided among several players. Alternative instrumentation is also permitted for the quartet, provided that the parts remain in their intended octave range whenever possible. • Pedagogical Opportunities and Challenges “Among The Stars” incorporates several key objectives for a student ensemble: rhythmic accuracy, clean accentuation, dynamic nuance, and controlled tempo changes. The dotted eighth-sixteenth note figures, in particular, require precise execution to ensure they do not drift into a triplet feel. In the *tutti* passages, the various registers must articulate in unison, while the low, fanfare-like figures should be played clearly—though without becoming overly heavy. The lyrical section provides a deliberate contrast to the rhythmically driven outer sections. The quartet encourages attentive listening, independent phrasing, and the ability to pass a melodic line seamlessly within a small ensemble. The accompanying parts also offer opportunities to focus on tone quality and dynamic restraint. Consequently, the work not only features effective ensemble passages but also provides specific focal points for rehearsal. • Suitability for Concert Programs • With its energetic opening and decisive conclusion, this work is well-suited as either a concert opener or a finale. The transition to a lyrical middle section also provides a moment of calm within the program. The brass quartet can be highlighted as a feature—for instance, by positioning the players toward the front of the stage. Success requires a well-balanced rehearsal plan: the rhythmic precision of the outer sections and the transparent balance of the middle section both demand careful preparation. For an intermediate-level concert band, “Among The Stars” thus offers a varied combination of sonic impact, formal clarity, and musical learning opportunities. Text: © musicainfo.net (KI) Quellen/Sources: Barnhouse Music: To Honor America

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	Format
	Among The Stars (concert/wind band; young band), full score and parts
	Among The Stars (concert/wind band; young band), full score
	Among The Stars (concert/wind band; young band), full score, large
	Catalyst, audio CD

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