ANCHOR BAY BAND BOOSTER EXECUTIVE BOARD The Anchor Bay High School Instrumental Music Department Tom Stanton, President Chris Worton, Vice President - Fundraising proudly presents the Kathy Simpson, Vice President - Bingo

Holly Bennett, Treasurer Dean Larson, Financial Secretary SYMPHONIC BAND Lynnette O’Brien, Secretary SYMPHONIC BAND P. David Visnaw II, Instrumental Music Director WIND ENSEMBLE

ANCHOR BAY HIGH SCHOOL ADMINISTRATION and the

Ms. Judy Stefanac, Principal Mr. Hank Anderson, Assistant Principal JAZZ ENSEENSEMBLEMBLE Mr. Vic Balaj, Assistant Principal Mrs. Sherry Kenwood, Assistant Principal ininin a a TQSJOH DPODFSU

WWW.ANCHORBAYBANDS.ORG

UPCOMING INSTRUMENTAL MUSIC EVENTS

5/18/05 - 5/21/05 — Florida Trip! 5/26/05 — New Marcher Orientation 5/30/05 — New Baltimore Memorial Day Parade Thursday, May 5, 2005 5/31/05 — Instrumental Music Banquet (Salt River) 7:30 P.M. 6/5/05 — Graduation (McMorran Auditorium, Port Huron) Anchor Bay High School Auditorium 6/13/05-6/15/05 — Pre-Marching Band Camp (‘05 - ‘06 MB) 6/26/05 — Bay Rama Parade (‘05 - ‘06 MB) 8/1/05-8/6/05 — Marching Band Camp (CMU) Michael R. SauerSauer,, Instrumental Music Director P. David Visnaw II, Instrumental Music Director PROGRAM SYMPHONIC BAND

PICCOLO BASS CLARINET FRENCH HORN 2nd HOUR SYMPHONIC BAND Apryl O'Leary Vida Austin Kristina Croes Jenna Hill Michael Johnson II Amanda Davidson + Shenandoah..…………...... ……….…..……………………Ticheli Amanda Shirey Elise Holderbaum Jennifer Wilssens * Jeff Payne * FLUTE Karen Rosenbusch Amanda April Tim Steffens 3rd HOUR SYMPHONIC BAND Nicole Becker BASSOON Kristen Vennettilli Jessica Briarton * Laura Chirio Paul Williams * Lindsay Hornibrook Trail of Tears...... ….………..….…………...………....J. Barnes Jessica Krol Elizabeth Litchfield ALTO SAXOPHONE TROMBONE Carolyn Murray Amy Bowron Paul Barnett Nicole Saghy *+ Erica DeForest * Sandra Hromek COMBINED SYMPHONIC BAND Amanda Schwager Jackie Heide Jeremy Rhodes Amanda Trembley Jackie Piper Meghan Root * Nicole Vanderhoff Sarah Rudnick * Jessica Sims FIRST Suite in EE----Flat...... ….…...….……...... ………..G.Flat...... ….…...….……...... ………..G. Holst Stephanie White Lauren Saad Jarett Smith * Matt Wagner I. Chaconne OBOE TENOR SAXOPHONE IIIIIII. II I. March Jenna Hill Amanda Borden EUPHONIUM Rachel Olivares * Jonathon Holderbaum * Maxwell Price * Jessica Keller CLARINET Lisa Roland * WIND ENSEMBLE Shaina Barry Joey Spezia Emily Bergmann BARITONE SAXOPHONE Cloudburst...... ………………………..…….…...... E. Whitacre Jacqueline Calvin Ashana McPherson Amy Demick Kevin Keck * TUBA Krystyna Dzierzanowski Dennis Simpson Jonathan Bryson Paige Laemmerman Josh Stros * Candice Forrest * Ride………………………………………………………..….S. Hazo Catherine Mavis Sterling Hamilton Emma Orczykowski Scott Kociemba * Sarah Plebanski * TRUMPET Aaron Qualls Mike Abele Lauren Russell Brian Colbert PERCUSSION Jessica White Ken Debus * Sean Demers * JAZZ EENSEMBLENSEMBLE Lauren White * Casey Fraley Brian Duncan Elizabeth Wirick Andrew Karasinski Scott Larson * Nicole Zvara Thaddeus Kulczycki Mark Nagel La FiestaFiesta...... ……..…………………………………....…C...... ……..…………………………………....…C. Corea Chris Roehr Darcy O’Hearn Anthony Sabella * Nick Semaan ALTO CLARINET Tyler Slasinski Kevin Therrian Gabrielle Duda Jeff Williams Mariel VanOverbeke Blues for Miles…………………………………………….C. Corea Alaena Parsons

Immediately following tonight’s concert, please join us in * Denotes Section Leader + the cafeteria for an afterglow and a performance by the Denotes District XVI Honors Band # Denotes Michigan Youth Band and/or Orchestra ABHS Jazz EnsEnsemble.emble.  Denotes MSBOA All-State Band e- mu- n, call n, it call ductor’s intensi- nd with nd with eations, eations, is one is one d ofd short- d interprets. d interprets. control of control of l diffi- l (but o fractions o ms, lip, ms, lip, and the nota-

WHAT IS MUSIC? IS MUSIC? IS WHAT WHAT WHAT IS MUSIC? IS MUSIC? IS WHAT WHAT SCIENCE FOREIGN LANGUAGE

ART ART MATHEMATICAL MATHEMATICAL HISTORY HISTORY EDUCATION PHYSICAL Music is a is a Music It it exact Ais exact,demands acoustics. specific; and con full scoregraph indicates chart, a which is a frequencies, all ties, atmelody, anda harmony changes,volume once theof most exact time. control is Music basedIt time is rhythmically ofon int the subdivisions mustwhich be done, not out worked on paper. is a Music Most theofterms orare Italian,French; in German, nottiondeveloped a kin is certainly highly English—but what you will. handuses toThethat symbols ideas. represent semantics of spond to instantly hears the the andsound ear the min Music these most all of all… is but of things, is Music to Itatechnica take dry, allows human all thesebeing cult) totechniquesuse thememotion. That and create thing scienceemotioduplicate—humanism,feeling, cannot sic sic is themost completelanguage. and universal is Music Music usually reflects ofthe environment and times its cr and/orfeeling.often racial even the country is Music fantasticfingers,It requires of hands, ar coordination cheek,facial in and extraordinary muscles, addition to thediaphragmatic,back, stomach,muscles, r and which chest century. th located in .

hroughthe the years, ee but ee by the Senedo In- heorigins ofnames. their the1750’s by the Cherokee evoked by the words, es- gton, Kentucky. Many vari- rowingoptimism, pro- to piredby the freedom and e e Chief Shenan- t all t date the to 19 ed theed sound with ofrolling a ion, Shenandoahmeans Pennsylvania, to a pro- young s for love Native a American namedShenandoah. Others elessnessalongside it. The Seven years, I courted sally SevenIyears, courted sally Way you rolling river hey, Seven longedher haveI to more, boundAway,away wide we’re the ‘cross Missouri. boundFarewell, youleave my dear,to I’m Way you rolling river hey, Oh, Shenandoah, deceivenot you I’ll boundAway,away wide we’re the ‘cross Missouri.

SHENANDOAH

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Someclaim the that river and valley werenamed in asfriendly a tributeto a visitingIroquois Chief suggestthat the region wasnamed by the not Cherok Theredisagreementis among historians concerning t diansof the Virginia Valley.the In Tradit Senedo “Daughterof the Moon,”and bears relation no th to doah. Theorigins of folksong the equallyare obscure, bu his In setting of Shenandoah, Frank Ticheli was ins beauty beauty offolk the melody and by the natural images peciallythe imageof river. a He wasless concern than river its with life-affirming energy – tim its work’smood ranges from reflection, quiet through g foundexaltation. TheShenandoah Valley and the Shenandoah Riverare has been It attributed variously a to coal miner in tégé ofStephen Foster, and to housewife a Lexin in antson the melody andtext have beenhanded down t mostpopular telling the story of early an settler’ woman. SHENANDOAH Oh, Shenandoah, hear longyou to I Way you rolling river hey, Shenandoah,longyou to I hear boundAway, wide to we’re ‘cross the Missouri. Oh, yourShenandoah,daughter love I Way you rolling river hey, Oh Shenandoah, love yourI daughter boundAway,away wide we’re the ‘cross Missouri. Missouri a mighty river she’s Way you rolling river. hey, Whenshe shiver topsails down, he rolls boundAway,away wide we’re the ‘cross Missouri. are appropriate are appropriate formance. The click click The formance. d with some type of dtype some of with d traffic. If you do traffic. If arrive youd

etc. bouncinglegs, your rformances. If your young rformances.If your young stracting to the performer, but performer,but tostracting the s they perform live they and attend s about are audienceabout during ap- aud after all movements are aud after all movements are Many come a with soft Many wax-paper ir performance,students ir on the ound you is talking, ask them nicely themistalking, oundnicely ask you es set hourbeepshouldthe ones to other members of the audience. audience. the ofother members ted by little things that may seem thingsthat may little by ted seem ons will help audience members ons will help members audience istracting to the performers and to performersthe istracting and ion, performers and the audience will audienceand theion, performers will to flow from one movement to the from one movement flow to to the acting. Pictures should be taken after shouldbeacting. after Pictures taken until the performance on stage has stageperformancetheon untilhas formance, it may it be that formance,you exit best in the concert setting.in concert the rude to talk (even whispering can be whisperingto can be talk rude (even just a movement) is finished, then movement) is finished,just a

- Never enter or exit the a enterauditorium during orper- exit - Never

ONCERT ETIQUITTE ETIQUITTE ONCERT ONCERT

CONCERT ETIQUITTE CONCERT C CC - Performers butapplause, appreciatealways there - Refrain from taking any a- photographs Refrainduring per from - Avoid rustling your program, rustling foot, - Avoid tapping your - Leave early and allow enough and allow time-early parking Leave an for It is hard to Itaavoidcough. is hard spontaneousto prepare Be

- Talking shouldnotTalking onlytolerated. is not be di It

- Children need exposure to good musicandliveexposure good - pe needto Children - A performer'sintense interrupcanconcentration be momentsapplaud.a appl work, to Inmulti-movement distrflashofcamera very aare the and especially the calmer prevail. times auditorium until Byandconsideratof following respect basic edicts trivial suggestiaudience to followingThe members. showstage on well as performers as the respect to Thisdohelp their performers the best. to will When Applaud To completed. continuitythe allows of This piece the heard)duringperformance.musical Ifaar someone to please stop. Other Noises WatchPagersshould and becell off. phones turned cough orcellophane dropsAvoid candies. wrappers. wrapping less much that will be noisy. Taking Pictures the performance. Children childin restlessget begins a middleto the of per meaningfulhaveexperiencepleasurable a a and more concerts.worked hardso forhave Because they the stage bedeserve respect. to with treated next. “Hootingnext. appropriateis not and hollering” discreetlyavailable. take nearest seat the Entering Auditorium Exiting the and plause set changes. or Talking to inperson isjustevery plainaudience. Itthe alsobeeps be high-pitched off. d These are turned audience members. Coughing Time Arrival late,firstpiece until doors the by the (not wait please exit, formance.or must wait If enter you beencompleted.appropriate move mostThe to times

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TUBA TRUMPET Josh Burns Derek Jones Brian Keck* Dani Kopson Dani Kopson Wagner Matt Josh Bennett TROMBONE April MacKay Christie Piper Christie Piper Sarah Janulis SarahJanulis EUPHONIUM Jeanine Blom* Allegra Lanni* Kelly Grossman Kelly Grossman FRENCH HORN FRENCH Taylor Stanton* Taylor Jeremy Rhodes* Genna Randazzo Samantha Strassburg Samantha Strassburg Josh Stros, Guitar Josh Stros, Guitar Ben Bourlier, Piano Ben Piano Bourlier, Steve Krycia, Guitar Jason Piano Saghy, RHYTHM SECTION Bryn Watnoski, Bryn Bass Josh Miller,Set Drum William Stanton, Bass William Stanton, Bass

Sean Set Drum Demers,

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Josh Miller Josh Miller BASSOON Laura Beach Laura Beach Jody Shields Chris Murray Chris Murray Ben Hanson Billy Andrews Billy Andrews Eric Anderson PERCUSSION Patrick O’Brien Patrick O’Brien Darryl Hentrich William Stanton Dylan Campbell Brian Keck Kevin Vredevoogd* Josh Burns Josh Burns Brandon DeCaluwe* TRUMPETS ALTO SAXOPHONE ALTO Christie Piper Christie Piper Meghan Root Meghan Root TROMBONES Taylor StantonTaylor Sarah Zelenak TENOR SAXOPHONE TENOR Kelly Grossman Kelly Grossman Chelsea Hallendy Andrew Karasinski Andrew WIND ENSEMBLE WIND ENSEMBLE WIND SAXOPHONE BARITONE JAZZ ENSEMBLE ENSEMBLE JAZZ JAZZ



+ # #

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OBOE FLUTE PICCOLO CLARINET Jessica Irwin Jessica Irwin FLUTE Jacquie Blom Jacquie Blom Sheri Hayden Sheri Hayden Jason Saghy Sarah Zelenak Caroline Haas Allison Drompp Bryn Watnoski* Bryn Courtney WynneCourtney Rachel Marshall* Danielle Saberan Danielle Saberan Chelsea Mittlestat Chelsea Mittlestat Amanda Ruhlman Amanda Ruhlman BASS CLARINET BASS Chelsea Hallendy Laura Beach Laura Beach Samantha Messina Antoinette Klempay Antoinette Klempay Dorian Michelson* Darryl Hentrich Darryl Hentrich Allison Drompp SAXOPHONES Dylan Campbell Rachel Olivares Dorian Michelson Dorian Michelson Brandon DeCaluwe Brandon DeCaluwe o o be ly knownly , composed , two

n Education Other and in rkhowever, apart, itsis -centurycompositional rved as the rved models of illiams’ Folk illiams’ Song Suite, lody. lody. Characteristically,his th levelsof hearing.The icates the brass-heavy writ- s. Holst wouldhave been aconne;it reallyis passa- a February, 1994 February, 1994 in thelast movement. The t t today’sis standard band streated being aschamber instrumentssolos, have and d d thewoodwind and cornet parallel there in early years difficulty work,primarily due arsof century this favored 20 ic majors who medapplied icmajors towho e Guard e Republicaine of o d the undergraduate majors of majors of d undergraduate the tionalforms threeall in move- group. For comparison, (44%) of group. comparison, For (44%) of occasional modern variation– an, an, scores among scores all majors includ- the march, the that and usedis 7,500 university students7,500 re- instrumentation(including bass rads to be admitted to medical admitted medical be rads toto ethcentury. Holst used the tradi- , ERIC Document No. ED327480. No. ,ED327480. Document ERIC Peter H. Wood Peter H.

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PROGRAMNOTES PP Suitein E-flat theis Second Suite F in wascomposed 1909, in it generallyis considered t

wascomposed in 1909, for and the most the part on : “The Comparative Academic Abilities of Students i of: Abilities Comparative Academic “The Students Suitein E-Flat FirstSuite “The Phi MusicSchools,” the Case in Delta for Kapp Did know you … Music most groupmajorsare oflikely g collegethe school. Physician and biologist Lewis Thomas studie medicalfoundmus that 66% ofschoolHe applicants. school any highestthe of percentage admitted, were biochemistry majors of study Also, admitted. a were vealedmusic majors highestscored the reading that ingchemistry andbiology,math. English, Sources Areasof aUniversity,” Multi-focus treatmentof band the aspotential soloists. Many there isfrequent useof small groups of instrument writtenfourteen lateryears probably (and the only modernof band composition). here as here the concluding movement. What sets this wo ensembles.There strong a is parallel inW Vaughan Britishcomposition in the first half of twenti the tions ofElizabethan , infused with early compositionsguidedare by melody, prominent at all companion workthe to Paris, ortouring bandssuch as Sousa’s orGilmore’ saxophone,cornets, trumpets, and flugel horns) ind ing typicalof military bands.The suite usestradi ments,first the but movement mislabeledis as a ch cagliain form. usually is It consideredmedium- a solos. Since first the significant composition approximating wha instrumentationit utilizes classical forms an with forexample, the use ofsimultaneous recapitulation imitating military the literaturemajor and genre, FIRSTSUITE IN E-FLAT Holst,Gustav along withRalph Williams,Vaughan se techniques.To form Britishnew style a based me on later.years The windbands of the era wereeither Military, liketh familiar t military with he bands,and his original length, to the stamina required for brasses, the an of trend writingfor wind bands during the early ye Trail of a tone a poem forwind the “Five the Civilized In- these highly distasteful a landmark a decision ightespouse every year Marshall n stating that astHawaii and during their sovereign their landsbe- itory”, itory”, nowthe eastern por- canperished from starva- ragicsequence of events my Calvaryused to defeat ny marchofhr itself and regardless of formour of h for these Nativefor these h Ameri- settlerand builds to the ulti- S.:Cherokees, the Choc- e dead e of winter over1500 on ofcommitting crimes Landof Free the and the herokeelanguage by mem- stic over-reactionssuch as to be left alone and allowed san that event will forever be The . faster portrayssection ettlersformore an land, irra- e e andgreat honor as an im- e e intermentconcentration in ucolicnon-aggressive nature y. y. that eventssuch as the Government. In verely verely flawedhistory in the ve that ve remain we constantly y, troopsy, wereordered to move

andhave managed to live and prosper in anniversary of one ofthe most unjustcruel, and

ROGRAM NOTES ROGRAM NOTES ROGRAM th PROGRAMP NOTES PP TrailTears of

are stillare withinthe realm of the possibility “ in episodeson our historyon orderto insurethat dra do these not recur in the future of nation.our embarrassingofficial actions the history in ofthe 1839-39,Federal troops rounded up many members of dianTribes” who were livingin the Southeastern U. taws,Creeks, Chickasaws the and Seminoles.Despite Tears HomeWeof Brave.” the mustcontinue to acknowledge bandthat describes the 150 renderedby the legendary SupremeJusticeCourt Joh members the of tribes these could not moved be off causeof prior a treaty granting themterritor this ofall Native these Americans forced by march th in arduousmiles to what known was then s “Indian terr tionof state the of Okalahoma. tragicOn this journey more than 4,000 Native Ameri tion,exhaustion and exposure the to elements. It i ingrained the memory in ofNativeour American;t a inflamed by political pressure the greedof white s fear tional of Indians, And downrightracial bigotr musicThe solo with flute, intended recall to the b of“Five these civilized Tribes”, simply who wished live to in peace on their ancestralhunting grounds strife the between the Indians and the encroaching matescenes battle tragic of 1838, the when U.S. Ar Indians. eh The dramatic last scene depicts the ago includesthe recitation ofmournful a poem the C in bersof ensemble. the Thework concludes with a statement final of triump cans,survived who the spite of the all odd,and stand today who prid with portantand integral of part nationour and se it’s of area Native Americanaffairs. thiswrote I piece becauseI believe it imperatiis that aware are we just as capable asany other nati againstpeople who are weakeror different form us, government and matter no what highaspirations m we Fourth ion the ofJuly. One needs to only recall th campsof Japanese- all the Americansthe on co west first those dark months of World to II Ear realize Composedthe summer in TRAILof 1989, OF TEARS, is TRAIL OF TRAIL TEARS sitionsthat wereunpar- Mr.Hazo serves as a house,Bruce Yurkoand then) unpublished then) works, se)from university, the He resides He in Pittsburgh, rosity and leadfoot were friendship his to heartfelt cational cational gradelevel, kin- . I began I . receive to calls fkind the things Jack sand wasawarded as the 2001years 2002, & d d that event, everyone rwind band. The noblest r'sdegrees from Duquesne was written waswritten andtitled for a a privilege it was, wellas an metdinner. Since I didn’t ombination ofombination such an in- e e inany way, not al- even MarkCamphouse, began nique. eadthe time in took it get to , and , traced I when back the y ofy Pennsylvania. I wasto gh school gh anduniversity iously experienced.The toin my house as“four fa- e e wouldever say “just is, at the top the speed at country a onducted, orrecommenda- oosey oosey &Hawkes (New York/ in a composer’sforum that erit happened. Following the theUpper St. Clair SchoolDis- ana, Pacountryside blurring Ride kingcomposers his to house,

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was writtenas a gestureof appreciation for all o opportunity to something give back was truly that u tions tions made he to banddirectors about new piecesfo me lowing buy to himdessert after concert. a All h keepsending us music,” could I which only take as April In of 2002, Jack invited had me take to part had organizedfor his students Indiana at Universit presentalong side Joseph WilcoxJenkins, Mark Camp common thread in ofall these things Jack was Stamp fromover the country,all inquiring aboutmy music pathsall led to either reading sessions jack c had aboutthing him was that he never let me reciprocat Forte. Aldo This forum was affectionatelyreferred mousand guys It you.” wassuch creatively a charge took who part still was talkingabout months it aft trict.His original compositions publishedare by B London),FJH Music Wingert-Jonesand Publications. Pennsylvania with his two wifeand children. RIDE Ride alleledto any professional goodfortune I hadprev stepsof someone how so far away could know of my ( firstof the day forum, Jack ofinvitedall the tal his where wifeLori hadprepared an incrediblegour clinicianand iscurrently on music the facultyin Stamphas done for me; ranging from unwavering his adviceon composition and subjectsbeyond. During somewonderful things began to happen my compo with knowhow to get Jack’s to (a/k/a house Gavorkna Hou told me he follow to him. he So and his passenger, can road be driven is what thiswrote piece my in h fromcampus IUP the the to Stamp residence. University he where served the on Boardof Governor Duquesne'sOutstanding Graduate in Music Education. the fifteen the minute drive withme them.behind The c vigoratingday as wellas my tryingfollow to Jack banddirector. received He bachelor's his maste and that that exactmoment my life in Jack when Stamp’s gene as equal their in inspiration asthe beautiful Indi pastmy car window. -Samuel HazoR. Mr.Hazo hasserved as a musicteacher at every edu dergartenthrough college, includingtenure as hi a All-StateFesti- rochorus the in 23, isa genuine es in over es50 in countries the the world. Ericreceived

from the ASCAP, Barlow washonored withhis first tialcritical andpopular Eric WhitacreEric isone of Choral Directors Associa- trationhas transformed e the choral the e versionis inti- en. recently recently performed by the eis frequently invited to be hesteps of Capitol. the ularly commissioned ularly and gs.residesEric in Los An- Music, where studied he ned ned mean write to original emberat being the first re- andassured, and my to ears t band. t It islovingly dedicated nderstormearlier witnessed I hemlet meto Cloud- adapt 50foot screen. a a wildtheatrical piecefor symphony, wind

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his first instrumental work at written the age of premiered was March on 16th, 2002,at the Indiana my second was classical work,originally writtenf odzilla odzilla Las Eats Vegas, the bright the stars contemporary in concert music. Reg Whitarcepublished, has received composition awards InternationalComposition Competition,the American tion,the American Composers Forum, spring this and Grammynomination. Born Whitacrein 1970, has already achievedsubstan acclaim.G hastaken the classical by storm world most and was United StatesMarine Band presidents (the own) t on GhostTrain, fall of fall 1991; it was inspired astonishing by an thu that Spring while tour on in Northern California. the In fall of2001 the Indiana All-State commissio workfortop their festival band,and I convinced t burstfor symphonic winds. The this way new orches piece the issimply amazing me: to distinctly I rem hearsal andjust being completely speechless. Wher matedelicate, and the versionfor winds isstrong sounds it like suddenly it’s in Technicolor...on a Cloudburst val, with trulyyours at the helmof magnificen the my dearto friend andmentor, Dr. Jocelyn Jens Kaye Whitacre -Eric accomplished An composer, conductor clinician, and phenomenon;it has received thousands of performanc and hasbeen featured over on 20 different recordin geles he where workstime asfull a composer, h and guest a conductor by bands choruses and throughout M.M. his composition in from JulliardSchool the of composition John with Corigliano. Cloudburst CLOUDBURST