Orchestra Ensembles

10-2-2008

Wind Orchestra: Sketches

Thomas Leslie University of Nevada, Las Vegas, [email protected]

Takayoshi Suzuki University of Nevada, Las Vegas

Col. John R. Bourgeois USMC Ret., guest conductor

Brian Downey Nevada Music Educators Association

Logan Biles University of Nevada, Las Vegas

See next page for additional authors

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Repository Citation Leslie, T., Suzuki, T., Bourgeois, C. R., Downey, B., Biles, L., Henley, R. L. (2008). Wind Orchestra: Sketches. 1-10. Available at: https://digitalscholarship.unlv.edu/music_orchestra/34

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This Music Program has been accepted for inclusion in Orchestra by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. Authors Thomas Leslie, Takayoshi Suzuki, Col. John R. Bourgeois, Brian Downey, Logan Biles, and Rod L. Henley

This music program is available at Digital Scholarship@UNLV: https://digitalscholarship.unlv.edu/music_orchestra/34

The University of Nevada, las Vegas College of Fine Arts Department of Music

UNLV WIND ORCHESTRA THOMAS G. LESLIE THE LAS VEGAS ACADEMY TAKAYOSHI"TAD" SUZUKI Conductors WIND ENSEMBLE

COL. JOHN R. BOURGEOIS BRIAN DOWNEY LOGAN BILES ROD l. HENLEY Special Guest Conductors

RCl ESTRA-_/ 708 U l) (ER fRI

Artemus Ham Concert Hall Thursday Evening October 2, 2008 7:30p.m. LAS VEGAS ACADEMY WIND ENSEMBLE Brian Downey Roger Cichy Bugs conductor Brian Downey, conductor

Logan Biles conductor Percy Aldridge Grainer Ye Banks and Braes O'Bonnie Doon logan Biles, conductor

Morton Gould/arr. Philip lang American Salute Brian Downey, conductor

UNLV WIND ORCHESTRA

fisher lull Sketches on a Tudor Psalm Thomas G. leslie, conductor

Anthony LaBounty Prayer for Asia World Premiere Takayoshi "Tad" Suzuki, conductor

Malcolm Arnold Four Scottish Dances Rod l. Henley conductor

Johan Halvorsen In Memoriam Col. John R. Bourgeois, conductor Thomas G. Leslie Mikhail Glinka Polish Dance conductor Col. John R. Bourgeois, conductor

Takayoshi "Tad" Suzuki conductor COMBINED ENSEMBLES Peter llyich Tchaikovsky Cossak Dance Col. John R. Bourgeois, conductor Bugs Roger Cichy (b. 1956) With the success of Colours, a work in which each movement is a depiction of a particular color, composer Roger Cichy began considering other 'ropics' of the son for ideas that might transpire inro furure musical compositions. Bugs carne ro mind a few years ago and rhe thought of giving a "musical personality" ro the selected bugs seemed humorous, inventive, and capricious all at the same rime. The insect and spider collection at the Fields Museum ofNarural Hisrory in Chicago, Jllinois provided i.nspiration, and at the same rime, made it difficult for Cichy ro narrow the list down ro about six or so. The particular bugs represented in this suite were chosen partly because of the contrasting styles of music that would be composed for each. Prelude, which begins the suite, was nor conceived as a parr of the original set of movements but was included when Cichy began work on the piece. "The suite seemed ro need an introduction and this just carne our and feU into place," commented Cichy. The prelude is meant ro suggest many of the creatures we associate as bugs. Dragonfly porrrays several issues. First, the insect is real ly considered an aquatic bug, spending most of irs life under water while emerging only in irs adult stage ro rake ro the air. The second issue is reAecred in folklore, where the dragonfly is responsible forAying around at night and sewing shut the mouths of fibbing boys and girls. Praying Mantis, as irs name infers, provides a perfect ropic for a slow, religioso movement. The rather bizarre mating tendencies of the praying mantis were purposefully left out of this movement. Black Widow Spider was a movement Cichy could nor resist. Set ro a cool blues, the opening statement was wrirren with an eight note parrern (eight legs of a spider) which changes several rimes in order of notes bur contains the same pitches. Within a few repetitions of the parrern, five more notes are added ro complete a dodecaphonic (twelve-note) scale. In its entirety, the dodecaphonic scale is played from C roC an oaave higher working inward ro rhe center pitch (F#), which represents the spider's web. The texrures begin changing from cool blues ro hot as the black widow spider approaches irs prey with irs deadly venom. The suite would be incomplete without the most gorgeous of all insects, the burrerAy. Cichy chose Tiger Swallowtail for no particular reason other than it is commonly called the "8ying Bower." Set in a lyrical style, this movement musically depicts the grace and beauty of such a remarkable insect. The final movement, Army Ants, provides the perfect subject for a march-style piece. Cichy created a dissonant march porrraying the anrs as savage predators which are constantly on the move.

Ye Banks and Braes o' Bonnie Doon Percy Aldri dge Grainger (1882-1961) Percy Grainger considered the folk singers the "kings and queens of song ... lords in their own domain- at once performers and crearors." He once described concerr singers as slaves to tyrannical composers. It was for the wind band, a "vehicle of deeply emotional expression," that Grainger made some of his most memorable folk song settings, several of which are now cornersrones of band reperroire. Ye Banks and Braes o' Bom zie Doon is a slow, sustained Scottish folk rune. Grainger's original setting of this was done in 190 I for "men's chorus and whistlers," and the present version for band was published in 1901.

American Salute Morton Gould (1913-1996) Morton Gould's music is unique in irs Americanism and in the seemingly endless wealth of creativity displayed by the composer. Like much of his music, this work is semi-serious in nature- a reSection of Gould's uncanny skill in thematic development. Using only "When Johnny Comes March­ ing Home Again" for melodic resources, he contrives a brilliant fantasy. Originally written for orchestra (in 24 hours) and later set for band, A merican Salute has become a favorite for both media.

Sketches on a Tudor Psalm Fisher lull (1934-1994) Sketches on a Tttdor Psalm, composed in 1971, is based on a sixteenth century serting of the Second Psalm by Thomas Tallis. The original version was in the Phrygian mode with the melody in the tenor voice. After the introduction sers the harmonic character of juxtaposed major and minor triads, the theme is first presented by solo alro saxophone. The variations begin to unfold in the Allegro section, while fragments of the theme are selected for rhythmic and melodic transformation. Finally, the opening harmonic sequence rerurns in highly punctuated rhythms ro herald the recapitulation of the theme. A coda continues the development as the music builds ro a triumphant close on a major chord. Fisher Tull was direcror of the Department of Music at Sam Housron State University at Hunrsville, Texas. He holds the degree of Docror of Philosophy in composition from North Texas Stare University where he was a student of Samuel Adler. He has won numerous prizes in composition, among them the Ostwald Prize sponsored by the American Bandmasters Association for his Toccata in 1970.

Prayer for Asia Anthony LaBounty (b. 1963) I resorved ro write a work for wind band that was simple in melodic and rexrural expression. Cerrainly, the title conveys reverence and refleaion, a programmatic rendering cenual ro the inspiration of the theme: a musical entreaty for, and on behalf of, a parr of the world often idealized in western thinking. Although melodic and harmonic compositional impressions are incorporated as customary musical factors in the aforementioned cui rural sorring, the inspiration for Prayer for Asia is based upon an original hymn rune and rexr containing stanzas and chorus:

Holy is the Lamb, Agnus Dei I , j-T-, O)rl,T-, Holy is the Lamb that takes our sim away.' t·::: t ,~, r-1. _ -t"'O) 11., r·T-t' o

Worthy is the Lamb, sing in one accord, .Il:lliV' I:! 7 1 -')eiJ W~ ? , Sing to Him 'Hosanna!'-jesus Christ the Lord! ~ ~~-~~~! J ~~ ~ ~~0)*1

Alleluia, to the King, prayers and praises- offiring, /' v '"'"" , "'f ~ :-- '/, NT I'J t

Alleluia, to the King prayers and praises- offiring. /' V Jv•'r •.# , NT I'J C . Pmyer fo1· Asia is dedicated to my friend and colleague Takayoshi "Tad" Suzuki and will be premiered in Las Vegas by the UNLV Wind Orchestra on October 2, 2008 with Professor Suzuki conducting. A native of southern California, Anthony LaBounty earned a bachelor's degree in music from the University of Arizona and a master's degree with honors from the University of Illinois. He is in his 16th year as a member of the UNLV music department, where he direcrs the UNLV "Star of evada" Marching Band, University Symphonic Winds, rhe UNLV "Runnin' Rebel" Basketball Pep Band, and the UNLV Community Concerr Band. -Anthony LaBounty

Four Scottish Dances Malcolm Arn old {1921 -2006) Arranged by John P. Pa ynter Malcolm Arnold was born in England where his musical ralenrs as a composer and trumpet were realized ar an early age. He played professionally with the London Philharmonic and BBC Symphony Orchestras, interrupted with an unhappy stint of war service {which ended when he deliberately shor himself in the foor). In 1948 he received the Mendelssohn Scholarship for composing, which catapulted him into a long period of copious ourpur. Arnold was knighted in 1993. The Four Scottish Dmzces were composed early in 1957, and are dedicated to the BBC Light Music Festival. They are based on all original melodies bur one, the melody of which was composed by Roberr Burns. The 6rsr dance is in the sryle of a slow Strarhspey- a slow Scorrish dance in 4/4 meter-with many dorred no res, frequently in the inverted arrangement of the 'Scorch snap.' The name was derived from the Strath Valley of Spey. The second, a lively reel , begins in the key of E-Aar and rises a semi-tone each time iris played until the bassoon plays ir, at a greacly-reduced speed, in the key of G. The final statement of the dance is at the original speed in the home key of E-8ar. The third dance is in the sryle of a Hebridean Song, and arremprs to give an impression of the sea and mountain scenery on a calm summer's day in the Hebrides. The last dance is a lively Ring, which makes a great deal of use of the open-srring pitches of the violin {saxophones in the band edition). -Malcolm Arnold

In Memoriam Johan Halvorsen {1864-1935) Ed ited and transcribed by John R. Bourgeois Johan Halvorsen srarred his professional career as a violinist ar age 15 , playing in theatre productions throughout Oslo, Norway. As he rose through the ranks of performance, he was eventually appointed to the Helsinki Music lnsrirure. Here, he grew to be accepted into rhe circle of artists representing the nationalist orwegian tradition, including composer Edvard Grieg. He was eventually encouraged to conduct and compose, earning his ultimate reputation as a popular composer of rich orwegian symphonic music blended with French Romamic orchestration. Johan Halvorsen's bz Memoriam, Opus 30 was wrirren for the great orwegian poet Bj0rnsrjerne Bj0rnson. Bj0rnson won the Nobel Prize in lirera­ rure in 1903, and was well versed in larger works such as plays in addition to poetry. The two men became very close friends and Halvorsen composed a funeral march in his honor upon his death in 1910. The music's link with Bj0rnson is underscored by the fact that ir opens with a paraphrase of the Norwegian national anthem which is played inC minor. Ar the peak ir suddenly falls away, and, transcending a roll of the timpani, the anthem is played in irs emirery. It starrs gencly, "like the ruscle in the reeds," wrote Peter Linderman in his review of the composition, "swelling to a hymn of praise sung by the whole population. Linked with ir are two concluding bars which bring us as dreams to earth, in this case dreams of a great and much-loved writer and dramatist whom we have lost bur will never forger." - ftom New Grove Dictionary ofMusic & john Bourgeois

Polish Dance Mikhail Glinka (1804-1857) Edited and transcribed by John R. Bourgeois Mikhail Glinka was born into a noble family in 1804. His ririe of the "Father of the Russian ational Movement" came from his streamlining of Russian folk sryles into traditional Western idioms. He spent a signi6cam rime in Milan ar age 26, where he mer and studied with Italian opera composers Vincenzo Bellini and Gaetano Donizerti. Al though deciding nor to follow in the Italian operatic tradition per se, the influence is apparent in his 6rsr major work, A Life for the Tsar. Although being back in Russia for the premier, the rest of Glinka's life is peppered with European inRuence. Hector Berlioz conducting his works in Paris, and Glinka actually died in Berlin shorrly after Giacomo Meyerbeer conducted his Tsar ar coun. Mikhail Glinka wrore the opera A Life for the Tsar in 1836, considered the cornerstone of Russian national opera repertory. It cenrers around miliram Ivan Susan in, who ultimately dies ro conceal rhe identiry of rhe first Romanov emperor from Polish invaders. The opera rakes a srrong stance against rhe Poles, devoting mosr of the second acr ro srereorypical hearry dances such as rhe Mazurka and Krakoviak, while orher acrs juxrapose more lyrical and significam Russian themes. The Krakoviak's fast accemed and syncopated rhyrhms originated in the Krakow area of Poland, bur spread ro Vienna and Paris in the rnid-nineteemh cemury as a boisterous ballroom dance. - ftom New Grove Dictionary ofMwi c Cossak Dance Peter llyich Tchaikovsky (1840·1893) Edited an d transcri bed by John R. Bourgeois Peter Tcbaikovsky composed rhe opera Cherevichki, 7he Slippers berween February and March 1885 at Maidanovo, Russia. In Act III, a forest sprite warns water nymphs rhar Vakula, rhe Devil's antagonist, is coming and that he wanrs ro commit suicide. The Devil jumps our ofVakula's sack and tries ro get his soul in exchange for Oxana, Valuka's beloved, bur Vakula instead climbs on the Devil's back. Vakula forces rhe Devil ro rake him ro Sr. Petersburg. The Devil purs down Vakula in rhe rsarirsa's court and disappears imo the fireplace. Vakula joins a group of cossacks who are going ro see rhe rsarirsa. The Devil rakes Vakula away and rhe Cossak Dance commences.

COL. JOHN R. BOURGEOIS Director Emeterius U.S. Marine Band, "The President's Own" During his nearly 40 years wirh rhe Marine Band, Colonel Bourgeois served nine presidential administrations - from presidenrs Eisenhower ro Climon. As direcror for 17 years, he regularly conducted rhe Marine Band and rhe Marine Chamber Orchesrra ar rhe White House, appearing rhere more frequently than any orher musician in rhe nation. Colonel Bourgeois is past presidem of rhe American Bandmasters Association, chairman of rhe board and past presidem of the arional Band Association, a past member of the Board ofDirecrors of the World Association for Symphonic Bands and Ensembles, American vice-presidem of the lmernational Military Music Sociery. He is a member of Phi Mu Alpha Sinfonia, the Military Order of the Carabow, rhe Alfalfa and Gridiron Clubs of Washington, rhe College Band Direcrors arional Association, and an honorary life member of rhe Texas Bandmasters Association. He is rhe presidem of rhe John Philip Sousa Foundation and his affiniry for Sousa's work has earned him rhe Sudler Medal for Oumanding Service ro Bands at rhe lmernational Level. In 1993, he was awarded rhe Medal of Honor of rhe Midwest lmernational Band and Orchestra Clinic and rhe Medal of rhe lmernational Percy Grainger Sociery. In addition, he was awarded Phi Beta Mu's Oursranding Bandmaster Award in 1986; rhe Distinguished Service ro Music Medal by Kappa Kappa Psi in 1987; rhe National Band Association's Academy of Wind and Percussion Artist Award in 1990; Phi Mu Alpha Sinfonia's arional Citation for "Service ro Music and Dedication ro Music and Coumry" in 1991; and in 1996, he was awarded the Austin Harding Award of rhe American School Band Direcrors Association, and is a frequem guest conducror wirh bands and orchestras across America and around rhe world. ROD l. HENLEY Doctoral Assistant Conductor of UNLV Bands Rod Henley has a hisrory of conducting, producing, arranging, and composing. He has been featured as a trombone soloist and vocalist wirh Vocal Jazz Hall of Fame icons The Four Freshmen, as well as winning a Gram my award for the platinum Atlanric CD/ music video "Vocalese" with The Manhattan Transfer. Rod is presently a doctoral assistant conductor ofUNLV Bands, faculry adjunct at the College of Southern evada, concert rours with rhe Hollywood Hills Orchesrra, and music specialist in the Clark Counry School Disrricr.

BRIAN DOWNEY Director las Vegas Wind Ensemble Brian Downey is emering his fourth year as a music reacher ar the Las Vegas Academy of lmernarional Studies, Performing and Visual Arts, and his fourteenrh year in reaching. His responsibilities include reaching rhe Symphonic Band, Wind Ensemble, Brass Chamber classes, and co-direcror of rhe Philharmonic Orchestra. Mr. Downey is a graduate from rhe Universiry of ew Mexico, where he earned a Bachelor's degree in music education. He recently earned a Masters of Arts from Southern Oregon Universiry in 2005 through rhe American Band College. While earning his undergraduate degree he was bass trombonist in the Sama Fe Symphony for rhree years, first call substitute for rhe New Mexico Symphony, as well as performing many orher jobs on call. His reaching career has taken him ro positions in El Paso, Texas, Rio Rancho, ew Mexico, and Clark Counry, evada. In 2005, Mr. Downey was named "Nevada's Teacher rhar Makes a Difference in Music Education in America" by String Band and Orchestra Magazine. Mr. Downey is also emering his sixrh year as co-direcror for rhe Las Vegas Yourh Symphony. In addition ro his directing responsibilities, Mr. Downey was the Clark Counry Band Director Association's presidem from 2001-2003, and is currently serving as past Presidem for the Nevada Music Educators Association. THOMAS G. LESLIE Conductor of The UNLV Wind Orchestra

As Director of Bands, and Professor of Conducting, Thomas Leslie has earned recognition for high qualiry performances of the UNlV Bands. During his tenure at UNlV, his bands have received critical acclaim from members of the international music world. Such notables include composer Malcolm Arnold, United Stares Marine Band Conductor Emeritus Colonel John Bourgeois, (Ret.), United Stares Navy Band Conductor Commander John Pasrin (Ret.), Dr. Harry Begian, Director Emeritus, University of Illinois, Gram my Award winnjng recording artists Eric Marienthal, Jimmy Haslip, Will Kennedy and Russell Ferrante. Recognized for a fresh , interpretative sryle among collegiate wind orchestras, Thomas leslie and the UNLV Wind Orchestra continue ro excel in their commitment to commission new works by the next generation of the world's finest young composers. This ensemble, under Mr. leslie's baron, has premiered numerous pieces commissioned by UNlV, Professor leslie and the Wind Orchestra. Mr. leslie has recently conducted, and recorded thirteen compact ruse recordings with the UNlV Wind Orchestra. They are: 1994- The UNLV Wind Symphony. Ghost Train; Gawd$illa Eats Las ~gas; It Takes a Village; Monkry; No Mo' Chalumeau, and Chunk (al l ride tracks commissioned by Thomas leslie), BCM... Saves the World, Bandanna, the complete Daron Hagen opera, 3 Steps Forward, the premiere ruse in the new UNLV Wind Orchestra Series for Klavier Recordings, Spiritual Planet, 4 Flew Over the Hornds Nest, The Qum, and Vegas MaximiiS, the newest release in that collection. All of these recordings have received noteworthy acclaim in professional journals in addition to high praise from colleagues throughout the world. As an adjudicator and conductor in 40 stares nationally, and the District of Columbia, Professor leslie has also been in vi red ro conduct performances and clin­ ics internationally in Australia, Ireland, Japan, England, Scotland, France, Switzerland, Austria, Germany, and Canada. Under his djrecrion, the UNLV Wind Orchestra has appeared as an invited performing group ar the College Band Directors arional Association Conference in March 1994, the Music Educators arional Conference Biennial Convention in April 1998, the American Bandmasters Association arional Convention in March 200 I , and numerous state music educaror conferences. The UNLV Wind Orchestra performed as the featured ensemble at the Hokkaido Band Association Clinic in apporo, Japan, in May 2002, and most recently returned from a multiple performance tour at the La Croix Valmer International Music Festival in Sr. Tropez, France in June 2005. Professor Leslie is the founder and Musical Director for the new Las Vegas Youth Wind Orchestra, an honor ensemble comprised of Las Vegas' mo r accomplished wind and percussion musicians. The UNlV College of Fine Arts awarded Professor Leslie the CFA Teacher of the Year Award in 2006. Thomas Leslie received degrees in Music Education from the University of Iowa and Indiana Stare Uruversiry. ln March 2008, Professor leslie was elected to the Board of Directors of the prestigious American Bandmasters Association following his original induction to membersrup in 1997. In March 2001 he hosted the arional Convention of this very distinguished group. He continues ro be a long-srandjng member of both the College Band Directors arional Association, the Music Educators ational Conference, has served as Western Division Chair for the arional Band Association and was recently appointed to the Board of Directors for the John Philip Sousa Foundation.

TAKAYOSHI "TAD" SUZUKI UNLV Instructor of Conducting Takayosru Suzuki enrolled at the Tokyo Conservaroire Shobi as a music education major in 1970. While completing hjs education degree, he began attending the Tokyo arional Universiry of Fine Arts. During rus university days, he was active as a trombonist with several recording studios, the Tokyo Kosei Wind Orchestra and the Japan Prutharmonic Orchestra. He returned to his alma mater, Fukuoka Technical Uruversiry High School, in 1974 to become the Music Teacher and Band Director. In addition ro his rugh school reaching assignments, he was the conductor of the Fukuoka Universiry Wind Ensemble. During the 15 years he was band director, the Fukuoka Technjcal University High School Wind Orchestra traveled to Tokyo for the All Japan Band Contest for 13 consecutive years. In that rime, the band won the Gold Prize five rimes, Silver four rimes and the prestigious Grand Prix (Sweepstakes) Award four times. In 1987, the Fukuoka Technical University High School Wind Orchestra became the first Japanese high school band to perform at the annual Mid-West Band and Orchestra Wille in Chicago. The group was so well received a fifreen-minutestandingovation followed. In 1991, Mr. Suzulci was invited by the president of the Tokyo Conservatoire Shobi to return to his alma mater and become a faculry member. Mr. Suzulci has been an Instructor of Conducting at UNLV since 1995. His duties include teaching private conducting lessons, conducting seminar courses and a variery of education classes. In addition to his duties at the uruversiry, Professor Suzuki is a highly sought after clinician and guest conductOr throughout Japan and the United States. He is the music director of the United Brass in ew York Ciry. This ensemble consists of graduates from America's most prestigious music schools includjng The Juilliard chool, The Cleveland Institute of Music, Eastman School of Music, The Curtis Institute of Music and the ew England Conservatory of Music, in addition to such professional orchestras including The Boston, Dallas, Utah and Tokyo Symphonjes, The Buffalo, Hong Kong, and Shanghai Phllharmonk Orchestras. Mr. Suzuki is also the music director of the TAD Wind Symphony, a professional group consisting of former students and professional musicians from numerous orchestras in Japan. Mr. Suzulci has conducted and recorded five compact recordings with rus groups. These recordings are: Tad Steps, 2002, Basic Video Arts Co., lrd., Japan, The United Brass, 2000, Basic Video Arts, Co., Ltd., Japan, Tad Wind Symphmzy: Concert VoL 6, 1999, Soundseek LaboratOries ltd., Legendary IV: Most M=zorable Perfonnances ofH.S. Bands, 1999, Brain Company, Ltd., Enigma Variatio1zs, 1998, Brain Company, Ltd. His conducting reachers include: Seiji Ozawa, Leonard Bernstein, Yasuhjko Shiozawa and Kenkhirou Kobayashi. Mr. Suzulci is a member of the All Japan Band Director's Association, the Bandmasters Academic Sociery of Japan, the World Association of Symphonic Bands and Ensembles and recently became the only native Japanese Director to be voted into the American Bandmaster's Association. HARP WINO ORCHESTRA TRUMPET TENOR SAXOPHONE Joel Gibsont Spokane, WA Gina Bombola t Lodi, CA Katie Ashman PERFORMERS Las Vegas, Sean Edging Kevin Early v PIANO Megumi Kurokawa Hokkaido, Japan Shelly Wetherby PICCOLO Su Jeong Cho Las Vegas. NV David Shepard Castaic, CA Vegas. NV Katie Jensen " Las t Principal TRUMPET Travis Higa Kaneohe, HI " Graduate Teaching Assisrant Justin Becker FLUTE Giovani Santiago Las Vegas, NV Dallas Bennett Farah Zolghadrt" Springfield. IL Michelle Calica Rick Noycet" Bosron, MA HORN Bryce Nakaokat Pearl Ciry, HI Evan Curby Camella Cao Reno, NV LAS VEGAS ACADEMY Owens Edge Fredric Stone IVt an Diego. CA WINO ENSEMBLE OBOE Chris Kase Evansville, I Steven Hand Alex Hayashit Honolulu, HI Maria Pino Philadelphia, PA FLUTE Christopher Hart Kirsten Kraemer Las Vegas. NV Natasha Brown Raymond lee TROMBONE Circe McDonald Jorge Machain CLARINET James Nelsont Las Vegas, NV Jessica Patchett John De La Pazt" Las Cruces. NM HORN Chad Graves Broken Arrow, OK Rebecca Springs Tom Kmiecikt" Clawson, Ml Sabrina Bernstein Russell Koester Las Vegas. v Bridget Sullivan Aki Oshima Engaru, Japan Cami Dayley Nicole Whelchel Kana de Oi Hokkaido, Japan BASS TROMBONE Dominick DiFranco Taylor DeCol West Bountiful. UT Jeffrey Hines Omaha, E OBOE Megan McElfresh Christopher Armeno Las Vegas, NV Krystal Beveridge Jordan Rush EUPHONIUM Jonathan Cannon Bountiful, UT Jasmine Chen Dawnie Walker Jeffrey A. Maleckit" Sterling Heights, MI Ryan Schwartz Robert J. Sanchez" Somers, NY TROMBONE Emily Lawlor Tuscon, AZ BASS CLARINET CLARINET Brian Campbell TUBA Julian Tanaka Las Vegas, NV Vincent Camuglia Michael Connor Dave lrisht" Fisners, I Jet Apostol Yokohama, Japan lynsey Cook Bowen Gass Saxon lewis Collinsville, OK Heidi Cribbs Jeremy Tunender CONTRA ALTO CLARINET Garrison Gilham Broken Arrow, OK Emily Hoeffner EUPHONIUM Keaton Martin Henderson, NV Cassidy Medellin CELLO Brenden Higbie CONTRA BASS CLARINET Ashley Ortiz leigh Wardle Las Vegas, NV TUBA Alfonzo Kimbrough Las Vegas, NV Isaiah Pickney STRING BASS Monique Rodriguez James Galvez BASSOON John K. Servo " Rochester, NY AnaCaren Salazar Brandon Higgins Brian J. Marsht" Las Vegas, NV Andrew lincoln BASS CLARINET Eric Foote Laguna iguel, CA PERCUSSION Javier lopez Jack D. Steiner t " Reading, PA Kyle Madsen PERCUSSION ALTO SAXOPHONE Melody-Mae loveless San Diego, CA Kaelen Penrod Ronald Holmes Las Vegas. NV Adam Dunson Melaney Scarberry Henderson, NV BASSOON Kasey Searles Broken Arrow, OK Kevin Good Austin Perry Las Vegas, NV Sandra Bailey Dugan Harkins TENOR SAXOPHONE Las Vegas, Richard Hardman, Ill Daniel Alameda Jonathan Kalas William Garms Henderson, NV TIMPANI ALTO SAXOPHONE Chelsea Tinsler BARITONE SAXOPHONE Ryan Simmt " Adelaide. Australia Joshua Randolph Jadin Tredup Eli Tredup Las Vegas, NV Corene K. Peltier Kaneohe, HI Jonathon Venzor David Vonderohe UNIVERSITY BAND STAFF UNLV FACULTY ACKNOWLEDGEMENTS Direcror of Bands Jonathan Good Department Chairman The UNLV Music Department wouJd like to acknowlege the following scholarships. Thomas G. Leslie Alfonse Anderson Vocal Coordinator Virko Baley Composition Andre Agassi Foundation Scholarship Associate Direcror of Bands Steve Trinkle Trumpet Kenneth & Mary Devos Fine Arts Endowment Anthony LaBounty Anthony Barone Musicology UNLV Jazz Scholarship Takayoshi "Tad " Suzuki Conducting I Brass liberace Foundation lnsuucror of Conducting Cheryl Taranto Music Librarian liberace Music Endowment Takayoshi "Tad" Suzuki Tod Fitzpatrick Voice Barry Manilow Scholarship Dean Gronemeier Associate Dean I Percussion UNLV Marching Band Scholarship Graduate Teaching Assistants Anthony LaBounty Associate Director of Bands Cal McKinley Music Memorial Scholarship Rod L. Henley Thomas G. leslie Director of Bands I Conducting Abe Nole Music Scholarship David Irish We i Wei le Violin Martha Peterson las Vegas Opera Scholarship Katie Jensen Mykola Suk Piano The Presser Foundation Jeffrey A. Malecki Bill Bernatis Horn I Assistant Chair lou Weiner Scholarship-Band Endowment Robert J. Sanchez Janis McKay Bassoon I Graduate Coordinator Don King I Showtime Productions Minority Scholarship Stephen Caplan Oboe A.R. Ginsberg & R.E. Litzinger Horn Scholarship Librarians Andrew Smith Violoncell o We are grateful for the support of these Kanade Oi David Holben Tuba I Euphonium individuals and foundations. With the financial Asuka Kawashima Jennifer Grim Flute aid of these scholarships, the careers of aspiring music srudenrs are further ensured. Barbara Riske Piano Community Liaison David l oeb Jazz Studies I Piano PATRONS AND SUPPORTERS Allan Ginsberg Bruce Paulson Jazz Studies I Trombone Marina Sturm Clarinet Dr. David B. Ashley David Weiller Choral Studies Dr. Neal J. Smatresk Taras Krysa Orchestra Dr. Jeffrey Koep Tom Warrington jazz Studies Dr. Jonathon Good Paul Firak Srring Bass Dr. & Mrs. William Carpi Nathan Fischer Guitar Dr. & Mrs. leonard Carpi Kim Delibro Harp Mr. Jack Pickett COMING THIS FALL Eugenie Burkett Music Education Mrs. Virginia leslie UNLV WIND ORCHESTRA'S Susan Mueller Music Education Mrs. Tracy leslie LATEST CD : Vegas Maximus Ken Hanlon Theory Mrs. Judy Pickett Timothy Jones Percussion Mr. Allan Ginsberg Jorge Grossmann Theory I Composition Ms. Roberta Litzinger Kev in Gorman Saxophone The Yamaha Corporation CSUN Student Government Mr. Troy Schott

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