Congratulations on being selected for the 2025 NHBDA Middle Level Honors Band! I wanted to write a quick note to introduce myself as your conductor for this year's festival. I've been teaching middle school band for the past twenty-one years and am currently a band director at Cape Elizabeth Middle School in Maine. I am truly honored to be your conductor and am really looking forward to working with you in March.
As a band director, one of the biggest challenges is selecting exciting, demanding (but appropriate), and inspiring music for our students to play. Not all music is created equal, so it is important that we select carefully. I believe that Dymaxion, Rumba De La Tumba, and Hopak! will allow us to experience a tremendous variety of musical styles, techniques and challenges. I am really passionate about ALL of the pieces that I programmed and I hope that you will share my enthusiasm or at least have an open mind. :)
I have no doubt that all of you will work extremely hard in preparing your music for the festival. Above, I've linked recordings, tempo markings, and practice notes for each of the pieces. I’ve also included a click track for the frequent tempo changes in Hopak! Please use these recordings to help you in your preparation - listen to them as frequently as you can. It is my hope that we can come together in March and really make music. Again, I am so excited to be your conductor and I look forward to working with such a talented group of young musicians!
Caitlin Ramsey
*If your school uses MakeMusic, Rumba De La Tumba and Hopak! can be accessed on MakeMusic.
RECORDINGS
Dymaxion - Quarter = 130
The renowned architect and inventor Buckminster Fuller coined the term "dymaxion" as a combination of Dynamic – Maximum – Tension. This short fanfare utilizes a continually rising scalar motive (like the Shepherd Tone), an oppressive percussion ostinato, and several interlocking polyrhythms to create a continuous crescendo to the final cadence.
As a band director, one of the biggest challenges is selecting exciting, demanding (but appropriate), and inspiring music for our students to play. Not all music is created equal, so it is important that we select carefully. I believe that Dymaxion, Rumba De La Tumba, and Hopak! will allow us to experience a tremendous variety of musical styles, techniques and challenges. I am really passionate about ALL of the pieces that I programmed and I hope that you will share my enthusiasm or at least have an open mind. :)
I have no doubt that all of you will work extremely hard in preparing your music for the festival. Above, I've linked recordings, tempo markings, and practice notes for each of the pieces. I’ve also included a click track for the frequent tempo changes in Hopak! Please use these recordings to help you in your preparation - listen to them as frequently as you can. It is my hope that we can come together in March and really make music. Again, I am so excited to be your conductor and I look forward to working with such a talented group of young musicians!
Caitlin Ramsey
*If your school uses MakeMusic, Rumba De La Tumba and Hopak! can be accessed on MakeMusic.
RECORDINGS
Dymaxion - Quarter = 130
The renowned architect and inventor Buckminster Fuller coined the term "dymaxion" as a combination of Dynamic – Maximum – Tension. This short fanfare utilizes a continually rising scalar motive (like the Shepherd Tone), an oppressive percussion ostinato, and several interlocking polyrhythms to create a continuous crescendo to the final cadence.
- While individual parts don’t look difficult, the polyrhythms and use of rhythmic diminution (in the low brass/woodwinds) can make or break this piece. Rhythmic accuracy and clarity of articulation are really important.
- Flute ostinatos (mm. 9-24) - be careful with the slurs - it’s better for this section to be even & tongued than slurred & uneven.
- Low brass and woodwinds - please be careful of rhythms in measures mm. 13-15, 21-22, 36-39, 47. They don’t look tricky, but they need to be 100% accurate!
- Mm. 40-43 - Fl, Cl, Bsn, A Sax, Tpt, Timp., Bells, Snare (accents)
- There are 6 very different rhythms layered in these four measures. Please pay special attention to your counting in this section. I’d recommend writing it in.
- M. 62 - we will slow down dramatically in the penultimate measure.
- Snare Drum -the accents are so important, but it also has to remain light.
Rumba De La Tumba - Quarter = 100
Inspired by the music of film composer Danny Elfman (his scores include: Beetlejuice, Batman, Spiderman, Nightmare before Christmas), this original composition opens with a syncopated groove in the marimba and xylophone. The music weaves between G minor and E minor, creating an irresistible and hauntingly beautiful melody. The guiro, castanets, and congas add to the vibrant rhythm and liveliness of the piece.
Composer JaRod Hall Ballroom Dancers doing the Rumba
- Rumba is both a genre of Cuban music and a type of ballroom dance. I promise not to wear a ballroom dancing outfit to the festival.
- Everyone needs to listen and play along with the recording on this piece a lot!
- Please mark all time signature changes! You cannot go on autopilot when counting rests - mark them in!
- Percussion - your parts make or break this piece! Your job is to create a laid back groove for the entire band. It’s a tricky job! You have to be rhythmically accurate and careful not to rush (especially after eighth and quarter rests).
- In order for this piece to sound appropriately creepy, the style needs to be light. This means backing off on dynamics, crisp and light staccatos, and thinking of accents more as weight than the heavy accents of Dymaxion.
Hopak!
- mm. 1-62 Quarter = 120
- mm. 63 Quarter =80 then accelerando starting in m. 68
- mm. 79 = 120
- mm. 105 Quarter =130
- mm. 113 Quarter=140
The origins of the Hopak dance date back to the 16th century in the territory now known as the Ukraine. Largely improvised and physically demanding, this popular dance is known for high leaps, squatting kicks, and swift turns. The Ukrainian word “hopak” literally means “hop” or “to jump”.
A fiery introduction quickly sets the pace for this energetic work. The main dance melody is heard shortly thereafter, evolving as it passes through the various sections of the ensemble. The dance suddenly slows to the tune of a carefree trombone solo, then gradually quickens to the original lively mood. The intrepid dance increases in speed and intensity ending with a wonderfully brazen finish.
Ukrainian Hopak - I can’t jump this high. Sorry.
- In order for this piece to be dance-like, it has to be played with a light style. Think bouncy and light instead of accented.
- Snare drum - you have to play lightly. I repeat, very lightly. Think p or mp for dynamics, versus what’s in your part. The lighter you play, the lighter the band plays.
- Make sure quarter notes are full value (not clipped).
- We have a lot of tempo changes! Please practice along with the click track (it starts at measure 63.) If everyone comes prepared with the tempo changes, we’ll have more time to work on the details.
- Trombone solo at m. 63. We may do this as a solo or we may do it as a soli. All trombones should come prepared to play it.
- Yes, we’re doing the Hey! at the end.
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