Featuring: Featuring:
Dr. Stephen Peterson, Guest Conductor
Dr. Stephen Peterson, Guest Conductor
Joshua Newman, Trumpet Soloist
Joshua Newman, Trumpet Soloist
Appalachian Symphony Band
Dr. Jason Gardner, Music Director and Conductor
Canticles
Safely Rest
Aurora Awakes
Black Horse Troop
Paul Dooley
Nicole Piunno
John Mackey
John Philip Sousa
Appalachian Wind Ensemble
Dr. John Stanley Ross, Music Director and Conductor
Deciduous Viet Cuong
Concerto for Trumpet
Come, Sweet Death
Variants on a Medieval Tune
The Frozen Cathedral
Franz Joseph Haydn
Johann Sebastian Bach
Norman Dello Joio
John Mackey
Appalachian Appalachian Bands Websites Websites & Social Media Social Media
TheAppalachianSymphonyBand
Dr.JasonGardner,musicdirector&conductor
Canticles(2022)
I. Alleluias
II. Prayers III. Hosannas
PaulDooley (b.1983)
CanticleswascommissionedtohonorDr.EricWilson's15yearsofserviceanddedicationasthe directorofbandsattheBaylorUniversitySchoolofMusic.Thecommissionconsortium,organized byassociatedirectorofbandsDr.IsaiahOdajima,includesmanyofDr.Wilson'sfriends,colleagues andstudents.
TheAlleluiasarefirstpresentedinaplayfulmodulatingtune,playedbytheclarinets.Ithendevelop thetuneinfourvariationsfeaturingtheflutes,oboes,horns,euphoniumandsaxophones.
ThePrayersbeginsoftlywithanaffectionatealtosaxophonesolo,andmellowchurchorganchords playedbythetenorandbaritonesaxophones,clarinetsandbassoons.Themusicismodally developed,culminatinginapassionateCmajorvariationontheprayerthemeplayedbythefull band.
TheHosannasareinitiallyshoutedbythetrumpetsandmarimba.Thewoodwindsjointhe ceremonyplayingboisterouschords,beforethemusicsettlesintoaspiriteddance.Thebrass becomesincreasinglypossessed,playingrelentlesslychromaticchords,drawingeveryoneintoa climacticfrenzy.
Programnotebythecomposer
SafelyRest(2020)
NicolePiunno (b.1985)
SafelyRestcombinesthemelodiesofAmazingGraceandTaps.Thesetwomelodiesarewoven togethersotheycanbeperceivedasasingleunit.
“’Tisgracethatbroughtmesafethusfar, Andgracewillleadmehome.”-fromAmazingGrace
“Alliswell,safelyrest,Godisnigh.”-fromTaps
JohnStanleyRoss,conductor
Programnotebythecomposer
(b.1973)
Auroranowhadlefthersaffronbed, Andbeamsofearlylighttheheav'nso'erspread, When,fromatow'r,thequeen,withwakefuleyes, Sawdaypointupwardfromtherosyskies.
-Virgil,TheAeneid,BookIV,Lines584-587
Aurora–theRomangoddessofthedawn–isamythologicalfigurefrequentlyassociatedwith beautyandlight.AlsoknownasEos(herGreekanalogue),Aurorawouldriseeachmorningand streamacrossthesky,heraldingthecomingofherbrotherSol,thesun.Thoughsheisherself amongthelesserdeitiesofRomanandGreekmythologies,herculturalinfluencehaspersevered, mostnotablyinthenamingofthevibrantflashesoflightthatoccurinArcticandAntarctic regions–theAuroraBorealisandAuroraAustralis.
JohnMackey’sAuroraAwakesis,thus,apieceabouttheheraldingofthecomingoflight.Builtin twosubstantialsections,thepiecemovesoverthecourseofelevenminutesfromaplaceof remarkablestillnesstoanunbridledexplosionofenergy–fromdarknesstolight,placidgreyto startlingrainbowsofcolor.TheworkisalmostentirelyinthekeyofE-flatmajor(achoicemadeto createauniqueeffectatthework’sconclusion,asmentionedbelow),althoughitjourneysthrough G-flatandFastheworkprogresses.Despitetheharmonicshifts,however,thepiecealways maintainsa–punintended–brightoptimism.
ThoughMackeyisknowntousestylisticimitation,itislesscommonforhimtoutilizeoutright quotation.Assuch,thepresenceoftwomore-or-lessdirectquotationsofothermusical compositionsisparticularlynoteworthyinAuroraAwakes.Thefirst,whichappearsatthe beginningofthesecondsection,isanostinatobasedonthefamiliarguitarintroductiontoU2’s WhereTheStreetsHaveNoName.ThoughthestrainsofTheEdge’sguitarhavebeen metamorphosedintotheinsistentrepetitionsofkeyboardpercussion,theaestheticissimilar–a distantproclamationthatgrowssteadilyinfervor.ThedifferencebetweenU2’spresentationand Mackey’s,however,isthattheguitarriffdisappearsforthemajorityofthesong,whileinAurora Awakes,themotivepersistsfornearlytheentiretyoftheremainderofthepiece:
“WhenIheardthatsongontheradiolastwinter,Ithoughtitwaskindofashamethatheonly usesthatlittlemotivealmostasathrowawaybookend.That'smyfavoritepartofthesong,so whynottrytowriteanentirepiecethatusesthatlittlehintofminimalismasitsbasis?”
TheotherquotationisaslyreferencetoGustavHolst’sFirstSuiteinE-flatforMilitaryBand.The brilliantE-flatchordthatclosestheChaconneofthatworkisorchestrated(nearly)identicallyas thefinalsonorityofAuroraAwakes–producinganunmistakablyvibranttimbrethatwon’tbe missedbyaficionadosoftherepertoire.Thissameeffectwas,somewhatironically,suggestedby MackeyfortheendingofcomposerJonathanNewman’sMyHandsAreaCity.Mackeyaddsan evenbrighterelement,however,byincludinginstrumentsnotinHolst’soriginal.
“Thathasalwaysbeenoneofmyfavoritechordsbecauseit'sjustsodamnbright.Inapiece that'sabouttheawakingofthegoddessofdawn,youneedadamnbrightending--and therewasnotoppingHolst.Well...excepttoaddcrotales.”
ProgramnotebyJakeWallace
Dr.StephenPeterson,conductor
AuroraAwakes(2009)
JohnMackey
JohnPhilipSousa(1854-1932)
arr.FrederickFennell(1914-2004)
Sousa’sloveforhorsesisreflectedinthismarchdedicatedtothemountedtroopsofaCleveland NationalGuardunit.Theirexclusiveuseofblackhorseswastheinspirationforthetitle.TroopA, onceknownastheFirstCityTroopofCleveland,wasoriginallyanindependentmilitiagroupand hashadalong,distinguishedhistorysinceitsformationin1877.Sousa’smostnoteworthy associationwiththetroopcamein1898.TheSousaBand,havingarrivedinClevelandjustasthe troopwaspreparingtoleavefortheSpanish-AmericanWar,marchedinaparadeescortingthem fromtheArmorytothetraindepot.Hisfirstassociationwasmuchearlier,however.Asleaderofthe U.S.MarineBandin1881,hemarchedwiththeorganizationinthefuneralcortegeofPresident JamesA.Garfield.
AtadinnerheldinSousa’shonorinNovember,1924,themarchwasrequestedbyCaptainWalker NyeofTroopA.Therequestwasfulfilledpromptly,andthemarchwaspresentedinClevelandon October17,1925,ataSousaBandconcertwhichalsomarkedtheforty-eighthanniversaryofTroop A.Fortheoccasion,themountedtroopersweredressedintheblueuniformsof1877,complete withblackfurbusbies.SousapresentedamanuscriptofthemarchtoCaptainNye.TroopA reciprocatedbypresentingSousawithabeautifulbronzestatuetteentitled“TheLastDrop,”which depictedatrooperonhorseback.
ManyoftheformerSousaBandmembersexpressedtheirfondnessforthiscompositionand commentedonthedescriptivecharacteritassumedwhenperformedbySousahimself.Partofthe effectwasduetothe6/8rhythm,whichsuggeststhecanterofhorses.Alsocontributingtothe effectwasSousa’suseofsimulatedhoofbeats.
~20MinuteIntermission~ BlackHorseTroop(1924)
ProgramnotebyPaulE.Bierley
TheAppalachianSymphonyBand
Dr.JasonGardner,musicdirector&conductor
Flute
AshleyBaucom*
MJOlsen
KatieLynch
AnnaEdmondson
NickPhairas
ElenaPurcell,piccolo
KylaBorro
Oboe
KarishmaVengala*
AlexandraMacLean
Bassoon
IanQuinn*
AustinBeach
AbigailTurner,contra
Clarinet
HannahBall*
KeaganO’Connell
HannahGallimore,Eb
DaniellaOgbonna
CarlosPino
JameyLeighHill
KaylaScimeca
HaleyChildress
MacyRoller
AutumnSchmidt
BassClarinet
GriffinEdwards
KailynnBollinger,contra
SopranoSaxophone
JoeFigliolo
AltoSaxophone
GenavieveNeff*
RansomVance
TenorSaxophone
CamelliaPeery
BaritoneSaxophone
LukeRoberts
Trumpet
EvanCromer*
JasonNisely
AlexGilland
EvanMoser
JackRasmussen
DominicPiazza
PatrickCarpenter
ElliottWilson
WillShingleton
MadisonHolland Horn
ShelbyArnold*
WayneLanders
RichardNuckolls
MatthewClaudio
AudreyMcKay
Trombone
AidanTreier*
BenGibson
PrestonTow
RaeganEstep
ConnorGoldberg
CaleLosack
VincePituccio,bass
Euphonium
JosephKluxen*
GarrettHannick
IsabelNaelwaik
XavierDeBord
Tuba
ChayseHoward*
JonathanBurgess
JosephFranklin
ColbyCallaway
Percussion
LiamDumaine*
JacksonAyscue
KyzerYoung
CoryWilkins
MichaelCarroll
*DenotesPrincipalPlayers
TheAppalachianWindEnsemble
Deciduous(2023)
Dr.JohnStanleyRoss,musicdirector&conductor (b.1990)
Foralongtimeaftermyfatherpassedaway,IfeltlikeIhad“lostmyleaves.”Inthewaysthatleavesharness lighttocreateenergyfortreesandplants,IfeltlikeIhadsolittlelefttoharnesscreatively.ManydaysI fearedthoseleaveswouldnevergrowback.Afterstrugglingformonthstowrite,Ifinallyfoundsome healingwhilecreatingDeciduous.Thisinvolvedrevisitingchordprogressionsthatbroughtmesolace throughoutmylifeandactivatingthemintexturesthatIhaveenjoyedexploringinrecentyears.Thepiece cyclesthroughthesechordprogressions,buildingtoamomentwhereit’sstrippedofeverythingandmust findawaytorenewitself.WhileIcontinuetostrugglewiththisloss,Ihavecometounderstandthathealing isnotasmuchofalinearprocessasitisacyclicaljourney,where,withoutfail,everyleaflesswinteris followedbyaspring.DeciduouswascommissionedbytheFloridaBandmastersAssociationandpremiered bythe11-12FloridaAll-StateBandunderthedirectionofDr.EmilyThreinen.
Winnerofthe2023NBAWilliamD.RevelliMemorialCompositionContest.
Programnotebythecomposer
ConcertoforTrumpet(1796/1948)
I. Allegro
II. Andante
III. Allegro
FranzJosephHaydn(1732-1809)
arr.William J.Duthoit(1885-1965)
HaydncomposedtheTrumpetConcertoforhisfriendAntonWeidinger(1767-1852).Whilethefirstvalve trumpetdidnotappearuntilthe1820s,Weidinger,oneofthefinesttrumpetersofhisday,inventedan instrumentthatemployedsideholesandkeyssimilartothosefoundonwoodwindinstruments.Depressing thesekeysalloweddiatonic(andevenchromatic)playinginthetrumpet’slowerregisters.Haydncomposed thisconcertotogiveWeidingertheopportunitytodisplaythecapabilitiesofhisnewtrumpet.Thefirst knownpublicperformancetookplaceattheViennaBurgtheateronMarch28,1800,withWeidingeras soloist.WhenHaydnwascomposinghisTrumpetConcerto,hehadjustreturnedfromthesecondofhis twotriumphantvisitstoLondon.Hisfinalsymphony,thegreatNo.104(“London”),haditssuccessful premiereonMay4,1795.Thegeniusandinspirationfoundinthe“London”Symphonyemergeinthe concertoaswell.Haydn’screativity,melodicgeniusandsheerjoyintheartofcomposinghavemadethis virtuosoworkthemostbelovedofalltrumpetconcertos.Theconcertoisinthreemovements.Thefirst openswiththetraditionalorchestralintroductionoftheprincipalthemes.Thesoloistenterswithhis virtuosictakeonthematerial.Thelyricalslow-temposecondmovementisinABAform.Thesparkling finaleopenswithtwoprincipalthemesintroducedbythefirstviolins.Thethemesreturnthroughout, servingasthebasisfornumerousbrilliantflightsbythesoloist.Afinalstatementoftheopeningthemeleads totheconcerto’semphaticclose.
ProgramnotebyKenMeltzer
JoshuaNewman,trumpet
VietCuong
JoshuaNewmanBio
Come,SweetDeath(1736/1976)
JoshuaNewman(b.2002)isaseniormusiceducationmajorandtrumpet playerfromApexNC.HestartedplayingtrumpetinDecember2015and playedthroughouthighschoolandcollege.Hehasperformedinawide varietyofensemblesonthetrumpet.Inhighschool,heperformedwithboth concertbandsandwindensembleofferedathishighschool,the2019Central DistrictHonorBand,the2020CentralDistrictHonorBand,and4yearsin marchingband.Incollege,hehasperformedwiththeAppStateSymphony Orchestra,theAppStateWindEnsemble,theAppStateBrassandtrumpet choirs,4yearswiththeAppStateMarchingMountaineers,andthe2023NC intercollegiatehonorband.JoshuaNewmanisastudentof Dr.JamesStokes andplanstograduatewithadegreeinInstrumentalMusicEducationinFall of2024. arr.AlfredReed(1921-2005)
Komm,süssertod(Come,SweetDeath)isoneofagroupof69so-called“SacredSongsandAirs” attributedtoJ.S.Bach,eachofwhichexistsonlyintheformofasinglemelodiclinewithfiguredbass. Thesepieceswerefirstpublishedin1736,somefourteenyearsbeforeBach’sdeath,asthemusical settingsforahugecollectionof954sacredsongsandhymnsassembledbyGeorgChristianSchemelli andeditedbyBachhimself.In1832,theymadetheirfirstappearanceasanaddendumtothe371fourpart,fullyharmonizedchoralesinaneditionpublishedbyC.F.Becker.
Eversincethattime,therehasbeensomedisagreementamongmusicalscholarsastojusthowmanyof these69melodieswereactuallywrittenbyBachhimself,howmanyweremerelyarrangedbyhim,or eveniftherewereactuallythatnumberatallthatwereinanywaycomposedorworkedonbyhim. ThestandardBachGesellschaftedition,forinstance,lists75suchpieces,not69,and,ontheother hand,oneofthegreatestauthoritiesonGermanevangelicalChurchmusic,JohannesZahn,claimed thatonly21ofthe69(or75)shouldbeconsideredasBach’sownwork,andalloftherestcreditedto othercomposers.Howeverthismaybe,itisinterestingtoobservethatsincethefirstseparate appearanceofthisgroupofpiecesin1832,therehavebeenatleasteightothereditionspreparedand publishedbydifferentauthorities,andthemelodyofCome,SweetDeathappearsinallofthem.Its authenticityasanoriginalworkfromBach’sownhandseemsnevertohavebeenquestionedbyanyof thecompilersandeditorsofthesecollectionsduringthepast150years.
ProgramNotefromtheBaldwin-WallaceCollegeSymphonicWindEnsemble
VariantsonaMediaevalTune(1963)
NormanDelloJoio (1913-2008)
Indulcijubiloisamelodywhichhasbeenusedbymanycomposers,amongthemJohannSebastian Bach,asthesubjectforavarietyofmusicalworks.NormanDelloJoiowasinspiredbyittocomposea setofvariations.Theyconsistofabriefintroduction,thetheme,andfive“variants”whichsendthe mediaevalmelodythroughfivetruemetamorphoses,stronglycontrastingintempoandcharacter,and utilizingthepossibilitiesofthebandtothehighestdegree.
NormanDelloJoionotonlyrankshighasanoutstandingsymphoniccomposerbutisalsokeenly interestedinmusicfortheschools.Hehaswrittenanumberofchoralworksthatareregularly performedbyhighschoolandcollegechoralgroups.This,however,ishisfirstoriginalworkinthe bandmedium.
JohannSebastianBach(1685-1750)
VariantsonaMediaevalTunewascommissionedbytheMaryDukeBiddleFoundationfortheDuke UniversityBand,PaulBryan,conductor.ItwasfirstperformedonApril10,1963.
Dr.StephenPeterson,condutor
TheFrozenCathedral(2013)
Programnotebythecomposer
JohnMackey
(b.1973)
TheKoyukoncallitDenali,meaning“thegreatone,”anditisgreat.Itstandsatmorethantwentythousand feetabovesealevel,atoweringmassovertheAlaskanwilderness.Measuredfromitsbasetoitspeak,itisthe tallestmountainonlandintheworld,afulltwothousandfeettallerthanMountEverest.ItisMount McKinley,anditisanawesomespectacle.AnditistheinspirationbehindJohnMackey’sTheFrozen Cathedral.
ThepiecewasbornofthecollaborationbetweenMackeyandJohnLocke,DirectorofBandsattheUniversity ofNorthCarolinaatGreensboro.LockeaskedMackeyifhewoulddedicatethepiecetothememoryofhis lateson,J.P.,whohadaparticularfascinationwithAlaskaandthesceneryofDenaliNationalPark.Mackey agreed,andimmediatelyfoundhimselfgrapplingwithaproblem:HehadneverbeentoAlaska.
“HowcouldItiethepiecetoAlaska,aplaceI'dneverseeninperson?Ikeptthinkingaboutitin literalterms,andIjustwasn’tgettinganywhere.Mywife,whotitlesallofmypieces,saidIshould focus on what it is that draws people to these places. People go to the mountains -- these monumental,remote,etherealandawesomepartsoftheworld--asakindofpilgrimage.It’sa searchforthesublime,fortranscendence.Agreatmountainislikeachurch.“CallitTheFrozen Cathedral,”shesaid,“Iclearlymarriedup.”
Themostimmediatelydistinctauralfeatureoftheworkisthequality(andgeographiclocation)ofintriguing instrumentalcolors.Thestark,glacialopeningiscoloredalmostexclusivelybyacrystallinetwinklingof metallicpercussionthatsurroundstheaudience.Althoughthepercussionorchestrationcarriesanumberof traditionalsounds,thereareahostofunconventionaltimbresaswell,suchascrystalglasses,crotaleson timpani,tam-tamresonatedwithsuperballmallets,andthewaterphone,aninstrumentusedbyMackeyto greateffectonhisearlierworkTurning.Theinitialsonicenvironmentisanicyandalienone,acoldand distantlandscapewhosemysteryisonlyheightenedbyalonging,modalsoloforbassflute,madedissonantby acontrastingkey,andmoreinsistentbytheeventualadditionofaltoflute,Englishhorn,andbassoon.This collectionexpandstoencompassmoreofthewinds,slowlyandsurely,withtheirchoralebuildinginintensity andrage.Justasitseemstheirwailingdespaircandrivenofurther,however,itshatterslikeglass,dissipating onceagainintothetimbresoftheintroductorypercussion.
Thesecondhalfofthepiecebeginsinamannerthatsoundsremarkablysimilartothefirst.Inreality,ithas beentransposedintoanewkeyandthistime,whenthebassflutetakesupthelongsoloagain,itresonates withfarmorecompatibleconsonance.TheonlymomentaryclashisaLydianinfluenceinthemelody,which bringsabrightnesstothetunethatwillremainuntiltheend.Now,insteadofangerandbitterconflict,the melodyprojectsanauraofwarmth,nostalgia,andevenjoy.Thisbrightspiritpervadestheensemble,andthe twinklingcolorsofthemetallicpercussioninspireasimilarpercolationthroughtheupperwoodwindsasthe remainingwindsandbrasspresentvariousfragmentedmotivesbasedonthebassflute’smelody.Thisnew chorale,ledinparticularbythetrombones,isastatementofcatharsis,atoncebanishingtheearlierdarknessin amomentofspiritualtranscendenceandcelebratingthegrandeurofthesurroundings.Atriumphant conclusioninE-flatmajorismadeallthemorejubilantbytheecstaticclatteringoftheantiphonalpercussion, whichringintothesilencelikevoicesacrosstheice.
TheFrozenCathedralwascommissionedbyTheUniversityofNorthCarolina,Greensboro;The UniversityofMichigan;MichiganStateUniversity;UniversityofFlorida;FloridaStateUniversity; UniversityofGeorgia;UniversityofOklahoma;TheOhioStateUniversity;UniversityofKentucky; ArizonaStateUniversity;andMetroStateCollege.TheworkreceiveditsworldpremiereonMarch22, 2013,withtheUniversityofNorthCarolinaGreensboroWindEnsemble,conductedbyJohnLocke.
ProgramnotebyJakeWallace
DukeUniversityBand,PaulBryan,conductor.ItwasfirstperformedonApril10,1963.
Dr.StephenPetersonBio
StephenPetersonhasenjoyedaforty-three-yearcareerteachingand conductingthroughouttheUnitedStatesandaroundtheworld. Mostrecently,heservedasdirectorofbandsattheUniversityof Illinois,whereheservedfrom2015untilhisretirementin2022.At Illinois,heconductedtheIllinoisWindSymphony,ledthegraduate windconductingprogram,taughtcoursesinwindliterature,and guidedallaspectsofoneofthenation’soldest,largest,andmost storiedbandprograms.
PriortojoiningthefacultyattheUniversityofIllinois,heservedas directorofbandsatIthacaCollegeinIthaca,NewYorkforseventeen years.From1988–1998,heservedasassociatedirectorofbandsat NorthwesternUniversity inEvanston,Illinois.Dr.Petersonwasalso conductoroftherenownedNorthshoreConcertBand.Heheld positionsasassociateandinterimdirectorofbandsatStephenF. AustinStateUniversityinNacogdoches,Texasandhasseveralyearsof successfulteachingexperienceinthepublicschoolsinArizona.
Petersonmaintainsabusyscheduleasaconductorandclinician,and,assuch,hasappearedonfour continentsandinforty-fivestates.Inadditiontomanyhonorbandsandclinicsthisyear,hehas residencies at the University of Michigan, The University of Colorado, The University of Massachusetts, and Appalachian State University. He is a past-president of the College Band Directors National Association and has been honored with membership in the prestigious AmericanBandmastersAssociation,wherehehasservedontheBoardofDirectors.Heisalsoa memberofPhiMuAlpha,PhiKappaPhi,PiKappaLambda,andanhonorarymemberofTau BetaSigmaandKappaKappaPsi.
ThefirsttoreceivethedoctorofmusicdegreeinwindconductingfromNorthwesternUniversity, Petersonearnedmaster’sandbachelor’sdegreesfromArizonaStateUniversity.In2012,hewas awardedtheprestigiousIthacaCollegeFacultyExcellenceAward,recognizinghiscontributionsto Ithaca College. His ensembles have appeared before national conventions of the American BandmastersAssociation(threetimes),theCollegeBandDirectorsNationalAssociation(twice), theNationalAssociationofCollegeWindandPercussionInstructors,theAmericanSchoolBand DirectorsAssociation,andatChicago’sOrchestraHallandLincolnCenterinNewYorkCity.
ProgramNotesCompiledbyJimmyMcKenzie
TheAppalachianWindEnsemble
Dr.JohnStanleyRoss,musicdirector&conductor
Flute
JessicaHackman*
ShannonRowan
KayleeMoney
KeiraHowald,piccolo
MaggieMartin,altoflute
ElenaPurcell,bassflute
Oboe
StephanieGoehring
KarishmaVengala
DylanQuinn,EnglishHorn
Clarinet
BenKipps*
GavinArmstrong,Eb
JimmyMcKenzie
XanderKuropas
HannahBall
KeaganO’Connell
BassClarinet
MadelyneBrenseke
GriffinEdwards
ContrabassClarinet
AnnabelJohnson
KappaKappaPsiPresident
BraydenFerguson
AltoSaxophone
JosieSanders*,soprano
JustinHolloway
BenBouressa
TenorSaxophone
SamBeasley
LilyLoughnane
BaritoneSaxophone
JoeFigliolo
Trumpet
JoshuaNewman*
WillsonHooks
JacobTolar
AndrewCook
LukeJudd
RachelLeonard Horn
AnnaButte*
GabePorter
PeytonBewley
ShelbyArnold
WayneLanders
Trombone
ZacharyQuinn*
TimXiong
CalebNoerr
LaylaBouis
ParkerSmith
BassTrombone
AndrewSouthard
Euphonium
OwenBrady*
EliasCatlin
GabrielFogger Tuba
MiguelGaspar*
EmilyDewey
Percussion
BruceBoney*
SeanGlasgow
JordanHarris
ElizabethHelsabeck
DanielLacoste
LauraPacker
LiamDumaine
Dr.AndrewPatzig
JackHuskey
AlexiHummings
StringBass
Dr.AdamBooker
Piano
EmmaPullium Harp
AmberKoeppen
AppalachianBandsLibrarians
JoeFigliolo
JimmyMcKenzie
Dr.AndrewPatzig
*DenotesPrincipalPlayers
