Diversify the Stand | The Chroma Collection (f instr)

F INSTRUMENTS

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THE CHROMA COLLECTION

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12 WORKS FOR TWO FLEX INSTRUMENTS AND PIANO

Hannah Boissonneault | Joi Harper | Joe Jaxson | Cait Nishimura

A COLLABORATION BETWEEN DIVERSIFY THE STAND & THE CHROMA COLLECTIVE

PE R U SA L SC O

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F INSTRUMENTS

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THE CHROMA COLLECTION

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U SA L

12 WORKS FOR TWO FLEX INSTRUMENTS AND PIANO

Hannah Boissonneault | Joi Harper | Joe Jaxson | Cait Nishimura

A COLLABORATION BETWEEN DIVERSIFY THE STAND & THE CHROMA COLLECTIVE

F INSTRUMENTS

THE CHROMA COLLECTION

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12 WORKS FOR TWO FLEX INSTRUMENTS AND PIANO

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TABLE OF CONTENTS

Foreward ...................................................................................................................................................i Project Sponsors ....................................................................................................................................ii

HANNAH BOISSONNEAULT

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Dri�ing Through Dusk ............................................................................................................................ 2 A Horizon of Embers ............................................................................................................................... 4 Straylight .................................................................................................................................................. 9

JOI HARPER

Rest, My Dear Child .............................................................................................................................. 16 What Goes Up….................................................................................................................................... 18 Racing to Dawn ..................................................................................................................................... 22

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JOE JAXSON

Cerise ...................................................................................................................................................... 30 Stroll ....................................................................................................................................................... 32 Float ....................................................................................................................................................... 35

CAIT NISHIMURA

Blue & Orange ....................................................................................................................................... 40 Green & Brown ...................................................................................................................................... 42 Purple & Gold ........................................................................................................................................ 46

© 2025 Diversify the Stand Inc. Printed by Just a Theory Press ISMN: 979-0-094-00914-0 Published by Diversify the Stand Inc. www.diversifythestand.org

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Foreword

Over the past five years, Diversify the Stand has launched two collec�ons of educa�onal solo repertoire: Winds of Change and reSounding Progress. As two trumpet players, the focus began with brass, and we’re thrilled to create The Chroma Collec�on with our friends in the Chroma Collec�ve as a way to share new commissions and diversify the stands of a wider audience of performers, students, and educators.

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The Chroma Collec�on includes twelve new works by four incredible composers, each a mini collec�on by the composer. Exploring the intersec�ons between music and art, the four composers in this book wrote “artcentric” pieces. With this being a flex book, the whole goal was to create a book where performers of different instruments could easily perform together - with this collec�on, a trumpet player can play a duet with their saxophone friend, a hornist can play with oboe, and what’s not to love about a tuba and flute combo?!

We have created this collec�on with a C score for piano and duo books in C (treble clef), C (bass clef), Bb, Eb, and F, allowing players to select the book that best fits their instrument.

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A note to performers and educators using this book: • You will no�ce there are mul�ple octaves offered for most of the works - these books are meant to be flexible and be played by mul�ple instruments of the same key. Please use your best judgment in choosing the range that best fits your instrument. If there are notes that are out of range but not wri�en down, you’re welcome to make these adjustments yourself.

• If there are ever techniques (trills, slurs, etc.) that may not suit your instrument perfectly, again, use your best judgment in making altera�ons to fit your instrument.

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Addi�onal ways performers and educators can support the composers in this project: • Purchase this book! Proceeds from each book sale go back to each composer, so buying the book and sharing this project with your friends, colleagues, and students can go a long way!

• Report Performances: If you program any of these pieces, email the composer(s) a copy of your program!

Composers receive money for every performance of their music from performance royalty organiza�ons.

They also just love to know when their music is being played! This is a small thing that can make a huge difference for composers, and so we’ve included ways to get ahold of each composer at the bo�om of each work.

This book could not have been possible without the incredible community that came together to support the project, including the forty-four sponsors who joined in to raise $10,000 to fund its crea�on.

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Thank you to our playtesters and proofreaders who provided feedback, suggested engraving edits, and gave the final collec�on a thorough review. That team includes: Freddie Blood, Melissa Brown, Ben Bussey, Caleb DeGroote, Melissa Ewing, Nicole Guccione, Amanda Heim, Erin Henke, Alisha Moore, Lauren Rudzinskas, Laura Ruple, Hollyn Slykhuis, Abby Temple, Kate Warren, Braeden Weyhrich, and Stephanie Ycaza.

To our composers - thank you for being a part of this project. It has been an absolute joy to work with you, and we hope everyone enjoys your musical works as much as we do!

As you perform and prac�ce these works, be sure to have fun! Above all, enjoy the process of making music and don’t take life too seriously. These duos showcase a range of styles, techniques, and overall levels, and the composers all want you to have a great �me.

– Dr. Carrie Blosser & Ashley Killam

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Project Sponsors Platinum Sponsor Diversify the Stand John Drumheller MacPhail Center for Music - Project Amplify Ini�a�ve Tom and Denise Hedlund The Puffin Founda�on

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Carrie Blosser Joel Brennan Ben Bruflat Natalie Mannix Elizabeth McDaniel Mary Thornton Katharine Wood

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Gold Sponsor

Silver Sponsor

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Anonymous Ken Caldeira Genevieve Clarkson Chris Combest Conspiratus Brass Tiago Forin Adam Frey Marcus Grant Interna�onal Tuba Euphonium Associa�on Theresa May Jen and Patrick Oliverio Ma�hew Onstad Victoria Sewell Madison Sinan Adam Snider Chloe Swinder, Trumpet Fundamentals Robert Tung David Vance, University of Saint Mary Stephen Wadsack Kelly Watkins

Bronze Sponsor Anonymous Mark Babbi� Riley Bahin Lauren Bernofsky Cynthia Carrell Allen Crump Clayton Heath Michael Mikulka Niloufar Nourbakhsh Ka�e Riegel Julie Slykhuis Kate Warren

1

Hannah Boissonneault Hannah Jane Boissonneault is a composer-performer currently based in Austin, Texas. Incorporating her experiences in writing and performing progressive metal, rock, indie, and folk, she seeks to connect various musical communities through her compositions.

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She is the bassist, vocalist, and songwriter for her indie/ chamber pop project, Feels Like Honey, progressive alternative band, Blank Slate, and engineered, produced, and released her rst-ever full-length album, "all things endless" by Feels Like Honey, which released in 2023. She is also an active touring and performing bassist for various groups in Texas, including Point Blank Society.

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Hannah has been commissioned as a composer by the Alumni Support Initiative through the Gabriela Lena Frank Creative Academy of Music, the Grand Valley State University New Music Ensemble, the Detroit Composers' Project, the Steven R. Gerber Trust as a part of the Fresh Inc. Festival, and various instrumentalists.

is trio of works is inspired by the oil paintings by ne artist Hanna Lemoine. I met Hanna at an art market in the whimsical city of New Orleans, and her work will always remind me of the vibrance of the city. I am so grateful for Diversify the Stand and the Chroma Collective for commissioning these works.

Drifting rough Dusk

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Drifting rough Dusk is inspired by the oil painting Moonlight. Moonlight was inspired by nebulas and the whimsical nature of New Orleans, depicting a scene on Frenchmen Street. Drifting rough Dusk sonically explores the soft, cool, starlit sky in Moonlight.

Duration: 2 minutes

A Horizon Of Embers

A Horizon Of Embers is inspired by the oil painting NOLA Skyline. A Horizon Of Embers sonically explores the bright, bold hues and wistful horizon in NOLA Skyline.

Duration: 3 minutes

Straylight Straylight is inspired by the oil painting Dauphine’s Storm. Straylight explores the distant storm clouds and warm, haunting colors in Dauphine’s Storm.

Duration: 4 minutes

2

written for e Chroma Collection

Drifting rough Dusk for ex duo and piano - F Instruments

 Part 2   

   

 dolce



1–2



 

  1 



2

15



12–14

PE R

  

U SA L

6          1         2      11

    1   18

  2    

 

                          









   

     dolce

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  Part 1  









           

 

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

3 Gentle, Like Fading Sunlight  = 80

Hannah Jane Boissonneault 2025

 

 

 



 

 



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                               21

       

       

Copyright © 2025 Hannah Jane Boissoneault. All Rights Reserved.

For performances, please email a copy of your program to Hannah Boissonneault at hannahhmusic98@gmail.com.



   





23    1        2     

F Instruments

 

 

 

 

   

  1  35

2

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 

     

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

37 rit.





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38–40





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 

   

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 

PE R

 



 

    

       2     

2



 

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27       1     

31 1  

 

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3

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Drifting rough Dusk



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



4

written for e Chroma Collection

A Horizon Of Embers for ex duo and piano - F Instruments



                   dolce   

Dreamily   = 72



2





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       

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

13–14

U SA L

 1 

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1–6

 Part 2    10

7

SC O

  Part 1  

16 1 



Hannah Jane Boissonneault 2025

            dolce    2                 

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

20 1  2

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

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



     dolce

  



      

Copyright © 2025 Hannah Jane Boissoneault. All Rights Reserved.

For performances, please email a copy of your program to Hannah Boissonneault at hannahhmusic98@gmail.com.



   

 

A Horizon Of Embers

         

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PE R

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  1    38

2

  

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      

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 

33

     

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    

27–28

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U SA L

30

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

5

R E

2



   

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25

SC O

 1   24

F Instruments

 



 





 

       

41

 

  



 

 

  

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    

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 

F Instruments

6

         

43  1        

 2    

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56   1 

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2

  

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    1      61

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PE R

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

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47–48

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  1    49

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

SC O



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         

U SA L

2



A Horizon Of Embers

 

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      

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66  1   2

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    

84 1 





  

PE R 2

 

  

   

            



         



  

       

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

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   



             dolce 

79

76–78

 

          

7

           

SC O

 

U SA L

80 1    

  

   

72

2

F Instruments

R E

A Horizon Of Embers

                    dolce



  

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

 

F Instruments

8

A Horizon Of Embers

   1                             2            

           



        

 1    98

2



102  1   2

 

     

    

 



           

     

PE R

 

 

           

         

U SA L

2



95 rit.

    dolce

    dolce





           

SC O

 1       94

R E

89



  

 

 

99 Whimsical  = 80



 









     

    

 

rit.



  







    



 

 

9

written for e Chroma Collection

Straylight for ex duo and piano - F Instruments



 Part 2   

2





15  1 



   

   

PE R









2

  1 





 





 









11–12

U SA L

9  1  

1–4

       



     

R E

  Part 1  

 

SC O



5 Shimmering  = 120

Hannah Jane Boissonneault 2025







        

          



     



 

 







                                    2                      21

 

Copyright © 2025 Hannah Jane Boissoneault. All Rights Reserved.

For performances, please email a copy of your program to Hannah Boissonneault at hannahhmusic98@gmail.com.



19–20

     

  

  

  

  2    

  

29    1     

  1  33

      

2

  1  2





  

  



37–40



  

  

PE R





   

  

  

  

  

     

     

      

  

      

U SA L

  2    

  

  



 

Straylight













 

R E

25    1     

F Instruments

SC O

10

  

  









 

 

 

 

 

                                          



 



  

 

Straylight





48     1  

  1  52

2

 

    

  

        

  

Drifting  = 80



2



     

 





         

    

 



            





rit.

   56        1    

   

                        

PE R







  

U SA L

2





  

R E

2





45

SC O

  1  44

11

F Instruments







        

         

               





62   1  







PE R



 

 

69   1    2   

 

  

         

          

molto accelerando



   



    

U SA L

66   1   2

61

   

        2     



                  

          







Straylight

       

R E

      

  1  59

2

F Instruments

SC O

12

       





  

     





 



 

   

   



    



Shimmering  = 120

  



 



73–75



 

 

Straylight

13

F Instruments

    1                  2                          







       

    

U SA L

2





PE R

84

87   1   2

   





       

          

               1               2              83



SC O

 80  1     

R E

76

  

  

                                        















  

F Instruments

92  1   

  

  



  

       

 2           

  

   

Drifting  = 80

 

    





PE R

2

103   1   2



   

U SA L

  1  



 



       

      

 

     

rit.

          2         100

     

   

     

SC O

     1   95

Straylight











     

   

 

   



   

       

   





R E

14





      

        

 









15

Joi Harper

Joi Harper (she/they) is a composer, vocalist, and teaching artist whose music explores the world around us and the unique experiences that shape who we are. With a rich musical background, Joi brings a wide range of styles into their compositions, drawing inspiration from the sounds they grew up with and the vast musical landscape we all share.

SC O

R E

Joi’s musical journey started young, with piano, clarinet, and violin lessons that eventually led her to discover her passion for voice. Even as a kid, she was writing songs for her family by age eight. at early love for songwriting naturally grew into a broader curiosity for composing and all the creative possibilities it offered. Joi’s unique path in the world of composition drives them to advocate for greater inclusivity within the eld, especially for people of color, women, and nonbinary composers. A multi-instrumentalist with an open mind, she’s always been surrounded by a blend of musical genres and different approaches to composing.

U SA L

If musicians are artists, then sound is our canvas — and as composers, we have the unique ability to create entire paintings from collections of sound. For this project, I tapped into the ongoing dialogue between music and visual art, playing with mood and line to explore a variety of ideas. My hope is that those listening will hear these “sound paintings” as starting points — adding to them, reshaping them, and creating their own images as they please. Special thanks to Diversify the Stand and Chroma Collective for inviting me to contribute to this lovely project!

Rest, My Dear Child

PE R

Rest, My Dear Child is a quiet call inward — a gentle lullaby shaped by tender melody, long tones, and bright harmony.

Written as an invitation to slow down, this piece encourages both player and listener to linger with each phrase. e simplicity of the music is intentional, leaving space for re ection and breath. Let each note speak without hurry. Feel the gentle push and pull that lulls you into stillness. In a world that rushes, this piece asks, What does it feel like to truly rest?

What Goes Up...

Inspired by the familiar phrase "what goes up must come down," this piece explores the cycle of ascent and descent, not just as motion, but as emotion. You’ll hear upward momentum: playful lifts, slow climbs, oating harmonies. But just as quickly, the music shifts — falling gently, tumbling, or sinking into mystery. While writing this, I imagined a rocket rising toward the moon, a hot air balloon drifting in morning mist, and a star streaking across the night sky. Each image became a thread in the fabric of the piece. As you listen, consider your own moments of rising and falling — and the adventure that awaits with every journey, no matter how big or small.

Racing to Dawn Racing to Dawn captures the restless stretch between night and morning — that liminal space where time bends and thoughts spiral. e piece doesn’t follow a straight path. Instead, it moves through musical fragments: urgent rhythms, hesitant pauses, ickers of light. Just when the music seems to settle, something shifts, propelling it forward again. is pacing re ects the feeling of a sleepless night — cyclical, tense, searching. But gradually, momentum builds, and with it, a sense of hope. In the nal moments, the music softens, as if the rst rays of sun are just breaking over the horizon. It’s a reminder that even in stillness, we are always moving toward the light.

16

written for e Chroma Collection

Rest, My Dear Child for ex duo and piano - F Instruments

2



 

13     1 





2

18     1  2



 









 



 

 







 









 

Copyright © 2025 Joi Harper. All Rights Reserved.

For performances, please email a copy of your program to Joi Harper at joi@joiharper.com.

 



 

      

  

PE R



 





      

   

SC O

8     1 



1–3



U SA L

  Part 2   



R E



   Part 1   

Sweetly, Gently  = 95

Joi Harper 2025



 



 

 





 





 



 

 

Rest, My Dear Child

2







28     1  

  

 

      

34     1   







  

PE R





2

39    1  2









 





       











 

 















 





  



rit.







      

 



 



  

U SA L

2





23

R E

22

SC O

   1 

17

F Instruments

     



        

 

18

written for e Chroma Collection

What Goes Up... for ex duo and piano - F Instruments

1–8

2

        

 

    

    

SC O

                  

U SA L

12    1   

          freely



 Part 2    

                             freely

R E



  Part 1   

Swaying, Smooth   = 55 9

Joi Harper 2025

      

  

                  

         

PE R

 17                                     1                  2    

        

  

        

Copyright © 2025 Joi Harper. All Rights Reserved.

For performances, please email a copy of your program to Joi Harper at joi@joiharper.com.

 

      

What Goes Up...

 

 

        2        

   

 stately

          

PE R

  2            1    38

    2    



 

    

 

     

               



              owing, interwoven  

                   

U SA L

   33       1          

   



       

 

SC O

28      1   

 

25

19

R E

        1        22

           2    

              stately

F Instruments

        



 

41



                   

proudly











proudly









     

   2    

    



        1  53

2

     

 

    

     

 

    

    

PE R

 2    



     

  

U SA L

48   1   

 

        



What Goes Up...

  

  

R E

43    1    

F Instruments

SC O

20









  

   



 





            grand





      

 



       

                   grand

57

F Instruments

   58            1          

        

  2    

    

  2    

         

 

      

           

U SA L

 

        68              1                           

PE R

   2     

73     1    

  2    

 

 

   

   

    

           

 

  

                  

SC O

          63             1         

                  

21

R E

What Goes Up...

   

    

77–79



 

       

    

    

       

22

written for e Chroma Collection

Racing to Dawn for ex duo and piano - F Instruments



 Part 2    

 

PE R

  2    

 

21   1      2    

 



     smoothly     

U SA L

14   1   



 

 

   

 

 



    

    

    

 

 

 

 

 

 

Copyright © 2025 Joi Harper. All Rights Reserved.

For performances, please email a copy of your program to Joi Harper at joi@joiharper.com.

 

 

 

 



R E

1–8

     smoothly



SC O



  Part 1   

Steady, Paced  = 130

Joi Harper 2025

 

 

   

 



      

    

     

    

      

 

Racing to Dawn

F Instruments

  2     

38  1         

 

PE R

        2         

  2    

 

 



 

    

    

 

 

     

     





 

         

  43   1             

49   1   

 

33–36







U SA L

 2   

 

 

             sub.  commanding 

R E

 

     

SC O

28   1    

 

 

 

 

23

         

                sub.  steadfast

         unyielding          unyielding

  

  

    

    

 

 

 

 

 

 

 

 

  



    

  2    

    

    



2

68   1   

 



 



 

 



 

 



        

PE R

 2     



     

 



 

 

 



 

U SA L

62   1   

     

58

 73             1               2                

Racing to Dawn



    

 



 



  





 

   

   

  

       shining

          

  



 

 



 

  

 

 

  

 

 

 



 



R E

   1    55

F Instruments

SC O

24

 

 

       shining

   

   

   

  

  



 

 

 

 

 

 

F Instruments

  

  2      

      

 

  

      

 

 83      1             

 

 

   

      

     sub.                    sub.              

SC O

79     1    

25

R E

Racing to Dawn

   

                          

    2          

   

                    

U SA L

      2       

PE R

 87      1              92   1      2     

 

 

   

   

     

 

 

   

        

   

 

   

 

   

 

  

 

   

   

 

 

    

    

 

 

 

 

F Instruments

99       1    

2

     

  1   108



    

slowly building

2

112        1      2     

    

              

 

                           

       

PE R



 



  



 

U SA L

103   1   



 



      

 

     

slowly building



      

       



  

             

    

          

 

      

 

            

 

 

SC O

      2         

             

Racing to Dawn

R E

26

 



 

 

 

 

 

Racing to Dawn

   

122     1    



 

    

            

127    1     

131     1    

 

    

PE R

  2      

 2      

    

       

         

U SA L

 2    

 

  

 

 

 



  

   

 

    

  

R E

2

  

                    

 

 

              lankily       lankily

SC O

117   1  

27

F Instruments

  

     

 

 

    

 

 

       

        

       

    

  

 

   

     

   

 

     

 

 

F Instruments



   1     

 

 2       

 

       

 

                 triumphantly

PE R

                    triumphantly

141       1                     2            

       

       

   

                  sub.  grad cresc.

U SA L

138



 

     2             

            sub.  grad cresc.

SC O

135  1  

Racing to Dawn

R E

28

 

 

       

       

        

    

 

      

    

   

  







29

Joe Jaxson

R E

Having grown up with genres blended every which way contributed to Joe developing a strong ear for music and sound. Joe earned his B.M. in Composition at James Madison University, in 2022, studying with professors Eric Guinivan and Jason Haney. Now in Graduate School at UT Austin, studying with Professors Donald Grantham, Yevgeniy Sharlat, Omar omas, and Sam Lipman, Joe aims to work in multiple mediums (Band, Orchestra, Chamber, Film, etc.) to create a diverse and multi-faceted portfolio writing everything from beginning band to experimental foley however championing his want to collaborate and connect with mass audiences.

Cerise

U SA L

SC O

Recent premieres and events include “First Time Composers program | Paramount x 5 Alarm Songwriting Camp” (2024), “Joy of the Soul” with the Allentown Symphony Orchestra (2024), “rough the Bay” with James Madison University Symphony Orchestra and 10 consortium orchestras across the country (2023-Present), “Within the Flux” (2023) for Sax Quartet and Percussion, “Tree owers” (2023) performed by the Sandbox Percussion Quartet.

Often described as a deep shade of red, “Cerise” explores possible moods and environments inspired by the composer’s own sense of synesthesia by specializing in extended harmonies, while rhythmically accessible, allowing the performers to perform colorfully and in unique harmonic environments.

PE R

Stroll

Routine walks in the park can have unexpected adventures and twists, and how we encounter and proceed through them can offer fascinating lessons and experiences moving forward. Duple and triplet rhythms become the key proponent of this work, along with close and at times a composited collaboration between the two soloists.

Float

e waves of an ocean owing ever back and forth, two souls nd themselves among the waves in song. With no clear direction, feelings of a curious optimism are shared and challenged as they await their eventual rescue from their isolation. e work ebbs and ows in time and meter with an ostinato-like piano accompaniment providing the driving constant.

30

written for e Chroma Collection

Cerise for ex duo and piano - F Instruments



  

1–4



     1     

 

PE R

 Part 2    

 

 

 

 

 

 

    2       18   1     2   

      

 

   



 

 

 



15

U SA L

8

  

 

 



10–14

15–16





        

 

 

R E

 = 72

SC O

  Part 1   

Joe Jaxson 2025

 

  

Copyright © 2025 Joe Jaxson (BMI). All Rights Reserved.

For performances, please email a copy of your program to Joe Jaxson at jjaxson.composer@gmail.com.

 

 

  

 

 

    

    

 

   

Cerise

28   1        

 

 

 

 

 

 

PE R

2

                 

33   1      2    

  

 

 

 

 

   

 

   

 

     

   

 

   

 

     

 

 

 

 



 

 

 

 



 

 

 

 

   

31

R E

    

  

SC O

2

                 

U SA L

23   1   

F Instruments

    

    

 

 

 

  

 

 

 

  

     

32

written for e Chroma Collection

Stroll for ex duo and piano - F Instruments

 Part 2     

 

1–4

 1      9

     

 

10–14

    

   

15

  

 

U SA L

2

       

18         1 

PE R

       2  





   

   

 

 









     

  

        

    

 

 

   

Copyright © 2025 Joe Jaxson (BMI). All Rights Reserved.

For performances, please email a copy of your program to Joe Jaxson at jjaxson.composer@gmail.com.



  

      

   

 24                    1           2        

    

R E

 = 108

SC O

  Part 1    

Joe Jaxson 2025









 

 1   2

30–31



 

37   1    

 

 1     44

   



      











PE R 2

50 1  



     

  2      





 

     

   

  

  

  



 

  

 

  

  

 

46

 



     



U SA L

2

     

32

  

   

   

  

R E



33

F Instruments

SC O

Stroll





 

       

  

   

       



   







55–59



  2       64 1   











     





    











69              1     

PE R

 2      72  1   2



 





U SA L

 2   

    

    

  

 

      











     

     



Stroll

    

 

   

 

R E

 60  1     

F Instruments

         

SC O

34

 

           

      

    



     







35

written for e Chroma Collection

Float for ex duo and piano - F Instruments



1–5

 Part 2   

         espressivo    

10                1        

 1 





 

 

U SA L

2



                     2          espressivo 

PE R

15

20  1  2



 



           

          

 





   

 



    



  

 





  

  

R E

6

SC O



  Part 1  

 = 76

Joe Jaxson 2025





        

    

Copyright © 2025 Joe Jaxson (BMI). All Rights Reserved.

For performances, please email a copy of your program to Joe Jaxson at jjaxson.composer@gmail.com.









 

 

 

   

F Instruments

     2     30      1   



     2   

2

 

   

41     1  

      



 

 1  2



     



 

   

PE R    2    46

  



 







 

     

 







  39

U SA L

 1   35

  

  





     





         



          espressivo

 









 

                              

        



          

49







R E

        1     26

25

Float

SC O

36

  





 



    

Float

F Instruments

   2      



56      1 

     

61 1   2

  

2















 

    

PE R

63  1 



     

 

66     1     2   

  



 

 

    

  



U SA L

2

     

 

   

 

          









 

 

69–70







        

    





    

  



R E





SC O

51     1   

37

 

    







rit.









PE R U SA L SC O

R E

38

39

Cait Nishimura

R E

Cait Nishimura (she/her) is a Japanese Canadian composer, educator, and naturalist. Known for writing nature-inspired, programmatic music, Cait has established herself as a prominent voice in the concert band community. Cait’s music has been presented at e Midwest Clinic, MusicFest Canada, and numerous other international conferences and festivals.

Her works are well-loved by students and professionals and are performed regularly by ensembles and individuals around the world.

U SA L

SC O

Cait is passionate about empowering others through art and strives to set a positive example for future generations of musicians through her creative work. As a lifelong environmentalist, she not only draws inspiration from the natural world but also uses her platform to advocate for conservation awareness and action. Cait is an Associate Composer of the Canadian Music Centre and holds degrees in music and education from the University of Toronto, but is an advocate of people pursuing their dreams regardless of their eld of study.

ese three pieces were inspired by colour pairings that occur in nature.

Blue & Orange

PE R

When the sun rises or sets over a body of water, both the sky and the water are painted with glorious shades of blue and orange. In this piece, the piano represents the owing water while the two duet parts oat colourfully on top, re ecting light in all directions.

Green & Brown

Perhaps the most iconic colour relationship in nature, green and brown are found together nearly everywhere we look: green leaves on brown branches, new seedlings in soil, moss on bark, lichen and mushrooms, frogs and toads. is piece invites curiosity and wonder.

Purple & Gold

Asters and goldenrod are vibrant, resilient plants that ower in autumn. ese late-blooming plants offer lessons in patience, perseverance, and hope, ourishing in abundance just as others are fading. is piece captures the warmth and energy of these owers dancing together as the sun sets on the season.

40

written for e Chroma Collection

Blue & Orange for ex duo and piano - F Instruments

2

   

11 1   





 



  

PE R

2     



15 1    2

  

  











  











  

SC O









U SA L

6 1   

 

1–2

 Part 2    

  

 

















  

R E



  Part 1   

3

owing ( = 80)

Cait Nishimura 2025





   













Copyright © 2025 Cait Nishimura Music. All Rights Reserved.

For performances, please email a copy of your program to Cait Nishimura at cait@caitnishimura.com.











  





 

Blue & Orange

   

  1     





24

 1   31

 

36 1   



   

             

 

2       



 

 

    27



27–28





33



   

   

   

PE R

2   



    

U SA L

 2    







    

    



SC O





R E

 1        19

2   

41

F Instruments







 

 

    



 

         

 

 

 

rit.

 

 

 

 



42

written for e Chroma Collection

Green & Brown for ex duo and piano - F Instruments



1–8

  Part 2     

2



    

  1     24



2

32  1     2



 

25   = 80

 



 



PE R

    



 











            



 

 

  







   



   



 



 



  





 

 

U SA L

15  1   

 

SC O

   Part 1    





R E



9 with joyful curiosity (  = 96)

Cait Nishimura 2025

 



  



 

Copyright © 2025 Cait Nishimura Music. All Rights Reserved.

For performances, please email a copy of your program to Cait Nishimura at cait@caitnishimura.com.















 

 













 





Green & Brown





2

  

45  1              

   1     51

       

PE R 2

58  1     2

   



   

 

 

 

 

U SA L

2







 



 







   



 

















   

   

   

   

   

   

 

R E



   

41   = 96

SC O

  1     39

43

F Instruments

 





     

 









57

 

 





F Instruments

2







  



80   1    

     

  1   









 

89

  = 80

  



 

    







 

 

96      1        2





PE R 2











 

 









 

 

73–76

U SA L

2





73









 



 

 



 













SC O

  1    68

Green & Brown

  

R E

44



     

















  

 



 





Green & Brown

2

    

109  1     

 



      

  1    118

2





    

   1    2

    

   1     136

2



  

 

 111–112    

 

 

 





PE R

127

 



     

    

 



121

U SA L

2







137   = 80





137–138

   

   

   

   

R E



105   = 96









   



SC O

   1    103

45

F Instruments





 

 

 



























 







rit.



    

















rit.



 

 

46

written for e Chroma Collection

Purple & Gold for ex duo and piano - F Instruments



  Part 2    

2





29   1 



1–12

 









PE R

       2   

35   1  2



























U SA L

20    1 

 



   

 

  













   











R E

   Part 1   

SC O



13 with gentle intensity  = 152

Cait Nishimura 2025



   

   











    

   

Copyright © 2025 Cait Nishimura Music. All Rights Reserved.

For performances, please email a copy of your program to Cait Nishimura at cait@caitnishimura.com.







      



   

Purple & Gold

2



   

47       1   

52   1 







   



PE R







2

56        1  2

   

  



   

   

   

     





    







   

  



   

   



    

   

      



    





U SA L

2



   

  



R E



45

SC O

    1  41



47

F Instruments

  



   

   



   









         







75   1  2





80   1  2









85   1  2



 





      

   1  93

2



   

   









     









   































      

         

   





     

   







     









     



PE R



61–67



U SA L



   

Purple & Gold

R E



   1  61

2

F Instruments

SC O

48







  





   

  

  





2















2





113    1 



   

PE R

   2    

2











      



      

     

116       1     





U SA L

 110     1  



rit.

   





 

49

      

109 warmly   = 60

 







  

       

SC O

    1  102

F Instruments

R E

Purple & Gold

     

     

     

          

         







  

         

          

F Instruments

119    1   



  

2







 126      1  



 







PE R





      

2

    1  129

2





    

  = 52







   

       

U SA L

123      1  



  



   



SC O

2



Purple & Gold

    



rit.









   



  

   



    

   



R E

50



              

     

 

rit.





R E

DIVERSIFY THE STAND

SC O

Diversify the Stand is a Colorado-based non-profit dedicated to working with diverse musical voices to create accessible educa�onal music. We commission works by composers marginalized by race, ethnicity, gender, and orienta�on. If you would like to help contribute to the crea�on of future collec�ons, visit our website by scanning the QR code at the bo�om.

WINDS OF CHANGE

U SA L

12 Progressive Solos for Tuba and Piano (2024)

12 Progressive Solos for Euphonium and Piano (2023) 12 Progressive Solos for Horn and Piano (2023)

12 Progressive Solos for Trombone and Piano (2022)

PE R

12 Progressive Solos for Trumpet and Piano (2021)

RESOUNDING PROGRESS 12 Solos for Trumpet, Cornet, or Flugel Horn and Piano (2023)