Back 2 Work

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Back 2 Work Michael Goodman

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for Wind Band

©2021 Unanimous Productions

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©2021 Unanimous Productions (ASCAP)

Contact Information

Michael Goodman 2732 Trappers Cove Trl. Apt 2A Lansing, MI 48910 Email: michaelgoodman9@gmail.com

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michaelgoodmanmusic.com

Michael Goodman Composer

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The composition faculty of Michigan State University has described Michael Goodman’s music as dramatic, humorous, and energetic. He views composition as a communicative tool that enhances his ideas both musical and philosophical. His music stems from personal, neurodivergent experiences of his own or close friends. He creates music that is organic by including acting, speech, humor, and drama. He is also known to combine various genres such as rock, jazz, and classical music to create a musical space that is uniquely expressive and authentic.

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Goodman’s compositions have been performed throughout North America, U.K., Portugal, Hong Kong, and Croatia by musicians, ensembles and festivals such as Sarah Lewis - 2nd oboist at Detroit Symphony Orchestra, Edward Goodman - assistant professor of saxophone at University of Arizona, Cacophonie, the Jackson Symphony Orchestra (MI), Musique 21, University of the Pacific, The Great Noise Ensemble, ensemble mise-en, Mise-en Festival, and Charlotte New Music Festival.

Goodman’s Test Drive was the winner of the New Music Ensemble Category in the Michigan State University Honors Composition Competition and his piece Piano was nominated as a finalist for the Keene State College Call for Scores event.

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Goodman’s compositions have been performed throughout North America, U.K., Portugal, Hong Kong, and Croatia by musicians, ensembles and festivals such as Sarah Lewis - 2nd oboist at Detroit Symphony Orchestra, Eddie Goodman assistant professor of saxophone at University of Arizona, Cacophonie, the Jackson Symphony Orchestra (MI), Musique 21, University of the Pacific, The Great Noise Ensemble, ensemble mise-en, Mise-en Festival, and Charlotte New Music Festival. Goodman’s Test Drive was the winner of the New Music Ensemble Category in the Michigan State University Honors Composition Competition and his piece Piano was nominated as a finalist for the Keene State College Call for Scores event.

Goodman received his Master of Music degree and his Bachelor of Music degree in music composition at Michigan State University while studying under Ricardo Lorenz, Jere Hutcheson, Charles Ruggiero, and Mark Sullivan. Goodman has also studied under Joel Hoffman, Armando Bayolo, William Bolcom, Michael Daugherty, David Dzubay, Kieran MacMillan, and Marc Mellits. In addition, Goodman received his Master of Arts degree in Arts Administration at Florida State University.

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Goodman currently resides in Lansing, MI as a composer/arts administration freelancer.

Pieces for Band

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Perseverance (2019) - for wind band – Duration ca. 6:15 minutes - Grade 4

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Flute Oboe Bassoon 2 Bb Clarinets Bass Clarinet Alto Saxophone Tenor Saxophone Baritone Saxophone 2 Bb Trumpets Horn Trombone Euphonium Tuba Timpani Glockenspiel Percussion 1 Snare Drum, Bass Drum Percussion 2 Crash Cymbal, Wood Blocks Percussion 3 Triangle

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Instrumentation

Program Notes

After a long needed break from reality, it is time to return to our daily lives. It is time to get back to work.

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Grade 1.5

Duration ca. 2:00

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Back 2 Work Michael Goodman

Oboe

Bassoon

Clarinet in B♭ 1

Clarinet in B♭ 2

Bass Clarinet

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

   

    

     

    



  



 

 

 

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      

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Trumpet in B♭ 1

  

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Trumpet in B♭ 2

Horn in F

Trombone

Euphonium

Timpani

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Glockenspiel

Percussion Snare Drum Bass Drum

Percussion 2

Crash Cymbal Woodblocks

Percussion 3 Triangle

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   

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        

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Tuba

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      

       

 

   

                 

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©2021 Unanimous Productions

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      

      

                                  

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

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



  

                             

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Flute

 = 100

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Get to Work!

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   

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  

  

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Back 2 Work

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.

  







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   

   

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

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



  

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

     

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   

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 

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Tba

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Timp.

   

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Glock.

Perc.

Perc. 2

Perc. 3

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       

                               

                           

                                                                                                                                        Crash Cymbal          





      

    Woodblocks

     

   

   

   

   

      

          

 



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    

    

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

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    

  



         



           



                                    







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

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 

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 

 



 

     



 

 

    



 







     

    

              





       

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Bsn





8

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Ob.

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Fl.

7  

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2





 

  



 

   

 

 

   

      





                                                                                                       

 



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Back 2 Work

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.





















                      

  

        





  





  



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Timp.

Perc.

Perc. 2

Perc. 3

   

  

     

         

    



     

     

 

         





     

     









     

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

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    

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    

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

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   

 

  

 

  

        

           





                         

 

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Glock.

 

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rP

Tba



         

    

 

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    

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       

  

                                                 





17





    

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











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

 

  

 

 

             

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 



   legato     

        

 

 



 





  



  

  



 



  







  

nl y.

Cl. in B♭ 1

   



    

O

Bsn

 

       

lU se

Ob.

        

 

er us a

Fl.

13         

3



  







   

   





   

   

   

    



  

   

   

    

















Back 2 Work

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.



  



 

Timp.



                         

        

Perc.

 

Perc. 2

Perc. 3



 



 

Fo

Glock.







         

 









  

    

         







    



rP

Tba



 



 



 

   

  

  

    



           

 

      





























 











     





    

    

    

    



   













                   

 



 





 

 

 

  

  

            















    

nl y.

Bsn

 



     

lU se

Ob.

   

er us a

Fl.

div. 20                                



O

4

    

    

      

    

    

    

    

       

     

      

     

         

div.     

    

    

        

      

      



















Back 2 Work

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F



   

  

 

Euph.











       

       

   

   



       

 

       





       

       

    

   

       

       

       

rP

Tba



               

tutti.

Tbn.



       

  





Timp.

                                

Fo

Glock.

Perc.

Perc. 2

Perc. 3



 

                           

                                                                                                                                                                                                                                                                                                                          

 





  

     



 



  







  

  



nl y.

Bsn

    



 

29

     

     

     

O

Ob.





er us a

Fl.







 

lU se

            tutti.

27

5

 



    

      



 



      

                 

      











        







 

 













 

                      







  



    

 

 

  



 

 

 





    

        

Back 2 Work

Bsn

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.

 

    

   

 

 

  

      

     

    



    

 

         



Timp.

Perc.

   

      

Perc. 2

Perc. 3

  

 

 

 

    





    



      





 

    



     

   

   



  

     



 





  

Fo

Glock.



     



  

rP

Tba

    

   

 

   

     

    



    

 

          













 



 

 



 





 

38

 

  

 

   

       



   



     













 







     

     

      







 

        

 

        

    



   





       

  

                                                                            

    

    

nl y.

Ob.

   

     

   

er us a

Fl.

   

lU se

     33

O

6













    





























    

   













Back 2 Work

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.



   

   





 

  

   

    



           























  



Timp.

  



   

Perc.



        

Perc. 2

Perc. 3



 

   





     









 

Fo

Glock.





rP

Tba







      

                      

    

    

   

   

         

     

  

   

   





       



 

 

 

 

       

  

          

     

     

     

       

    

         

    

   

   

46

 

     

       



      





 

    

   

   

   

 

 

 

 

     

   

   

     

      

             

      





 

    

 

 

 

 

     



 





 



 

    

 

   

   

   

         

      

   







 

     





   

nl y.

Bsn

  

     

    

 





O

Ob.

    

     

er us a

Fl.

    

lU se

                40

7





 



               

 





 





 







 

        

   





  



  





  

  



    





         

  

 

  

 



        

    

        

      

Back 2 Work

Cl. in B♭ 1

Cl. in B♭ 2

B. Cl.

A. Sax.

T. Sax.

Bar. Sax.

Tpt in B♭ 1

Tpt in B♭ 2

Hn in F

Tbn.

Euph.

    

    

   

Timp.

 

  

 



      







 

Perc.

Perc. 2

    



        

Perc. 3



 

 

  

   

 

  

  

   

Fo

Glock.

  

 





  

  

rP

Tba



 

 

 



     

 



      

           

  



  

  

  

 

 

 







    



  

  

    

    

     

  

 



  

  

  

    

    

     

  

 



  

  

  

    

    

   

    

  

   

    

  



     



     



     



nl y.

Bsn



   

 

    





     

 



 



lU se

Ob.





er us a

Fl.

 



48   

O

8

      



  



      



           



      

     





 





 





                 

                                                        