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North Georgia Winds Program Order: 

Ride 

By Samuel R. Hazo

Tulsa 

By Don Gillis, Trans. Maurice Ford

Cajun Folk Songs

 By Frank Ticheli

See Rock City By Brant Karrick

Coast To Coast 

arr. Joe Derhake

On The Mall 

By Edwin Franko Goldman, edt. Edward S. Lisk

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On the Podium for The North Georgia Winds 

Matthew Fuller, Conductor of NGW

Dion Muldrow, Associate Conductor of NGW

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Program Notes

• The Motor: The piece begins with a crisp, rhythmic "ignition" in the percussion and woodwinds. This sixteenth-note pulse acts as the engine of the car, remaining almost constant throughout the work.
• The Theme: The main melody is expansive and soaring, played by the brass. It mimics the feeling of looking out the window at a vast, passing landscape while the "wheels" (the woodwinds) continue to spin rapidly underneath.
• The "G-Force": Hazo utilizes frequent meter changes and hemiolas (rhythmic shifts) to create a sense of physical momentum. At several points, the music feels as though it is accelerating into a curve, using tiered dynamics to push the volume to its absolute limit.

Commissioned to celebrate the history of the city of Tulsa, Oklahoma, Gillis’s work is a vivid, cinematic tone poem. Rather than a static portrait, the piece functions as a musical narrative, tracing the evolution of the land from its pastoral beginnings to its explosion as a global energy hub.

The work is organized into four distinct, continuous sections that depict the "biography" of the city:

• The Land and the People: The piece opens with a lush, expansive pastoral theme. This section evokes the rolling prairies and the quiet dignity of the indigenous people and early settlers. The orchestration is warm and nostalgic, capturing a sense of untouched horizon.
• The Struggle: The peace is interrupted by the arrival of modernization. The music becomes more driving and percussive, illustrating the grit and determination of the pioneers and the physical labor required to build a community in the heart of the "New World."
• The Celebration (The Boom): As the "Oil Capital of the World" takes shape, Gillis shifts into his signature style—a brassy, high-energy fusion of big-band swing and symphonic fervor. This section is a sonic representation of the 1920s oil boom, complete with the swagger of a town suddenly finding itself at the center of a financial gold rush.
• The Finale: The work concludes with a grand, optimistic restatement of the themes. It serves as a tribute to the city's progress, industrial might, and the spirit of its citizens.

Tulsa is a prime example of "Symphonic Jazz." Gillis utilizes a standard symphony orchestra but requires the brass and woodwinds to play with the rhythmic "snap" and vibrato typically found in a dance hall. Listeners will notice:

• Syncopation: Heavy use of off-beat accents that mirror the frantic pace of an oil derrick.
• Americana Harmonies: Similar to the works of Aaron Copland, though Gillis leans more heavily into the "Hollywood" sound of the mid-20th century.
• Dynamic Contrast: The piece moves rapidly between the quiet solitude of the plains and the cacophonous roar of the city.

Don Gillis (1912–1978) was a quintessential American composer known for blending the sophisticated structures of orchestral music with the rhythmic vitality of jazz, pop, and American folklore. His most famous work, Tulsa, subtitled "A Symphonic Portrait in Oil," was commissioned by the First National Bank and Trust Company of Tulsa and premiered by the Tulsa Philharmonic in 1950.

Don Gillis was also a legendary radio producer for the NBC Symphony Orchestra and a close collaborator with the famed conductor Arturo Toscanini. His ability to "paint" with sound was honed through years of broadcasting experience.

Frank Ticheli is one of the most beloved and prolific composers in the modern wind band world. A Professor of Composition at the University of Southern California, his music is known for its rhythmic vitality, striking colors, and deep emotional resonance. Cajun Folk Songs was composed as a tribute to the rich cultural heritage of the Acadian people who settled in Louisiana.

The work is based on two traditional Cajun melodies processed through Ticheli’s distinct contemporary lens. It is divided into two movements:

• I. La Belle et le Capitaine (The Belle and the Captain): This movement tells the poignant story of a young woman whose lover, a captain, is killed in battle. Ticheli uses a haunting alto saxophone solo (or optional clarinet) to introduce the melody. The movement is dark and introspective, capturing the "soul" of the Cajun people through a mournful, rolling lilt.
• II. Belle: In stark contrast, the second movement is a celebrated "foot-stomper." Based on a lively dance tune, it captures the spirit of a Cajun "Fais Do-Do" (a community dance party). This movement is characterized by its infectious energy, syncopated rhythms, and bright woodwind flourishes. It moves at a breakneck pace, mimicking the joyful, rapid-fire accordion and fiddle playing found in the heart of the bayou.

Cajun Folk Songs remains a masterpiece of the Grade 3-4 repertoire because of Ticheli's ability to preserve the raw, folk-like quality of the original tunes while dressing them in sophisticated, modern orchestral textures.

See Rock City is a vibrant and energetic concert march that captures the nostalgic and celebratory spirit of the famous "See Rock City" barns. Since the 1930s, these black barns with their iconic white lettering have served as unofficial landmarks for travelers making their way toward Lookout Mountain, Tennessee. Karrick’s composition serves as a musical postcard from a quintessential American road trip.

The work is characterized by its infectious rhythmic drive and bright, tuneful melodies. Listeners will experience:

• The "Call of the Road": The piece opens with a spirited fanfare that mirrors the excitement of setting out on a journey.
• A Scenic Detour: The middle section offers a slightly more lyrical and "down-home" feel, reflecting the Appalachian landscape that surrounds the Rock City attraction.
• The Final Destination: The work concludes with a triumphant and brass-heavy finale, evoking the sense of arrival and the panoramic views found at the top of "See Seven States" at Rock City.

Brant Karrick, a native of Kentucky, has established himself as a prominent figure in the wind band world through his work as a conductor and composer. He currently serves as the Director of Bands at Northern Kentucky University and has composed numerous works that have become staples of the contemporary band repertoire.True to Karrick’s style, the piece is technically engaging for the performers—particularly in the woodwind flourishes and syncopated brass lines—while remaining immediately accessible and enjoyable for the audience.

As the title suggests, Coast to Coast is a sweeping musical tour of the United States. Rather than focusing on a single region, this medley captures the vastness and diversity of the American landscape through its most iconic folk songs and melodies.

The arrangement functions like a travelogue, seamlessly transitioning between different "stops" along the way. Audiences will recognize the distinct regional flavors woven into the score:

• The East Coast and New England: The journey often begins with the stately and historic sounds of the Atlantic seaboard, evoking the heritage of the original colonies.
• The Heartland: As the music moves west, the orchestration shifts to reflect the expansive prairies and rolling farmlands of the Midwest, often utilizing warm brass textures and simple, soaring woodwind melodies.
• The Wild West and Pacific Coast: The medley frequently culminates in a high-energy finale that captures the rugged spirit of the frontier and the sun-drenched optimism of the West Coast.

By blending these varied musical traditions into a single continuous work, Coast to Coast celebrates the "melting pot" of American culture and the shared spirit of adventure that defines the great American road trip.

Edwin Franko Goldman (1889–1956)

Edwin Franko Goldman was a towering figure in the American band tradition, second only to John Philip Sousa in his influence on the medium. In 1911, he founded the New York Military Band, which later became the world-renowned Goldman Band. Throughout his career, Goldman was a tireless advocate for the concert band as a serious artistic ensemble, commissioning over 100 new works and founding the American Bandmasters Association.

On the Mall is Goldman’s most enduring composition. Written in 1923, it was dedicated to the memory of Elkan Naumburg, the philanthropist who donated the Naumburg Bandshell in New York City’s Central Park. The "Mall" referred to in the title is the famous promenade in Central Park where the Goldman Band performed its legendary summer concerts for decades.

The march is instantly recognizable for several unique features:

• The Whistling Chorus: The most famous section of the march occurs during the "trio," where the melody is first played by the band and then repeated by the musicians—and often the audience—whistling.
• Singing and Interaction: In many performances, the band also sings the "la-la-la" refrain, reflecting the joyful, community-oriented atmosphere of the outdoor concerts in Central Park.
• A New York Landmark: The piece is more than just a march; it is a musical tribute to the heart of New York City and the spirit of public music-making. It captured the public’s imagination so thoroughly that it became a standard at sporting events and parades across the country.

Since its premiere, On the Mall has remained a symbol of the "golden age" of American concert bands, inviting the audience to join in the music and celebrate the simple pleasure of a summer day in the park.