Texas (ie, Denton and Dallas) wind ensembles...

[Tom]

I write a little too, and of course would so love to write a piece to be played, etc. etc. and great WEs to me are always very inspirational.

But, how did the Dallas Wind Symphony, and the ensembles at North Texas U. get so good, or at least have some pretty great recording contracts (and engineers, on top of already great musicians?)

If you want to take a shot at having a composition played by (part of) the Dallas Wind Symphony, check out their Brass Fanfare Competition. http://www.dws.org/component/content/ar ... fanfares11. You've got 2 days to get your materials in if you're seriously interested.

How the groups "got good" is a very difficult question to answer. I can, however, speak to why the recordings are so outstanding. First, the group is just plan good. Really good. Second, they perform most concerts and do all of their recordings in one of the finest concert halls in the world, the Meyerson Symphony Center in downtown Dallas, TX. Third, their finest recordings have been done on the "botique" Reference Recording label with Keith Johnson handling the recording. The easiest way to explain that is to say that "he knows what he's doing."

Both of the current DWS tuba players are on Tubenet as is one of the former members.

[Ace]

I've heard great things about the Dallas Wind Symphony and the ensembles at Denton TX. These days, there are so many amazing groups in the U.S. and around the world. When I want to be really impressed, I dial up this site from the Conservatory of Music at California State University-Long Beach. (Try their Wind Symphony's clip, "Fantasia on Aura Lee".) Many of these young musicians are students of Los Angeles Phil and LA studio players.

http://www.csulb.edu/depts/music/bands/bands.html" target="_blank

[Alex C]

Maybe I will submit it... but I was thinking of less forces than their maximum. Might as well try Thanks for pointing this link out, however!

- Hunter

OK, double all the trumpet parts and fill in some harmony, quadruple the horn parts no need to add much new harmony, write a bass trombone part, split the tuba part into octaves and if you have time, write a euphonium part. Voila! instant brass ensemble.

[Alex C]

The DWS started as a reading group with some of the best players in the DFW area. It would not have happened had it not been for Howard Dunn. HIS personality brought in the best players because there was no pay, and there were no concerts scheduled.

I attribute the growth to Kim Campbell, the idea man behind the DWS. He is a former bass trombonist and is a top notch human being. There cannot be enough credit given to Kim for the success of the DWS. It is where it is now because of Kim, the players are the product, he's the heart and soul.

Kim made it look so easy that I thought anyone could do the same thing in any major metro area. I've since been educated.

North Texas ensembles are good... scary good. How? It's the second largest music school in the universe, great teachers (Don Little, Brian Bowman, Vern Kagarice, Bill Scharnberg... the list goes on and on and that doesn't even scratch the woodwinds or percussion), lots of performance opportunities for the students, emphasis on performance and high standards expected from students and teachers alike. If you coast at UNT, you get run over by some hot shot underclassman. It has to be a challenge to go to school there and come out with any confidence unless you are a star. BTW, I didn't attend there.

Lastly, Prof Johnson is the Jedi master of the recording craft. It is unfortunate that the recording sessions are so tightly scheduled and that shorter takes are not possible. Jerry Junkin thinks organically (sorry, his term) and doesn't like to chop up a recording to make it spot perfect. Some conductors record single chords! What a luxury that must be. Well, it makes for an exciting recording session and I'm sure the entire ensemble prays for Prof to clean up some little mistake that got left on tape.

Most nervy session: the "Live" recording with Fennell. If only he had used scores.

[Karl H.]

North Texas ensembles are good... scary good. How? It's the second largest music school in the universe, great teachers (Don Little, Brian Bowman, Vern Kagarice, Bill Scharnberg... the list goes on and on and that doesn't even scratch the woodwinds or percussion), lots of performance opportunities for the students, emphasis on performance and high standards expected from students and teachers alike. If you coast at UNT, you get run over by some hot shot underclassman. It has to be a challenge to go to school there and come out with any confidence unless you are a star. BTW, I didn't attend there.

Maybe not, but you DID teach there! (As always, Alex is too modest). Much respect to Kim Campbell as well: Alex is absolutely correct re: the heart and soul of the Dallas Wind Symphony. I was lucky enough to play a concert or two with Howard in the freebie days and was always impressed by the quality of musicianship and the level of dedication. I've been delighted to hear of the DWS's continued success. May the group live on forever!

Karl "proud North Texas State ('87) and University of North Texas ('91) grad" H.

[Rick Denney]

The Holst suites are like the bread and butter that all WE members for life know in their sleep... so I like to use them when I compare recordings/interpretations etc. etc. It's kinda a sick fetish actually.

That sounds like my fetish for the works of Vaughan Williams (not at all limited to his band works, however).

But I don't think the Holst Suites are quite as ubiquitous as you suggest. I started playing in school bands in 1970, and did not play a Holst suite until the late 80's. All the band directors thought they were so old hat that they avoided them, not realizing how they were depriving their students of that important history. And unlike so much that is written for wind bands today, those works were not written to test or show off specific skill sets in contests.

Rick "who has nightmares of trying to play the deceptively simple Chaconne such that the low brass sound as one instrument" Denney