subsequent work—to sing and to sing loudly. In addition to his rigorous training as a composer, Douglas is a fine trombonist and has been a fulltime public school band director. Because of these experiences, his unique insights about each instrument in the wind ensemble, their pallet of colors, and the unique sound combinations that only the modern-day wind band can produce were utilized in the fullest ways possible. Indeed, Harriet was the benefi- ciary of all of his experience, musicianship, training, and care.
The sources of a work of art, whether by inspiration or materials used, are only a small part of the many pro- cesses involved in creating something meaningful and lasting, primarily because such a large percentage of the creative process is subliminal.
Percussion 1: Brake Drum, Glockenspiel, Vibraphone
Percussion 2: Triangle, Maracas, Chimes, Xylophone Percussion 3: Suspended Cymbal, Tam-Tam, Hi-Hat, Cymbals, Claves, Crotales
Percussion 4: Tambourine, Wind Chimes, Marimba Percussion 5: 4 Tom-Toms, 2 Conga Drums, Crash Cymbals
Percussion 6: Bass Drum Douglas provides the following program note in the
score. I provide it here in its entirety: Still, an examination of
the materials used in the creation of a musical composi- tion is at least a small portal into mind and creative spirit of its composer. It is with those limitations in mind that I share the musical materials that make up Harriet. The score to Harriet is dedicated to “The Cali School
of Music Commissioning Project for the Montclair State University Wind Symphony, Thomas McCauley, Con- ductor. World Premiere Performance, Friday, April 23, 2010, in the Alexander Kasser Theater.”
The instrumentation is as follows:
Piccolo 4 Flutes 2 Oboes 2 Bassoons Contrabassoon Clarinet in Eb 4 Clarinets in Bb 2 Bass Clarinets in Bb 2 Alto Saxes Tenor Sax Baritone Sax 4 Trumpets in Bb 4 Horns in F 4 Trombones (3 Tenor, 1 Bass) Euphonium (2 or more preferred) Tuba Double Bass Piano Timpani
JANUARY 2021
From childhood throughout my adult life there have been many people from history that I have looked upon as heroes, people who have exhibited courage and a selflessness that goes well beyond the normal boundaries. One of these people is Harriet Ross Tubman, born Araminta Ross (1822- 1913). It was always amazing to me that she escaped to free- dom but then took on the responsibility of returning to where she had escaped from to free others to a better life. With slave catchers and bounty hunters on the lookout she put herself in danger many times to help others. Most of Harriet Tubman's work helping slaves to the
north was done by means of the “Underground Railroad,” a large network of people who gave help to fugitive slaves to get to the Northern states of the U.S. or Canada. The system was not actually underground or a railroad but got its name because of its methods. The system did however use railroad terms to describe certain aspects. Rest stops were called stations or depots, people in charge of stations were called stationmasters, and people in charge of moving people from one station to another were called conductors, for which Harriet Tubman was the later. Tubman also became referred to as "Moses", named after the biblical man who led the Jewish population from Egypt. Tubman would later serve as an anti-slavery advocate, participate in the women's rights movement, and serve as a nurse, scout, and spy for the Union Army.
When Harriet Tubman arrived at plantations she used coded songs/spirituals to gather, group and give instructions to slaves for travel northward. These coded songs originated in the churches of African-American slaves. Songs like “Wade in the Water” provided escape instructions in the lyrics. The title of the song is actually an instruction to keep bloodhounds from scenting their tracks. “Follow the Drinking Gourd” not only contained hidden instructions, but also conveyed a de-
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