is one of those pieces that took a long time to get here. It started out as a piece for solo piano, and quicklybecame a short work for percussion ensemble. This iteration enjoyed a few performances before I realized the piece wasn’tquite done. So I added two more movements, called it finished, and moved on to other works. Two years later, I found myself staring at the same score. After living with the piece for a few more years, I realized that the added movements didn’tparticularly help the piece, and that maybe it was wrong for percussion ensemble. So I began the arduous task of trimmingthe piece back down to size, throwing out a lot, keeping the essentials, and arranging the entire thing for concert band.The work itself is an amalgamation of several different ideas that came together gradually. The rhythmic section that beginsthe piece was an experiment with accents that I originally wrote while touring graduate schools. The main melody came tome as I was walking to class one day in January 2009, which existed as a post-it note on my desk for two months. It tookroughly this long to discover that the best way to notate this melody was in alternating bars of 6/8 and 3/4. The canonicsection slightly past the halfway point was a total accident that occurred during the orchestration process, and it remainsone of the best mistakes I’ve ever made. The combination of these elements eventually worked themselves into thecompleted work.The original Pipe Dreams debuted on May 5
, 2009, in Clara Thompson Hall on the campus of Drury University inSpringfield, Missouri.Chelsea Miller, Lauren Avers, Amanda Martin, Jenna Penick, Ian Roslawski, Robin Hendry, Jenay Lamy, Carlyle Sharpe,
Thanks to Cristin Compton, Robin Hendry, Amanda Martin, Kelsey Alberg, Maggie Gann, and Steven Eiler for their expertise and feedback.