In Which Ryan Is On (OTC) Drugs
March 2024 | 5:3

Goomba is ready for her close up, Mr. DeMille.
What's Been Happening
First a quick disclaimer; I'm writing this month's newsletter while my cold medicine to coffee intake ratio is not set up for optimal mental performance. Despite that inauspicious framework, it's been another good month with continued surgery recovery, finally finishing DCI auditions, and getting everything set to enter my annual spring writing cave. With more fancy orchid-adjacent travel on the horizon and my summer schedule getting finalized as well, things are about as good as they can be for your friendly neighborhood guy who makes a living giving exceedingly specific instructions for blowing on complicated tubes. Which is a really weird way to earn money... in the meantime, I'm going to go double-check what exactly was in that cold medicine.
Chart O' The Month
I have to confess I had actually forgotten about this chart until someone asked about it recently, which in some ways makes me feel like a way cooler composer as opposed to the professional equivalent of someone who can't remember where their car keys are. In fairness it was commissioned and performed in an extremely busy time right before the pandemic so a couple distractions have occurred since then, but the important thing is I'm really glad I was reminded about it.
It was commissioned by George Andrikokus and the Hinsdale Middle School Jazz Ensemble to feature a guest artist at the Illinois Music Education Conference, and the recording is an excerpt from that performance. George and the group also recently performed a piece of mine at the Midwest Clinic, so it's cool to look back and see the progression that's taken place as well. Musically, the tune is a contrafact on "Nature Boy" and in fact I fairly overtly stole a lot of the ideas from Laurence Hobgood's arrangement of that song for Kurt Elling (Laurence if you're for some reason reading this, let me know and I'm happy to share the tens of the dollars in royalties that have rolled in). Kidding aside, I'm actually pretty pleased listening back to how the chart came together and both serves as a way to introduce students to the original tune but also still have its own valid musical character. In an even more full circle moment, what brought this back to my attention was a school reaching out to use this as a way to feature another friend and composer on trombone as a guest artist, so with any luck I'll be able to make it out to that performance and share an updated recording.

Look, Nature!
This is also a picture from Wahiawa Botanical Garden on Oahu, because I'm probably not going to run out of cool pictures from that trip for a long time. I've done a pretty good job recently of featuring actual plants in this space [Editor's note - don't check if that's actually true or not], but this little lizard friend was too fun not to share.
Education Notes
This is the time of year when most folks are planning for their fall marching band shows and picking source music to use, so I thought I'd share some quick unsolicited advice on important considerations while making those choices:
First, what does your group do well? Are there particularly stronger or weaker sections or soloists, how many actual performers are in the group, what kind of electronic sound reinforcement equipment do you have (or not), etc.?
Second, as you find music you like, what makes that music effective? For example, film trailer versions of pop tunes are very in vogue; generally what people respond to are the sound design elements (droning sounds creating a mood), unexpected key centers relative the original, drastically changed feel and pacing from the original, and the melody being presented in an unexpected voice.
Third and perhaps most importantly, do numbers 1 and 2 align in a way that will make you successful? Using the above example of film trailer music, it can be very effective if you have strong sound design involved, the speakers and other equipment to produce those sounds, strong soloists, and an understanding of how to balance acoustic and electronic sounds in a live setting.
This isn't to say you should never stretch your boundaries or learn new skills and techniques, but making sure you are realistically prepared to create the sounds you're imagining as you plan is definitely the most consistent path to success.