Exploring Wind Ensemble Composition: A Journey with the LTC at Carleton

I had the honor of being commissioned by the President’s Own United States Marine Band to transcribe my overture composition “Celebration,” which was to be performed at the 89th American Bandmasters Association Convention in Washington D.C. in March 2024. As a Chinese musician, I had never before composed for a full band. What made this endeavor particularly daunting was the fact that traditional Chinese orchestras do not include a brass section. Writing for a full band, especially for one of the most prestigious bands in the world, filled me with trepidation. Thankfully, our music department chair, Professor Andy Flory, informed me about the wonderful LTC Teaching Circle program at Carleton, where individuals can team up to share their expertise and embark on an odyssey together.

At the start of the Fall term in 2023, during a faculty retreat meeting, I approached our brand-new Symphony Band director, Lauren Visel, and asked if she would join me in an LTC Teaching Circle. After submitting a proposal to the LTC director and committee, I was fortunate to receive their enthusiastic support.

Thus began my immersion into the art of wind ensemble composition, under the transformative guidance of the incredible band director, Lauren Visel. We began meeting regularly throughout the fall term.

Through our sessions, I learned invaluable lessons from Lauren, who brought a wealth of experience in wind ensemble composition. We meticulously examined the instrumentation to ensure it was suitable for performance. Lauren provided a nurturing environment for me to explore my artistic potential and refine my skills. Each meeting was filled with personalized guidance and feedback on my composition. These sessions not only enriched my creative process but also fostered a sense of community and great friendship.

On March 8th, 2024, “Celebration” premiered to great success in a full house over 1000 people. Many band directors from across the country who attended the concert praised the piece as a highlight of the concert in the evening. The director of the President’s Own United States Marine Band informed me that over 20 band directors had requested my contact information, expressing their desire to program my composition in their future season concerts.

I am deeply grateful to Lauren for her unwavering help and support, as well as to the LTC for providing such incredible support. The LTC experience culminated in a showcase event where faculty had the opportunity to share their knowledge and showcase their unique talents, reflecting the growth and evolution experienced within the Carleton community.

Reflecting on my journey with the LTC, I am thankful for the invaluable lessons learned and the meaningful connections forged. This experience not only deepened my understanding of wind ensemble composition but also instilled in me a lifelong passion for musical exploration and creative expression.

As I continue on my artistic journey, I carry with me the invaluable lessons and experiences gained from the LTC, empowering me to continue exploring, creating, and pushing the boundaries of my artistic endeavors.

I extend my heartfelt thanks to Lauren Visel and the LTC program for their amazing support. I am truly fortunate to be part of the incredible Carleton community.

Within the very first hour, and on my very first day as a Carleton College faculty member, Gao Hong, a musician I had deeply admired, asked me to help her transcribe her orchestral Celebration for the President’s Own United States Marine Band, which was to be performed at the 89th American Bandmasters Association Convention in Washington D.C. in March 2024. 

That’s worth repeating: On my very first day, I was asked for help transcribing a piece for the best band in the world, at one of the most prestigious conferences of the year, by a person I greatly respected. We had been colleagues for approximately five minutes. What an honor!

As part of my doctoral dissertation, I transcribed two orchestral works for wind band, Lili Boulanger’s D’un matin de printemps and D’un soir triste. Gao Hong’s Celebration presented some interesting elements that I had not previously encountered as a wind band transcriber: 

• Chinese Percussion Instruments. Gao’s piece utilized a Chinese cymbal, which is a small cymbal that produces high overtones. Most wind bands utilize cymbals that are much larger, but it was important to the piece that the original instrument was maintained. This supports the authentic sound of Gao Hong’s original intent.
• Chinese Harmonies. Gao taught me that Chinese harmonies tend to be rather simplistic, and we contemplated changing some chords to increase the complexity. Together we decided that the original harmonies should be maintained throughout.
• Chinese Effects. Celebration utilizes some pitch bends to emulate Chinese instruments; Gao explained what type of sound she wanted, and I helped her choose musical notation that embodied those sounds.

I know Gao Hong is very thankful for my knowledge of instrumentation, as we reviewed many parts and discussed appropriate ranges, how to distribute parts within sections, timbres and intonation tendencies of certain instruments, etc. My hope is that my knowledge will give her piece a place in the wind band canon for the next foreseeable future. 

I’m grateful to Gao Hong for this experience as I learned a lot about Chinese music in this process, and the next time I work with a composer, I’ll know the most important questions to ask regarding their musical intent and exactly how to make their composition work for the wind band medium.