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Background
“Windows” is a brass quintet (2 trumpets, French horn, trombone, and bass trombone) made up of three movements (I. Glass, II. Screen, III. Air) based on three different types of windows/elements of windows. The entire work is about 15 minutes long. The inspiration of the piece stems from one of the marimba solos I was learning for graduate school at the time I composed this piece : "Reflections on the Nature of Water" by Jacob Druckman. Prior to learning the piece my professor (Ji Hye Jung) told me to listen to another piece by Jacob Druckman called "Windows." Upon hearing only the name “Windows” I instantly thought I knew what it would sound like. Druckman's "Windows" sounds nothing like what imagined it would. So, the brass quintet I've written, "Windows," is the piece that I expected Druckman's piece to be prior to listening to that piece, or any other by Jacob Druckman.

III.AIR
This movement is an open window on the most peaceful of days. The gentle breeze from the outdoors, the purest moments of nature.

In this movement, like the second, the trumpets create a sonic atmosphere within which all of the other instruments exist. The two trumpets should be effectively creating a drone throughout most of this movement. The attacks on each note should be soft, almost unnoticed. If done correctly, there will be a subtle pulse heard in the drone.
This pulse can be heard starting on measure 182. Beat one is both trumpets, beat two is only trumpet 1, beat three is both trumpets, and beat four is only trumpet 2. The slight shifts in volume (due to the number of people playing at one time) will create a subtle pulse.

As for the rest of this movement – this is the French Horn movement.
When the French horn enters in measure 185, enter as soft as possible, so that the addition of the French horn is only noticed when you change notes (to F#). The following entrances should still be soft, but do not need to be as quiet as the initial entrance.

While the trombones are indicated to play ppp in measure 201, simply play at a volume far enough below the French horn so that you can crescendo only rising above the level of the French horn on the last beat or so.
In measure 215 the French horn and trombones are printed at equal dynamics. The French horn should still be the prominent voice in these passages. The same goes for the entire ensemble in measure 225, while all voices are printed dynamically equal, the French horn should still sit just on top of the other voices.

From measure 236 to the end, play beautifully.

credits

from Clark Hubbard Music [Sample Audio], released July 16, 2018
Composer: Clark Hubbard
Audio: Avid Sibelius

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Clark Hubbard

Clark Hubbard is an American percussionist and composer. He writes music for soloists, chamber ensembles, rock bands, and electronic instruments fusing his interests in classical, contemporary, jazz, pop, avant-garde, and rock music. He has performed across the globe, and is a graduate of Vanderbilt University and the University of Michigan. ... more

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