Desperate Pursuit: Baritone B.C.

Barnes writes overtures that sound mature and performance-ready at a medium-easy level, and this one uses modal harmony in a genuinely musical way rather than as a gimmick. The pulsating timpani part and low woodwind colors give your band something distinctive to latch onto, making rehearsals focused and results impressive without requiring virtuosic players.

Restless and energetic, with a sense of forward momentum driven by repeated rhythmic figures and modal color that feels contemporary without being trendy. The contrast between the frenetic opening and closing passages and the hushed, lyrical middle section creates dramatic shape, building from urgency to fragile beauty and back again.

Concert bands at the middle school through early high school level will find this accessible enough to execute well while still sounding concert-worthy. The moderate demands across the ensemble make it suitable for mixed-ability groups while the distinctive harmonic language keeps stronger players engaged.

• Establish the D Phrygian tonality from the opening: the raised second scale degree is what gives this mode its exotic edge, so voice it clearly in the woodwind chorale sections and let it breathe.
• Lock the rhythmic motion between the snare drum and the faster rhythmic figures in the upper woodwinds during the driving sections; this partnership propels the piece forward and prevents it from sounding scattered.
• Shape the lyrical contrast with warm, legato phrasing in the lower instruments while keeping the wispy percussion accompaniment delicate and restrained so the melodic line stands clearly.
• Build the timpani part gradually across the piece; it should feel like a constant pulse that intensifies rather than a prominent feature from the start.

Program this as an opener that captures attention immediately, or pair it with a lyrical chorale and a lighter closing piece to showcase your band's range. Its 3:50 length makes it flexible for concert programming, and the dramatic arc works equally well in festival competition or a standard concert context.

• Playing in modal tonality (D Phrygian mode)
• Rhythmic precision and subdivision in driving passages
• Dynamic contrast and phrasing in legato sections
• Ensemble balance when layering multiple rhythmic motifs
• Timpani independence and control in pulsating parts