Stampede: Percussion 2
By Brian Balmages
Grade: 1.5
Item: 98-PC-DB1449_PC2
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About the Composer: Brian Balmages

Brian Balmages has established himself as a composer and conductor with an equally strong presence across orchestral, band, and chamber music genres. His works have been performed by ensembles ranging from professional symphony orchestras to elementary school bands in venues including Carnegie Hall, the Kennedy Center, and the Sydney Opera House. He received the A. Austin Harding Award from the American School Band Directors Association and won the 2020 NBA William D. Revelli Composition Contest for "Love and Light." He is an elected member of the American Bandmasters Association.
Balmages served as a guest conductor at prestigious festivals and conferences including the Midwest Clinic, Western International Band Clinic, and College Band Directors Conference. His music was performed at the 2013 Presidential Inaugural Prayer Service. He has taught at multiple institutions, including receiving the inaugural Distinguished Alumni Award from James Madison University's School of Visual and Performing Arts, and was commissioned by the University of Miami to compose for the inauguration of its 6th president. He currently serves as Director of MakeMusic Publications and Digital Education for Alfred and MakeMusic.
Why we love this
This piece delivers exactly what a Grade 1.5 band needs when it's time to energize an audience and remind students why they signed up for band in the first place. The optional audience participation transforms a concert performance into an event, and Balmages builds the excitement strategically: a quiet beginning establishes context, the bass drum roll signals the turning point, and then the aleatoric section with temple blocks becomes a genuine sonic thrill that students will remember for years. It's engaging without gimmickry, and it actually sits well within the technical capabilities of developing players.
What to expect
Stampede captures the quiet tension of life on the open range before shifting into a thrilling, chaotic rush of sound that envelops the entire concert hall. The aleatoric temple block section feels genuinely unpredictable and visceral, with each performance creating its own unique stampede as instruments and audience voices layer into an exciting wall of noise.
Who it's for
This piece is ideal for Grade 1.5 concert bands seeking repertoire that energizes audiences and validates the musical contributions of developing players. It works equally well for school concerts, festival performances, or any venue where a director wants to showcase both the ensemble's musicality and the joy of collaborative music-making.
How to get the most out of it
- Establish a clear visual cue system with your audience before the piece begins. A simple gesture or spoken instruction lets them know exactly when to participate, which keeps the stampede cohesive and prevents chaos.
- Balance the aleatoric temple block section by rehearsing it separately so students understand they are creating texture, not following a strict rhythm. This builds confidence in their ability to contribute meaningful sound.
- Begin with the simplest harmonies at their most confident tempo during early rehearsals. Let students hear the journey from ranch to stampede before adding the challenge of shifting textures and audience integration.
How to use it
Open a concert with this piece to energize both the audience and your ensemble, or program it as a midpoint surprise to shift audience attention and mood. It pairs well with more traditional concert selections since it establishes a different kind of musical engagement and gives developing players a moment to feel like they're creating something genuinely exciting and original.
Skills your students will build
- Building and sustaining musical momentum across multiple structural sections
- Balancing blend and balance while participating in aleatoric passages
- Responding to complex visual cues and conductor gestures that coordinate multiple musical events
- Creating emotional and narrative arcs within instrumental writing