Tundra: Percussion 1
By William Owens
Grade: 2.5
Item: 98-PC-DB1722_PC1
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Description
This programmatic work illustrates the eeriness and ferocity of a vast, sub-zero wilderness uninhabitable by man. With optional piano part, the opening “calm” includes dissonant ostinato patterns paired with semi-melodic motifs. The ensuing “storm” erupts with driving rhythms and a bold melody as the music barrels into a whirlwind of flurry before returning to a sense of unsettled calm. A highly engaging work.
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Additional Details
Series:
FJH Young Band
Publisher:
The FJH Music Company, Inc.
SKU:
98-PC-DB1722_PC1
More about this title
About the Composer: William Owens
William Owens brings three decades of classroom experience to his work as a composer. A VanderCook College of Music graduate, he has established himself as a prolific voice in young band literature, with over 300 works published since 1993 across concert band, string orchestra, and chamber settings. His compositions regularly appear on state music lists and have become teaching standards in programs nationwide.
Owens balances his compositional output with active work as a clinician and conductor throughout North America. Based in Fort Worth, Texas, he spent 30 years as a high school band director before retiring in 2014, an experience that informs every note he writes for young ensembles. His contributions to music education have earned him recognition as a Distinguished Alumnus of VanderCook and a recipient of the Texas Bandmasters Association's Meritorious Achievement Award.
Why we love this
Owens constructs a complete musical narrative in just a few minutes, using instrumentation and compositional technique to transport players into an actual landscape. The piece demands focused ensemble listening without requiring technical virtuosity, making it accessible for Grade 2.5 bands while delivering real artistic payoff. Contest adjudicators and audience members alike respond to its programmatic clarity and the visceral energy of the storm section.
What to expect
The opening pulls you into a world of stark, unsettling quiet; dissonance and sparse textures create an atmosphere of isolation and exposure. Then the music erupts into raw, driving energy as the storm tears through with relentless momentum before settling back into an uneasy calm that feels earned rather than resolved.
Who it's for
Concert bands at the 2.5 grade level looking for repertoire that combines accessibility with artistic substance. Directors seeking a contest piece that showcases ensemble maturity through musical storytelling rather than technical display will find this especially valuable.
How to get the most out of it
- Shape the opening ostinato as a foundation for tension rather than a melody; keep it rhythmically locked and slightly detached so the semi-melodic motifs register clearly above it.
- Build the storm gradually by layering articulations and dynamic increments rather than jumping to full volume all at once; let the "whirlwind" accumulate intensity section by section.
- Balance the optional piano part carefully in rehearsal; it should enhance harmonic depth without masking the band's core sound, especially during the calm sections where dissonance matters most.
- Bring intentional restraint to the return of the unsettled calm; allow slight ritardando and space for the final dissonances to register, leaving the audience in the tension Owens creates rather than rushing to resolve it.
How to use it
Program this as a concert opener or closer to frame an evening thematically, or pair it with contrasting lyrical works to highlight its programmatic power. It works especially well in festival or contest settings where adjudicators expect musical depth from young ensembles, and its compact length makes it ideal for concert programs that balance multiple pieces.
Skills your students will build
- Sustaining dissonant harmonies with tonal control and ensemble blend
- Reading and executing rhythmic drives at varying tempo and intensity levels
- Responding to programmatic musical cues and building cumulative dynamic contrasts
- Maintaining rhythmic precision in ostinato patterns while supporting melodic content above them