go to the garden (brass soloist and fixed media)

Description

Click here to view the trumpet perusal score for go to the garden.
Click here to view the euphonium perusal score for go to the garden.
Click here to view the tenor trombone perusal score for go to the garden.
Click here to view the tuba perusal score for go to the garden.

Listen to a playlist of go to the garden performances, beginning with this stunning version by Adam Warnke:

Discography:

Brianne Borden, body, mind, & heart, released May 21, 2025. Brianne’s recording is a finalist for the American Prize in Instrumental Performance and the American Prize in Performance of American Music. It also won two silver metals, for album and concept, from the Global Music Awards. Buy a CD or digital download at https://www.brianneborden.com/category/all-products

Pedagogical recognition:

go to the garden is recognized on the University of North Texas Euphonium Solo Literature List as of Fall 2024.

Kind words from performers and listeners:

“Something to savor.” –Kevin McLaughlin, Cleveland Classical

“Such a stirring soundscape.” -anonymous audience member who looked me up and sent me an email

“Favorite piece on the program!” -many, many very kind recital attendees, according to more performers than I can count.

Program notes:

Calm, quiet spaces can be effective and popular sites of introspection, reflection, and emotional processing, yet access to such spaces—plus the time and energy required to travel to them—remains elusive for many. The ongoing (at time of writing) COVID-19 pandemic keeps even more of us from calming spaces we previously could access while requiring an isolation and distance from others that feels anything but restful. Some of us have created new spaces for that vulnerability and processing, often online, but barriers to access still remain, and virtually everyone has been saddled with grief, anxiety, and burnout we are unable to fully process.

Rather than attempt a true-to-life reflection of this in go to the garden, I’ve crafted a narrator (voiced by the impeccable Tess Galbiati) who’s spent years upon years building a lush, overflowing space in their mind. The six- and nine-minute versions of the work examine what happens after that world experiences a deep, radical disturbance—it’s constructed metaphorically, but listeners and performers may find connections to trauma processing and recovery that map onto many life-altering events, not just a pandemic. Much as performers are encouraged to engage with the material at their own pace, I hope to leave space for audiences to grant themselves time to heal or rest no matter the specifics of their situations.

For the performer, I hope go to the garden serves as a reminder that doing what you can when you can in your performance journey is no less worthy of recognition than doing things “perfectly” (however you and the forces in your life define that) all the time.

Notes to the performer (excerpt):

go to the garden is designed to be modular specifically because none of us are in the exact same position on any given day. We may be injured, having a bad playing day, dealing with external complications that make it difficult to commit our best to the horn, grieving, taking joy in things beyond music, and so much else. To deny life in all its fullness is to reduce the performer to almost a machine—an organism that is expected to put out the exact same product every time with no variance from moment to moment or day to day. That doesn’t seem very fair to me.

As such, go to the garden is filled with options: ossia notes and staves as needed, a (brief!) cell notation section so you can choose your own adventure, and three fixed media tracks to accommodate performers who wish to perform at 3′, 6’10”, and 9′ lengths. When combined with the increasing difficulty of the piece from part to part, this can be a useful pedagogical tool as well as an easy way to build some flexibility into your programming. If you don’t have high range control you feel good about that day, don’t force yourself to play Part III! If you just want a short piece to round out a concert, just play Part I! The world, as they say, is your oyster, and I want that to be as fulfilling (and non-painful) an experience as possible.

Parts for B-flat and C trumpet are provided. Feel free to play it on either, though I find it sits a hair better on B-flat.

go to the garden asks performers to sing just a little. Whenever you see sung material, please realize this in whatever octave is most convenient for you. These moments will appear as follows:

• Diamond noteheads should be sung on an exhale through the horn. You should be able to do this without removing your embouchure from the mouthpiece, though you may need to experiment with vowel placement to find the parameters that work best for you.
• Square noteheads should be sung ingressively, by inhaling through the horn. Yes, sometimes you’ll breathe in that delightful valve oil aroma (sorry). Ingressive singing in this work should not sound as stereotypically “pretty” or even remotely refined; outlining the pitch content is important, but don’t be hard on yourself if it’s not as precise as you’d like. This will take some practice if you’re new to it, but it’s very fun (and another way to make your instrument sound like something is catastrophically wrong).
• If you are non-speaking and are unable to realize the sung portions, you can play them with or without a mute (your choice which one!) or explore other options. Want to involve a vocalist? Cool! Want to experiment with adding some silence? Excellent! I look forward to the results of your artistic exploration.

Throughout the piece, double bar lines appear with fermatas over them. This indicates that you’ve reached the end of that section and should wait until the next listed timecode to begin the next passage. If there’s no barline fermata, continue onward with no waiting, even if a timecode is given.

In various parts of the score, I have included supplementary expression text that can at times be rather vague. I like invoking ideas or feelings and letting my performers respond and react! Your interpretation of “stepping out into the light” or “like a forgotten echo” may be different every time. That continual journey of discovery and re-discovery is an important part of the piece.

Some narration cues have been provided to help you sync up with the fixed media. Don’t stress if you’re a little off. (I miscounted two entire sections of this thing while writing it.)

I have provided a series of ossia staves and optional notes throughout the work. Performers can navigate these however they find appropriate; play the options that work best for you in the moment! I do not view lower notes or simpler rhythms as compromises or failures, and each alternative was written so performers can keep the spirit of the gesture no matter which version they play. I love all of the options I’ve written, so I’ll be a big fan of any you choose. Please don’t feel the need to strain beyond what’s good for you to realize an option. This piece is about being nice to yourself, dang it! (notes continue in the score)

A note to teachers:

If you’re working with a student on go to the garden, bear in mind that I do not expect or want performers to realize the piece the same way every time. You may find that the process of engaging with this work is sometimes at odds with how many of us have been taught to practice and perform. That is intentional, and I hope it provides an opportunity for you to interrogate your own processes as well. This piece should only be taught with patience in mind; to demand perfection in its performance is to directly contradict its very purpose.

Frequently asked: How should I write the name of this piece in programs/posts/etc.?
Answer: In all lowercase (“go to the garden”). This song is intentionally not written with Capital Letter Energy; please honor that by writing it as I’ve written it for your programs and other media.
May I chop up your program notes?
Answer: You can certainly leave out the last line (beginning with “For the performer…”), but please do leave the rest in place wherever possible. My notes are in many cases my only opportunity to speak directly to your audience. If limited program space is a consideration, consider linking them to this page via a QR code and/or reading them aloud for your audience during your set.
Can I download materials forever? (or: I can’t download my materials anymore! Help!)
Answer: As long as my website is functional and the materials are stored there, yes. HOWEVER, I strongly encourage all performers to download all your performance materials immediately after purchase—technical difficulties can occur on both my end and yours, and I’d hate to leave you without your materials if a problem arises! NOTE: An updated 2026 edition of this piece, complete with a hyperlegible edition for folks who may benefit from it, has replaced the old file. If you purchased go to the garden previously (for any instrumentation) and can no longer access your materials, please drop me an email using the information on my Contact page. Include a copy of the invoice or receipt you got with your original purchase and be sure “replacement score” is in the subject line for a faster resolution!
Why can’t I buy this for my instrument?
I’m working on it! As of April 2025, versions of garden are available for trumpet, tuba, trombone, and euphonium. I will continue working to expand its availability for additional brass instruments (and maybe woodwinds too, who knows) over time, but please understand that this additional arranging work happens in my spare time between my day job and my paid composing work. It’s a slow process! I aim to put out one arrangement or new edition of an older piece every six months or so, but this varies widely depending on my workload and other events in my personal life. Thank you for your patience!
Why isn’t there a bass trombone edition?
I keep trying to make one, but my bass trombonist partner, Nick St. Croix, has repeatedly told me that the tuba version works great for bass trombone. If you have a louder opinion than his, please let me know.
What is the Atkinson Hyperlegible edition?
Answer: The Atkinson Hyperlegible edition is a new, second version of the score that delivers along with my original. This edition exclusively uses a typeface (Atkinson Hyperlegible) that is designed to be friendlier for low-vision and dyslexic folks. It automatically delivers with all scores composed in 2025 or later, and I am in the process of retroactively adding these additions for new purchases of older works. If you have previously purchased or commissioned a piece of mine and would benefit from an Atkinson Hyperlegible edition, please drop me an email using the information on my Contact page and I will get you a PDF ASAP at no charge!

Many thanks to the consortium members who made this possible:

Adrian Holton | Alex Wilson | Anne McNamara | Ashley Killam | Ben Bruflat | Benjamin Hay | Brianne Borden | Bryan Appleby-Wineberg, Rowan University | Caitlin Krueger | Carrie Blosser | Conlan Lang | Connor Johnson | Daniel D’Addio | Doug Reneau | Dr. John Marchiando | Dr. Ryan Gardner | Erica Binder | Jason Bergman | Jean Laurenz | Jennifer Oliverio | Jeremiah Kersting | Jon Ailabouni | Kate Amrine | Keith Benjamin | Kelly Watkins | Mary Thornton | Matt and Jena Vangjel | Matthew Onstad | Robert White, Western Michigan University | Sophie Mejia

Reviews and mentions:

If your event has gotten press coverage not listed here, please send it to me!

• “Cleveland trumpeter Theresa May tests the limits of brass music” by Amanda Rabinowitz and Brittany Nader, Ideastream Public Media, March 13, 2025
• “Re:Sound New and Experimental Music Festival (June 11)” by Kevin McLaughlin, Cleveland Classical, June 15, 2023

Known performances and non-commercial recordings:

Got one I’m missing? Let me know! (And performers: if you see a name on here that you no longer use, I will fix it! Please send me an email with your old name, what you’d like it changed to, and where it appears.)

• Phillip Marion, euphonium (Part I). Click here to listen to Phillip’s performance.
• Adam Warnke, trumpet. Click here to listen to Adam’s performance.
• 10/24/2026, Andrew Chapel, Seattle Trans and Nonbinary Choral Ensemble Showcase Fundraiser, Seattle, WA (Part I).
• 5/10/2026, Ethyn Evans, Austin Community College, Austin, TX (tuba).
• 4/30/2026, Ethyn Evans, Blinn College, Brenham, TX (tuba).
• 4/18/2026, Jared Sherman, Texas Tech University, Lubbock, TX (euphonium, Parts I and II).
• 3/29/2026, Jennifer Carden, James Madison University, Harrisonburg, VA (euphonium). Click here to watch Jennifer’s performance.
• 3/22/2026, Dr. George Carpten IV, Penn State University, University Park, PA. Click here to watch Dr. Carpten IV’s performance.
• 3/21/2026, Turner Gray, Northwest Regional Tuba/Euphonium Conference, Boise State University, Boise, ID (tuba).
• 3/20/2026, Ethyn Evans, South Central Regional Tuba/Euphonium Conference, University of Texas Rio Grande Valley, Edinburg, TX (tuba).
• 3/6/2026, Theresa May, Cleveland, OH. Click here to watch Theresa’s set (featuring effects pedals!).
• 3/5/2026, Ethyn Evans, South East Regional Tuba/Euphonium Conference, University of Georgia, Athens, GA (tuba).
• 2/3/2026, Angela King, University of Central Arkansas, Conway, AR.
• 10/1/2025, Matthew Vangjel, University of Missouri Kansas City, Kansas City, MO.
• 9/25/2025, Lincoln Larsen, Iowa Lakes Community College, Estherville, IA.
• 6/25/2025, Will Koehler, The Center for Advanced Musical Studies at Chosen Vale, Enfield, NH.
• 5/22/2025, Brianne Borden, International Women’s Brass Conference, The Hartt School, Hartford, CT.
• 5/3/2025, Brianna Yepez, University of Texas El Paso, El Paso, TX.
• 4/28/2025, Holly Dion, University of Hartford, West Hartford, CT.
• 4/22/2025, Elliott Morrison, Memorial University of Newfoundland and Labrador, Newfoundland, Canada. Click here to watch Elliott’s performance.
• 4/7/2025, Ann Gray, University of Utah, Salt Lake City, UT.
• 4/6/2025, Kevin Riedl, Illinois State University, Normal, IL.
• 3/7/2025, Theresa May, WVIZ/PBS, Cleveland, OH.
• 3/7/2025, Chloe Ellis, Texas Tech University, Lubbock, TX.
• 2/7/2025, Jacy Ripley, Tarleton State University, Stephenville, TX.
• 1/21/2025, Turner Gray, UW Madison, Madison, WI (tuba). Click here to watch Turner’s performance.
• 1/17/2025, Samford University, Homewood, AL.
• 12/8/2024, Desmond Foster, University of South Alabama, Mobile, AL.
• 11/29/2024, Elliott Morrison, Memorial University of Newfoundland and Labrador, Newfoundland, Canada (Canadian premiere).
• 11/26/2024, Alex Ellender, Louisiana State University, Baton Rouge, LA. Click here to watch Alex’s performance.
• 11/24/2024, Desmond Foster, University of South Alabama, Mobile, AL.
• 11/24/2024, Jared Eichler, Kent State University, Kent, OH.
• 11/22/2024, Dylan Campbell, University of Tennessee at Chattanooga, Chattanooga, TN.
• 11/18/2024, Jason Bergman, CU Boulder, CO.
• 11/17/2024, River Davis, University of Kentucky, Lexington, KY.
• 11/15/2024, Jason Bergman, Oakland University, Rochester, MI.
• 11/5/2024, Dr. Aaron Jensen, Coca-Cola Space Science Center, Columbus, GA.
• 10/25/2024, Francisco Molina, University of Texas El Paso, El Paso, TX.
• 9/26/2024, Mary Thornton, Texas A&M University-Corpus Christi, TX.
• 8/21/2024, Nicole Gillotti, Western Illinois University, Macomb, IL.
• 7/20/2024, Coleman Scott, Level-Up Trumpet Camp, Bowling Green, KY.
• 6/20/2024, Joshua McKeague, Royal Northern College of Music, Manchester, England (English premiere). Click here to watch Joshua’s performance.
• 6/4/2024, Nairam Simoes, University of Kentucky Summer Trumpet Institute, Lexington, KY. Click here to watch Nairam’s performance.
• 6/2024, Aoife Garry, Royal Irish Academy of Music, Dublin, Ireland.
• 4/26/2024, Julia Stowell, University of Illinois Urbana-Champaign, Champaign, IL.
• 4/24/2024, Aoife Garry, Royal Irish Academy of Music, Dublin, Ireland (Irish premiere).
• 4/22/2024, Grayden Fields, Arkansas State University, Jonesboro, AR.
• 4/21/2024, Emma Vakiener, Ithaca College, Ithaca, NY.
• 4/18/2024, Theresa May, Kent State University, Kent, OH.
• 4/17/2024, Tayler Duby, University of Utah, Salt Lake City, UT.
• 4/14/2024, Matthew Vangjel, New Mexico State University, Las Cruces, NM.
• 4/13/2024, Seth Dawson, Faulkner University, Montgomery, AL.
• 4/10/2024, Antonie Jackson, Temple University, Philadelphia, PA.
• 4/9/2024, Evelyn Szilagyi, Grand Valley State University, Allendale, MI.
• 4/9/2024, Briana Gillet, University of Utah, Salt Lake City, UT (interdisciplinary performance).
• 3/28/2024, Chris Scanlon, Northern Illinois University, Dekalb, IL. Click here to watch Chris’ performance.
• 3/28/2024, Felicia Snyder, Saginaw Valley State University,  University Center, MI. Click here to watch Felicia’s recital.
• 3/7/2024, Sophia Rivera, SCRTEC regional conference, University of Memphis, TN (euphonium).
• 2/17/2024, Sophia Rivera, University of Memphis, TN (euphonium).
• 2/15/2024, Theresa May, Cleveland, OH.
• 2/11/2024, Nairam Simoes, Arkansas State University, Jonesboro, AR. Click here to watch Nairam’s performance.
• 1/21/2024, Michael Brown, Vineville United Methodist Church, Macon, GA.
• 1/20/2024, Jen Oliverio, Cornet Summit, Chattanooga, TN (flugelhorn, Part I). Click here to watch Jen’s performance.
• 1/14/2024, Julia Bell, National Association of College Wind and Percussion Instructors National Conference, University of Miami, Coral Gables, FL.
• 12/7/2023, Sienna Chandler, Montana State University, Bozeman, MT.
• 11/28/2023, Brianne Borden, University of Missouri-Kansas City, MO.
• 11/14/2023, KB Shindledecker Blade, University of Arizona, Tucson, AZ. Click here to watch KB’s performance.
• 11/5/2023, Julia Bell, Ball State University, Muncie, IN
• 11/3/2023, Lauren Cancio, Illinois State University, Normal, IL. An ASL interpreter was provided at this performance.
• 9/14/2023, Michael Brown, University of North Georgia, Dahlonega, GA.
• 6/29/2023, Emma Uruburu, Justin Wheeler, and Julia Stowell, Crane Youth Music, Potsdam, NY.
• 6/11/2023, Theresa May, Re:sound Festival, Cleveland, OH.
• 6/1/2023, John Marchiando, International Trumpet Guild New Works Recital, Minneapolis, MN. Click here to listen to John’s performance.
• 4/22/2023, Keith Benjamin, University of Missouri-Kansas City, MO.
• 4/8/2023, Cassie Parrell, UW-Whitewater, WI.
• 11/15/2022, Dan D’Addio, Central Connecticut State University, New Britain, CT.
• 11/3/2022, Conlan Lang, Oakland University’s Brass Studios Recital, Howarth United Methodist Church, Lake Orion, MI.
• 11/3/2022, Jon Ailabouni, UW-La Crosse, WI. Click here to watch Jon’s performance.
• 10/30/2022, Matthew Onstad, Western Illinois University (guest recital), Macomb, IL.
• 10/27/2022, Ashley Killam, University of Northern Iowa (guest recital), Cedar Falls, IA.
• 10/18/2022, Dr. Ryan Gardner, Missouri State University, Springfield, MO.
• 10/13/2022, Anne McNamara, LGBTQ+ History Month concert, Illinois State University, Normal, IL. Click here to watch Anne’s performance.
• 10/6/2022, Matthew Onstad, UW-Whitewater, WI.
• 9/30/2022, Brianne Borden, SUNY Potsdam, NY. Click here to watch Brianne’s performance.
• 9/25/2022, Anne McNamara, Illinois State University, Normal, IL.
• 9/20/2022, Dr. Ryan Gardner, CU Boulder, CO.
• 7/14/2022, John Marchiando, Rafael Mendez Brass Institute, Denver, CO.
• 5/7/2022, Ashley Killam, premiere celebration on Twitch (virtual, world premiere). Click here to listen to Ashley’s performance.
• 4/9/2022, John Marchiando, 1st Annual Volcano Vista High School Band Solo Competition (guest soloist, preview performance), NM.