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Coming Home
(euphonium/percussion quintet)
An Extraordinary Correspondence
Gate City Shapshot
(concert band)
The Dreamers of Dreams
(percussion ensemble)
Sensus Vitae
(symphonic band)
(euphonium & marimba/vibraphone)
Spitfire II
(euphonium & percussion octet)
Star of Wonder
(holiday percussion ensemble) 


January 25, 2014
Guest Artist at the Indiana Music Educators Conference (Ft. Wayne, IN)

March 18, 2014
Faculty Percussion Recital at HPU (High Point, NC)

April 5, 2014
Guest Artist at South Carolina Day of Percussion (Columbia, SC)

April 12, 2014
Guest Artist at South Dakota Day of Percussion (Columbia, SC)


composition pages

composition / percussion ensemble / coming home

coming home

Medium: Solo Euphonium with Percussion Ensemble (5 players) 
Publisher: C. Alan Publications 
Composed: 2013
Duration: 8:30
Difficulty: Medium to Medium Difficult


Solo Euphonium

Bells & Crotales (2 octaves)
Vibraphone (3 or 3.5-octave)
Marimba (5-octave)

Percussion (4 Timpani, Concert Bass Drum, Wind Chimes, Suspended Cymbal)

look inside

Coming Home Score

The original version for euphonium and piano is also available.


Originally commissioned by euphonium player Christian Folk for euphonium and piano, Coming Home takes its title
from the hymn “Lord, I’m Coming Home” by William Kirkpatrick – a favorite of his grandmother, Virginia Busbee.
Melodic motives from the hymn can be found throughout the piece, with one full statement toward the end.

The work divides into three major sections:

Fear & Anxiety
The unaccompanied euphonium at the beginning poignantly captures the feeling of being lost and alone. Even with the sparse interjections of the piano, those anxious feelings are still difficult to overcome. As this section unfolds, there is a sense that it will come to a climax, but the music quickly dies back down, smoothly transitioning into the next section.

Courage & Strength
Climbing fifths and quartal harmonies characterize this section, combined with a stronger statement of the thematic material from the opening of the piece. A grandiose climax is finally achieved before moving into the final (and longest) section of the piece.

Peace, Acceptance & Hope
Ascending figures in the piano create an ethereal backdrop for the only full statement of the hymn. You may also hear Christian’s grandmother’s name, Virginia, uttered as a serial musical figure. It eventually becomes a music box-like accompaniment in the upper register of the piano. Motives from the opening piano statements, combined with the falling-third “Coming Home” motive, help bring the work to a peaceful conclusion.

Christian Folk performed the world premiere of Coming Home at the South Carolina Music Educators In-Service Conference in Charleston, SC on February 2, 2012. This version for euphonium and percussion quintet was created specifically for Brian Meixner and Gate City Percussion for this recording project. It received its premiere on September 14, 2013 at High Point University.

A recording of this version of Coming Home may be found on Brian Meixner and Nathan Daughtrey’s album of euphonium/percussion music, “Praxis,” available from Potenza Music.

The original version for euphonium and piano is available from C. Alan Publications (Item #19040).