Stained Glass (1994), by David Gillingham, is a work that is considered one of the standard pieces of percussion repertoire. To date, there are no known arrangements or transcriptions which exist for wind band that originated from the percussion ensemble repertoire. Stained Glass is a work which utilizes many musical characteristics and compositional techniques that could translate successfully to the wind ensemble, such as sweeping ostinato, sustained chordal structures, and a variety of colors and textures. It is because of this observation of musical characteristics that makes this work a good candidate for a successful first transcription from percussion ensemble to wind ensemble.
The purpose of this document is to 1) provide a detailed analysis of Stained Glass for percussion ensemble; 2) to provide a detailed account of considerations to take when performing the wind ensemble transcription; 3) to provide a detailed account of considerations to take for those who wish to continue to transcribe and arrange for wind ensemble from the existing percussion repertoire.
The first chapter of this document will give a brief look at Gillingham’s compositional background as well as his contributions to both the percussion and wind ensemble repertoire. Chapters two through five will include the overarching construction of the work followed by a detailed analysis of each movement and the changes that needed to be made during the transcription process. Chapter six will provide additional considerations for those who wish to continue to transcribe or arrange percussion works for wind band. The appendix will include a detailed analytical map of Stained Glass for percussion ensemble and the complete score to Stained Glass for Wind Ensemble
