0 Score

wax, wane
adapted for band
Moriah Margaret Jensen
2025
Instrumentation
Flute 1 Tenor Saxophone Tuba
Flute 2 Bari Saxophone Timpani
Oboe Trumpet (Bb) 1 Crotales
English horn Trumpet (Bb) 2 Glockenspiel
Bassoon Horn (F) 1 Marimba
Clarinet (Bb) 1 Horn (F) 2 Vibraphone
Clarinet (Bb) 2 Trombone 1 Snare Drum
Bass Clarinet Trombone 2 Bass Drum
Alto Saxophone 1 Euphonium Sus. Cymbal
Alto Saxophone 2
Program Notes:
In its original form, this piece was written for woodwind sextet (ute, oboe, English horn, clarinet, bassoon, and
French horn). That version won the 2023 Music For Peace Composition Competition sponsored by composer Steve
Heitzeg, and was one of the rst pieces of music I've ever gotten fully lost in while writing it. In this iteration, it has
expanded to include the full concert band instrumentation, and thus expanded to encompass even more of its original
feeling and intent. wax, wane is a testament to the ever-present existence of the ups, downs, backs, and forths of life, the
contstant waxing and waning of light and dark. The moon's constant cycle around the earth and the way we perceive
its shape from Earth is ever changing, even when we cannot see the smallest shifts in light. wax, wane explores this
movement through the contour of the lines, shifting dynamics, and overlapping motives that tie the "phases" together
throughout the piece. Even when we cannot see the full beauty -- whether of the moon or of life -- it is always there, if
we just have the patience for time to run its course and reveal all there is to see.
The eight "phases," labeled as I, II, II, etc. are meant to illustrate the eight phases of the moon. I is "New." II is
"waxing crescent." III is "rst quarter." IV is "waxing gibbous." V is "full." VI is "waning gibbous." VII is "third quarter."
VIII is "waning crescent." Theoretically, the piece could be played ad innitum always returning to I.
Notes for Directors & Performers:
The dynamics and articulations of this piece are extremely intentional and specic. Be sure to pay special
attention to staggered releases and contrasting articulations.
If any solos cannot be played by the given instrument, play the cues provided in other parts.
If mosre solistic sections need to be bolstered or thinned by adding or subtracting instruments playing cues or
double parts, feel free to do what you need to for your band while keeping the overall balance.
At m.25, the pause after the caesura should be only 1-3 seconds, just long enough for most of the sound to disipate
before the trombone solo enters.
At m.85, wait 3-5 seconds after the clarinet releases their fermata to begin the last phase. The clarinetist's fermata
may be as long as they/the conductor feels is appropriate without being "awkward."
The last fermata should be held until the majority of the players can no longer hold a consistent, good tone. If a
player needs to drop out before the cutoff, they should not reenter to preserve the stillness of the moment.
About the Composer:
Moriah Margaret Jensen (b.2000) is a music educator and composer based in Minnesota. As an educator, she is
dedicated to providing her students with a holistic and high-quality music education. Through composition, her goal is
to motivate others to see goodness in the world and work to bring more goodness about. Her music has been performed
around the United States and in programs featured at the Minnesota Music Educator's Association Midwinter Clinic
(2025). When not teaching and writing music, she enjoys spending time with family, friends, and her two cats (Ernie and
Sylphrena), as well as trying new recipes, reading fantasy and sci- novels, and taking walks in nature.
For more information, please visit https://mmjensen1118.wixsite.com/mmjensenmusic

“I”
= 56
stagger breathe
wax, wane
arranged for wind band
2 3 4 5 6 7 8 9
10 11
Moriah Margaret Jensen
12
Flute 1
Flute 2
Solo
Oboe
English Horn
Solo
Bassoon
Ob.
Solo
Clarinet in B♭ 1
Clarinet in B♭ 2
Bass Clarinet
Alto Saxophone 1
Eng. Hn
Solo
Alto Saxophone 2
Tenor Saxophone
Baritone Saxophone
Trumpet in B♭ 1
Trumpet in B♭ 2
Horn in F 1
Horn in F 2
Trombone 1
Trombone 2
Euphonium
Tuba
Timpani
Crotales
Glockenspiel
Marimba
Vibraphone
motor on
motor off
Snare Drum
Bass Drum
Suspended Cymbal
2 3 4 5 6 7 8 9 10 11 12
© 2025 Moriah Margaret Jensen

2 wax, wane
Fl. 1
18 “II”
rall. = 66
13 14 15 16 17 19
Fl. 2
Ob.
Tutti
cresc. poco a poco
Eng. Hn
cresc. poco a poco
Bsn
cresc. poco a poco
sub.
Cl. in B♭ 1
Tutti
cresc. poco a poco
Cl. in B♭ 2
B. Cl.
cresc. poco a poco
cresc. poco a poco
sub.
A. Sax. 1
cresc. poco a poco
A. Sax. 2
cresc. poco a poco
T. Sax.
cresc. poco a poco
sub.
Bar. Sax.
cresc. poco a poco
sub.
Tpt in B♭ 1
cresc. poco a poco
Tpt in B♭ 2
Hn in F 1
cresc. poco a poco
Hn in F 2
cresc. poco a poco
Tbn. 1
cresc. poco a poco
sub.
Tbn. 2
cresc. poco a poco
Euph.
cresc. poco a poco
sub.
Tba
cresc. poco a poco
sub.
Timp.
Crot.
Glock.
Mar.
Vib.
cresc. poco a poco
Sn. Dr.
B. Dr.
Sus. Cym.
13 14 15 16 17 18 19

wax, wane
3
20 21 22 23
24 25
26
“III”
L’istesso tempo
27 28
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Solo
Tbn. 1
sub.
Solo
Tbn. 2
Euph.
Tba
Solo
Timp.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
20 21 22 23 24 25 26 27 28

4 wax, wane
29 30
31
32
33 34
35
36
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tutti
Tbn. 1
Tbn. 2
Tutti
Euph.
Tba
Tutti
Timp.
Crot.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
29 30 31 32 33 34 35 36

wax, wane
5
38
“IV”
L’istesso tempo
37 39 40 41 42 43
Fl. 1
cresc. poco a poco
Fl. 2
cresc. poco a poco
Ob.
cresc. poco a poco
Eng. Hn
cresc. poco a poco
Bsn
Cl. in B♭ 1
sub. sub. sub. sub. sub. cresc. poco a poco
Cl. in B♭ 2
sub. sub. sub. sub.
cresc. poco a poco
B. Cl.
A. Sax. 1
sub. sub. sub. sub. sub. cresc. poco a poco
A. Sax. 2
sub. sub. sub. sub.
cresc. poco a poco
T. Sax.
Bar. Sax.
Tpt in B♭ 1
cresc. poco a poco
Tpt in B♭ 2
Hn in F 1
cresc. poco a poco
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
cresc. poco a poco
Sn. Dr.
B. Dr.
Sus. Cym.
37 38 39 40 41 42 43

6 wax, wane
44
45
46
47
“V”
L’istesso tempo
48
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
cresc. poco a poco
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
cresc. poco a poco
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
cresc. poco a poco
Tpt in B♭ 1
Tpt in B♭ 2
cresc. poco a poco
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
cresc. poco a poco
Vib.
Sn. Dr.
Under the band’s sound, only for rhythmic emphasis
B. Dr.
Sus. Cym.
44 45 46 47 48

wax, wane
7
49 50
51 52 53
55
54
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
49 50 51 52 53 54 55

8 wax, wane
56 57 58
59
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
56 57 58
59

wax, wane
9
60
61 62 63
64 “VI”
L’istesso tempo
65 66 67 68
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
60 61 62 63 64 65 66 67 68

10 wax, wane
Fl. 1
72 76
69 70 71 73 74 75 77 78
rit.
“VII”
= 60
Fl. 2
Ob.
Solo
Eng. Hn
Bsn
Ob.
Solo
Cl. in B♭ 1
Eng. Hn
Cl. in B♭ 2
Bsn 8va
B. Cl.
A. Sax. 1
Solo
A. Sax. 2
Solo
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
motor on
motor off
Sn. Dr.
B. Dr.
Sus. Cym.
69 70 71 72 73 74 75 76 77 78

wax, wane
11
80
one or two players
81
79
82
83
84 85
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Solo
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
Solo
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Solo
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
Sn. Dr.
B. Dr.
Sus. Cym.
79 80 81 82 83 84 85

12 wax, wane
86
86
“VIII”
= 48
87
88 89
90
Fl. 1
Fl. 2
Ob.
Tutti
Eng. Hn
Bsn
Tutti
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
Tutti
A. Sax. 2
Tutti
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tutti
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
sub.
Crot.
sub.
Glock.
Mar.
sub.
Vib.
sub.
Sn. Dr.
B. Dr.
Sus. Cym.
86 87 88 89 90

wax, wane
13
91
91
= 56
92
stagger breathe
93 94 95 96 97
98
Fl. 1
Fl. 2
Ob.
Eng. Hn
Bsn
Cl. in B♭ 1
Cl. in B♭ 2
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1
Tpt in B♭ 2
Hn in F 1
Hn in F 2
Tbn. 1
Tbn. 2
Euph.
Tba
Timp.
Crot.
Glock.
Mar.
Vib.
motor on
Sn. Dr.
B. Dr.
Sus. Cym.
91 92 93 94 95 96 97 98