0 Score - EKO OVERTURE

EKO OVERTURE
Moriah Margaret Jensen
Commissioned by the Centennial High School Band Program &
the Centennial Community Band of Circle Pines, MN
Program notes:
Grade 3 | 2025
When I was rst asked to write a piece celebrating a renowned music educator's
retirement, I was hesitant to say yes. How does one write a piece of music that can fully
encapsulate the impact one person can have on this eld, especially when that person is Mrs.
Becky Weiland? If you are a Minnesotan music educator, Mrs. Weiland's name is synonymous
with encouragement, excellence, and enthusiasm for our craft. There are endless stories of how
her inuence has made both students and colleagues feel safe, heard, and pushed to be the very
best they can be. As a female music educator myself, she is someone I look up to as an excellent
example of how to exist in and better the eld of music education. Her involvement in all areas of
music education and performance (including jazz band and wind ensemble) is a testament to how
much she loves music and want others to love it too. She is truly one of the greats, and her legacy
already echoes through the lives of so many students and educators alike. EKO OVERTURE is
my attempt to portray these concecpts in a celebratory and energetic manner worthy of the
legend herself.
While an overture is usually featured at the beginning of a major musical work and not at
the end (retirement), I wanted to imagine what an overture of Mrs. Weiland's career may sound
like if it were an opera and we were to witness a preview of all that is to come, complete with
energy; joy; ups and downs; snippets of jazz music, wind ensemble music, and even a touch of
marching band. To incorporate Mrs. Weiland's Swedish heritage, I translated "echo" to "eko," the
Swedish word for "echo or reverberation" in the title of this piece. The music features statements
of various melodic ideas that are then echoed throughout the piece, paying homage to how Mrs.
Weiland's inuence shines through those who know her and far beyond. Jazz elements weave in
and out of the standard wind ensemble foundation as a nod to Mrs. Weiland's passion for jazz
education and performance, and the saxophones -- Mrs. Weiland's primary instrument -- get
several features as well!
Even if you don't know Becky Weiland personally, and don't plan on being a music educator
yourself, may this music and her incredible career still be motivation to work like she does, to
laugh like she does, to be kind like she is, to have fun like she does, to make music like she does,
and to have the kind of impact that echoes for generations just like she does.
Thank you, Becky!

Instrumentation:
Flute 1 & 2 Trumpet (Bb) 1 & 2 Drum Set
Oboe Horn (F) 1 & 2 Percussion 1: Snare drum, Hi-hat
Bassoon Trombone 1 & 2 Percussion 2: Bass drum, Tambourine
Clarinet (Bb) 1 & 2 Euphonium Percussion 3: Suspended cymbal
Bass Clarinet Tuba Ride cymbal
Alto Saxophone 1 & 2 Timpani Percussion 4: Concert Toms (3)
Tenor Saxohone
Xylphone
Bari Saxophone
Marimba
Notes for teachers and directors:
The drum set part is doubled in Percussion 1-4. As such, you may use what you desire from
these parts to ensure all of your percussionists have a part to play while also deciding what
will work best for the balance of your band. If you don't have a drum set player, use all of
Percussion 1-4. If you have a drum set player, pick and choose from Percussion 1-4 as you see
t.
Unless otherwise notated, low voices (tuba, bari sax, bass clarinet, bassoon) should emulate
the style of a string bass in a jazz band setting, with a "plucked," separated, round sound
without being staccato.
There is a drum set solo at measure 57. If your drum set player feels condent, you may have
them improvise a solo instead of playing the written music until "end solo." If you do not
have a drum set player, Percussion 4 should play the written solo.
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 and taking walks in nature.
For more information, please visit https://mmjensen1118.wixsite.com/mmjensenmusic .

EKO OVERTURE
With appreciation for and celebration of Mrs. Becky Weiland's incredible impact on music education in Minnesota.
Commissioned by the Centennial High School Band Program & the Centennial Community Band
Moriah Margaret Jensen
= 148
2 3 4 5 6 7 8
Flute 1.2
Oboe
Bassoon
Play quaters and eighths like a "plucked string bass"
a 2 a 2
Clarinet in B♭ 1.2
Bass Clarinet
Play quaters and eighths like a "plucked string bass"
a 2 a 2
Alto Saxophone 1.2
Tenor Saxophone
Baritone Saxophone
Play quaters and eighths like a "plucked string bass"
Trumpet in B♭ 1.2
Horn in F 1.2
1
Trombone
2
Euphonium
Tuba
Play quaters and eighths like a "plucked string bass"
Timpani
Xylophone
Marimba
Drum Set
Percussion 1
H.Hat
Percussion 2
B. Dr.
Percussion 3
Sus. Cym.
Percussion 4
© 2025 Moriah Margaret Jensen

2 EKO OVERTURE
Fl. 1.2
10
9 11 12 13 14 15 16
a 2
Ob.
Bsn
a 2
Cl. in B♭ 1.2
B. Cl.
A. Sax. 1.2
T. Sax.
Bar. Sax.
Tpt in B♭ 1.2
a 2
Hn in F 1.2
a 2
1.
1
Tbn.
2
2.
Euph.
Tba
Change Ab to A♮
Timp.
Xyl.
Mar.
Dr.
sub.
Perc. 1
Perc. 1
Perc. 2
Perc. 3
Perc. 4

EKO OVERTURE
3
18
17 19 20
21
Fl. 1
Fl. 2
Ob.
Bsn
Cl. in B♭ 1.2
B. Cl.
a 2
A. Sax. 1.2
T. Sax.
Bar. Sax.
1
Tpt in B♭
2
a 2
Hn in F 1.2
1
Tbn.
2
a 2
a 2
a 2
a 2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
Perc. 1
Perc. 2
Perc. 3
Perc. 4

4 EKO OVERTURE
Fl. 1.2
a 2
22 23 24 25 26
Ob.
Bsn
Cl. in B♭ 1.2
a 2 a 2
B. Cl.
A. Sax. 1.2
a 2
a 2
a 2
T. Sax.
Bar. Sax.
a 2 a 2 a 2
Tpt in B♭ 1.2
a 2 a 2
Hn in F 1.2
a 2
a 2
a 2 a 2
Tbn. 1.2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
Perc. 1
Perc. 2
Perc. 3
Perc. 4

EKO OVERTURE
5
27
27
a 2
28
29
30
31
32
Fl. 1.2
sub.
Ob.
sub.
Bsn
sub.
Cl. in B♭ 1.2
a 2
sub.
B. Cl.
sub.
a 2
A. Sax. 1.2
sub.
T. Sax.
sub.
Bar. Sax.
sub.
Tpt in B♭ 1.2
sub.
Hn in F 1.2
a 2 a 2
sub.
a 2
a 2 a 2
a 2
a 2 a 2
Tbn. 1.2
sub.
Euph.
sub.
Tba
sub.
Timp.
sub.
Xyl.
sub.
Mar.
sub.
Dr.
sub.
Perc. 1
sub.
Perc. 1
sub.
Perc. 2
sub.
Perc. 3
Perc. 4

6 EKO OVERTURE
33
34
35
36 37 38 39
Fl. 1.2
Ob.
Bsn
Cl. in B♭ 1.2
B. Cl.
a 2
A. Sax. 1.2
T. Sax.
Bar. Sax.
Tpt in B♭ 1.2
Hn in F 1.2
Tbn. 1.2
Euph.
Tba
Timp.
sub.
Xyl.
Mar.
Dr.
Perc. 1
Perc. 1
Perc. 2
Tamb.
Perc. 3
R. Cym. To Sus. Cym.
Perc. 4

EKO OVERTURE
7
40 41 42 43 44
45
46
Fl. 1.2
Ob.
Bsn
Cl. in B♭ 1.2
B. Cl.
a 2
A. Sax. 1.2
T. Sax.
Bar. Sax.
Tpt in
1
B♭
2
(Tpt.2 8vb if needed)
Hn in F 1.2
1
Tbn.
2
Euph.
Tba
Change A♮ to Ab
Timp.
Xyl.
Mar.
Dr.
Perc. 1
Perc. 2
Perc. 3
Perc. 4

8 EKO OVERTURE
47
48
49 50
51
52 53
54
1
Fl.
2
Ob.
Bsn
Cl. in
1
B♭
2
B. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
Tpt in
1
B♭
2
Hn in F 1.2
(8vb if needed)
1
Tbn.
2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
To H.Hat
H.Hat
Perc. 2
B. Dr.
Perc. 3
Sus. Cym.
R. Cym.
Perc. 4

EKO OVERTURE
9
1
Fl.
2
55
55 56 57 58 59 60 61 62
Ob.
Bsn
1
Cl. in B♭
2
B. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
Tpt in
1
B♭
2
a 2
Hn in F 1.2
1
Tbn.
2
Euph.
Tba
Timp.
Xyl.
Mar.
Solo ad lib
Dr.
Perc. 1
Perc. 2
Perc. 3
To Sus. Cym.
(drumset solo, only play if no drumset)
Perc. 4

10 EKO OVERTURE
1
Fl.
2
69
63 64 65 66 67 68 70
Ob.
Bsn
Cl. in
1
B♭
2
B. Cl.
1
A. Sax.
2
a 2
T. Sax.
Bar. Sax.
Tpt in B♭ 1.2
a 2
Hn in F 1.2
a 2
1
Tbn.
2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
Perc. 2
Perc. 3
Perc. 4

EKO OVERTURE
11
1
Fl.
2
71 72 73 74 75 76 77
Ob.
Bsn
Cl. in
1
B♭
2
a 2
B. Cl.
a 2
A. Sax. 1.2
T. Sax.
Bar. Sax.
Tpt in B♭ 1.2
Hn in F 1.2
a 2
Tbn. 1.2
Euph.
Tba
Timp.
Xyl.
Mar.
End solo
Dr.
Perc. 1
Perc. 1
Perc. 2
Perc. 3
(End solo)
Perc. 4

12 EKO OVERTURE
molto rallentando
a 2
78 79 80 81 82 83 84
Fl. 1.2
cresc. poco a poco
Ob.
cresc. poco a poco
Bsn
Cl. in B♭ 1.2
a 2
cresc. poco a poco
cresc. poco a poco
B. Cl.
a 2
cresc. poco a poco
A. Sax. 1.2
cresc. poco a poco
T. Sax.
cresc. poco a poco
Bar. Sax.
cresc. poco a poco
Tpt in B♭ 1.2
cresc. poco a poco
a 2
Hn in F 1.2
cresc. poco a poco
cresc. poco a poco
Tbn. 1.2
Euph.
cresc. poco a poco
Tba
cresc. poco a poco
Timp.
Xyl.
cresc. poco a poco
Mar.
cresc. poco a poco
Dr.
cresc. poco a poco
Perc. 1
cresc. poco a poco
Perc. 1
cresc. poco a poco
Perc. 2
Perc. 3
cresc. poco a poco
Sus. Cym.
Perc. 4

EKO OVERTURE
13
85
a tempo
a 2
85 86 87 88 89 90 91
92
a 2
Fl. 1.2
Ob.
Bsn
Cl. in B♭ 1.2
a 2 a 2
a 2 a 2
B. Cl.
A. Sax. 1.2
a 2 a 2
a 2 a 2
T. Sax.
Bar. Sax.
Tpt in
1
B♭
2
(Tpt.2 8vb if needed)
Hn in F 1.2
1
Tbn.
2
a 2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
To Sn. Dr.
Perc. 2
Perc. 3
R. Cym.
Perc. 4

EKO OVERTURE
14
93
a 2
94
95
96 97
98
99
Fl. 1.2
Ob.
Bsn
Cl. in B♭ 1.2
a 2
B. Cl.
A. Sax. 1.2
a 2
T. Sax.
Bar. Sax.
a 2
Tpt in
1
B♭
2
Hn in F 1.2
Tbn. 1.2
a 2
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
Perc. 1
Sn. Dr.
Perc. 2
Perc. 3
Sus. Cym.
R. Cym. Sus. Cym.
Perc. 4

EKO OVERTURE
15
100
101
102
103
104
a 2
105
106
107 108
Fl. 1.2
Ob.
Bsn
Cl. in B♭ 1.2
B. Cl.
A. Sax. 1.2
sub.
T. Sax.
sub.
Bar. Sax.
sub.
Tpt in B♭ 1.2
Hn in F 1.2
1
Tbn.
2
1.
Euph.
Tba
Timp.
Xyl.
Mar.
Dr.
sub.
Perc. 1
sub.
sub.
Perc. 2
sub.
sub.
Perc. 3
sub.
sub.
Perc. 4
sub.

16 EKO OVERTURE
109
a 2
110
111
112
rit.
113
a 2
114
a 2
115
116
Fl. 1.2
Ob.
Bsn
Cl. in
1
B♭
2
B. Cl.
A. Sax. 1.2
T. Sax.
Bar. Sax.
a 2 a 2
a 2
Tpt in B♭ 1.2
Hn in F 1.2
a 2 a 2
gliss.
gliss.
1
Tbn.
2
Euph.
Tba
Timp.
Xyl.
Mar.
"Trash can
ending"
Dr.
Perc. 1
Perc. 2
Perc. 3
Perc. 4