As the name implies, this latin-fusion piece is written in the mid-tempo 88 BPM and combines intricately interlocking lines with heavy funk riffs. This tune highlights the technical flexibility of the ensemble while maintaining a solid groove. A modal solo section gives the improvising soloists in your ensemble a chance to shine.

Alba, a solemn, yet somewhat uplifting song, begins with a simple melody and floating chords that delay a resolution. The “B” sections serves as a disconnect that resolves back into the beginning melody. The solo section is simple and open to interpretation stylistically. The “B” section disconnects from the solos and this time drives us into an uplifting jam at the end. Alba can be heard on the Dave Longfellow’s self-titled 2009 release.

Old meets new as the only acoustic instrument family invented in the 20th century realizes one of the great works of the Italian Renaissance. Originally composed in the late 16th century for brass choir, this piece divides the ensemble in half and pits one choir against another in a call and response style known as antiphon. With 10 distinct parts, this piece places emphasis on individual musicianship within the larger ensemble.

Schubert's most famous art song based on Goethe's eerie text comes to life in this bomb arrangement. The drama between the father, boy, and earl king unfolds true to Schubert's original, with each character portrayed in a different register. Tension between the boy and the Erlking builds to a climax with a minor jam section perfect for a talented drumset or timbales player. But in the end, the child "war tot!"

Expiration Dating opens with a series of bell-tones in ascending perfect fourths. This leads to a light introductory groove in an A Major tonality, with horn-style hits in the inner parts. The primary, D Major melody of the piece is accompanied by rolling figures in the inner parts, a montuno-like bass line, and a highly linear drum set figure. After a return to the A Major and D Major sections for an improvised solo, the melody is repeated. The piece ends with an elaboration on the main theme of the melody and open vamp in the context of a B Minor turnaround. The inner parts become more rhythmically active for this final section, and the drum set part emerges as a fusion of those parts occurring in previous sections. Expiration Dating ends with a series of bell-tones in descending perfect fifths resolving to A Major. This provides a symmetric answer to the introductory phrase.

The title of the piece stems from the concept of entering into a relationship with someone when both parties understand at the outset that it will necessarily end at a predetermined time. The piece intentionally leaves the interpretation of personal attitude toward such an experience up to the performers and listeners. Expiration Dating is the opening track on the Dave Longfellow Ensemble’s self-titled 2007 recording.

This tune was originally commisioned for a Canadian/Caribbean Film called “Finder of Lost Children.” The first part of the piece is rather happy going with a chorus that plays with phrasing the same melody on and off the beat. But then—as in many families—once you scratch the surface, there are often hidden secrets. The middle part of the piece becomes a bit darker and more dramatic. Finally, the last part is a return to the main theme in order to, as a family member might say, “keep up the appearances.”

Written in a free, romantic style, this piece allows the soloist to show off both the emotional depth and the technical potential of the cello pan. The piece starts in a slow rubato and gradually builds in intensity throughout the work, reaching an emotional height in the final bars. This piece is ideal concert material for the intermediate to advanced soloist.

This arrangement can be used for both holiday and perennial occasions. The majority of the piece is in a style called "Parang" which is a traditional style found in Trinidad most often found performed around Christmas time. The challenge exists in the ability of the performers to grasp the 3 over 2 feel in the 6/8 meter.

This lively refrain and variations from the French Baroque master gives the intermediate to advanced soloist a chance to show off the agility required of runs, turns and ornamental figures at a rapid pace. Played in a Vivace tempo, this piece is sure to impress.

This third movement from Beethoven’s beloved “Pastoral Symphony” depicts a scene of dancing and revelry among the countryfolk. Written simultaneously with Beethoven’s stormier Symphony No. 5 and debuted alongside the famous work in 1808, the “Pastoral Symphony” gives us a glimpse into Beethoven’s more serenely introspective side. Known for his love of taking long walks in the country, Beethoven may well have based this imagined merry country gathering on a chance encounter with just such an event.

This piece is the first tune from The DLE album Vol. 1. It is written in a progressive style, with a nice Afro-Cuban groove. While alternating time signatures, this piece maintains its melodic feel and sense of flow. After an optional bass solo, the song drifts into a 5/4 section with an optional conga or drum set solo which builds back up into the original theme. The song then builds until the end when it finally fades and resolves.

This duet composed in a Son Montuno style is well suited for a pair of intermediate to advanced players. The performers simulate traditional cascara and palitos patterns by playing the rim and skirt of the pans while maintaining the melodic and harmonic material above the rhythmic density. An added Latin percussion section complements this piece nicely.

“Pan For Ya!” was written with me thinking of playing in Trinidad’s Panorama competition. I wanted to write a piece to give people who have never experienced Panorama a small taste (tease if you will) of what they are missing. I wanted to keep it short and sweet but still have the excitement of a tune played in the world’s greatest steel band competition.

The tune starts out with a short but powerful intro that leads right into the hook of the tune. The verse turns the beat backwards to change and funk up the feel to contrast the smooth and driving rhythm of the chorus. The second verse changes the voicing where the seconds take over the melody and the tenors go into solo passages that weave in and out of the melody.

This leads back into the hook again that then gives way to a classic Panorama breakdown heavy on percussion with a simple but powerful melody that ends in a Panoramic type chromatic run that leads you back into the chorus. Then a varied intro that gives way to the big ending that gives the tune a nice explanation point!

Probably Elgar's best remembered and most played composition from it's use in graduation ceremonies, this march highlights the ability of the ensemble to present contrasting expressive moods in a single piece. From the rousing scherzo introduction to the familiar tempered and lyrical trio section, this piece draws on the expressive depth of the steel orchestra.

This Sarabande is a slow dance movement from Bach's first Partita for solo violin. The majority of the melodic material rests in the Tenor part while the counter lines and Bach's austere harmonies are voiced across the range of the Cello and Double Seconds. While not terribly technically demanding of the players, the challenge in this movement lies in the unity of expression required of the players by this nature of work.

The "Double"—or quicker embellished variation movement following the Sarabande—is possible to be played, in appropriate transposition, by most solo pan instruments. However, this arrangement takes the original work and extrapolates the three primary voices conceived in Bach's counterpoint and places them in the hands of the trio. By introducing the two additional voices into the piece, implied harmonies and voice exchange figures may be more fully realized than is possible by a single player. Bach's intricate interlocking lines in compound-triple meter demand rhythmic acuity from all three players.

This three movement sonata for cello pan highlights the resonant beauty of the instrument while exhibiting its potential as a solo instrument. Written in a neo-Baroque style influenced by the solo string works of J.S. Bach, this sonata in part or whole is sure to please at your next concert or recital.

This piece is a duet written for the double seconds and 5 octave marimba. It begins with the marimbist performing a disjointed comping pattern, followed by a playful melody on the upper register of the double seconds, eventually leading the performers into a calypso groove setting up the first theme. With driving rhythms, interplay between both parts, sharp dynamic contrasts, solo sections to showcase each performer and tricky “licks,” this piece will be sure to excite the listener and performer alike.

From a yet to be released set of 12 waltzes, these three waltzes work well in either a 4 piece chamber setting or a full band setting. The three waltzes here--in the keys of C major, Db major and Bb major--are presented in a fast-slow-fast sequence which may be performed either as a continuous whole or as standalone pieces.