SO MUCH MUSIC SO LITTLE TIME!

Making Wise Choices for Young Bands

Presented by
Michael Sweeney
Director of Band Publications
Hal Leonard Corporation

Each year over 2,000 new works are written and published for concert band. With the
advancement of music notation systems, along with internet availability for marketing and
digital delivery, it has become easier than ever to publish music. How do we sift through this
mountain of new titles to find appropriate and rewarding music for our students? How many of
these works will be remembered in 10 years? How many deserve to be?
Focus on quality music that accomplishes the following goals:
1. Contains musical and emotional depth or music of intrinsic lasting value
2. Teaches important musical skills and/or concepts
3. Is appropriate for the level of the band including all instruments
4. Provides variety and enjoyment for the intended audiences (usually parents)
It is important to maintain balance in your program and provide variety. There are times when
lighter selections are appropriate. Chosen carefully, and in balance with more serious pieces,
these can be great morale boosters and provide an interesting change-of-pace for your audiences.
Expose your students to ALL genres, styles, and historical periods.

Basic Factors:
Keys - Are they familiar to your young players, and are there modulations within? Best choices
in order are: Bb, Eb, F, Ab, C and related minors.
Duration - Is it appropriate for the level, and intended purpose? Will endurance be a factor?
Consider time restrictions for contest and festivals. Consider the rehearsal time required.

Instrumentation - Does it fit the level, and more importantly does it fit YOUR band? In particular
look for how many trumpet parts are required; clarinets, trombones, horns, percussion, etc.
Instrument ranges - Are these appropriate and consistent for the level? Check woodwind parts,
not just brass. Do you need one of the clarinet parts to stay below the break. Is any one part
disproportionally more difficult than the others?
Overall rhythmic complexity - In addition to the complexity of the rhythms and use of
syncopation, how many different patterns will need to be taught? Are complicated patterns
notated and articulated consistently throughout the piece?
Solos - Are there exposed solos for instruments you may not have - like oboe and bassoon? Are
these smartly cued in some other part? (Muted trumpet does not always work for oboe solos)
Interesting parts - Do ALL instruments get to play something interesting? Less important in
music for professionals, but critical in music for students.
Pacing/Endurance - Do all brass and woodwind parts include adequate amounts of rest paced
throughout the piece? Or are some instruments required to play from beginning to end with no
break? (a common characteristic of writers with only keyboard or percussion background)
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Student appeal - Does the piece hold their interest? Keep in mind they dont have to like it the
first time they play through it! Music of depth and value sometimes requires time to sink in.

Musical Content - Is the piece enjoyable to listen to? Does it go somewhere and offer a logical
formal shape and satisfying emotional content? Is it unique and/or interesting? Will you get tired
of it after your band plays it 100 times? Can you teach beyond the notes? Avoid bland or
boring music that serves only to teach a particular concept or technique.

Instrumentation:
Grade 1 - 1.5
Fl., Ob., Bsn., 2 Clar., B.Clar., A.Sax, T.Sax, B.Sax, 2 Tpt., Hn., Tbn., Bar., Tuba, Perc.
(2nd Clar. below break - double reeds and low reeds optional - unison bass line)

Grade 2
Fl., Ob., Bsn., 3 Clar., B.Clar., 2 A.Sax, T.Sax, B.Sax, 2 Tpt., Hn., Tbn., Bar., Tuba, Perc.
(3rd Clar. below break - double reeds and low reeds optional)

Grade 3
Fl., Ob., Bsn., 3 Clar., B.Clar., 2 A.Sax, T.Sax, B.Sax, 3 Tpt., 2 Hn., 2 Tbn., Bar., Tuba, Perc.
(Oboe, Bassoon and F Horn solos are cued.)

Hidden Factors:
General - Look for parts with range or difficulty issues not compatible with the overall level.

Horns - If you dont have particularly strong or independent horns, check to see if important
parts and/or chord tones are covered by other instruments (clar., saxes, etc.)
Clarinets - Even if you have players who can play above the break, do they have to negotiate
back and forth in rapid succession? Innocent-looking passages can actually be quite difficult.
Low woodwinds - Playing lower notes in the range in itself is not overly difficult, but look for
chromatic movement in this register and also quick changes to other ranges of the instrument.
Brass - In addition to looking at the upper range, check for larger and/or awkward skips. Octaves
can actually be easier to hear (and play) than unusual sounding intervals of 6ths or 7ths.

Independent playing - How many different lines are being played at the same time? Three at
once is common - melody, bass line, and accompaniment. However, trying to maintain and keep
track of 4, 5, or more different elements simultaneously can be extremely difficult.
Independence within sections - Young players often rely on following the group for keeping
track of where they are in the music. With inexperienced players, look for block scoring within
each section. An effective solution might be to have the 1st part on its own part, and the 2nd and
3rd parts playing together. Scoring the 3rd clarinet with a completely different section, just for
the sake of keeping it below the break, is asking for trouble.

Easier 2nd & 3rd parts - An effective way to make a piece sound harder than it really is, is to
make sure the 2nd and 3rd parts (typically the weaker players) are easier to play than the 1st
parts. Be careful, however, that these lower parts are not so different from the 1st parts that it
will be difficult for these players to keep track of where they are.

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Doubling - Often necessary for young bands with incomplete instrumentation. Check for any
unwanted exposure of independent bass clarinet or bassoon parts, for example. Are cues
provided? Are all of your strongest players (tpt. 1, tbn. 1, clar. 1, etc.) playing the same note of a
given chord? Is the 3rd of the chord played only by weaker players?

Other Editing Factors:

Is the use of articulations/slurs practical, logical, and vertically consistent from part to part?
Is the use of dynamic markings clear and logical? Are dynamics before and after crescendos and
decrescendos clearly defined? Is there sufficient variety in dynamics?
Are percussion parts interesting and appropriate for the level? Be sure to check mallets and toys.
Is the level of rhythmic complexity in line with the other grading factors? For example, it is
usually not appropriate for a piece to include grade 1 rhythms and ranges, but be scored for 3
trumpets, 4 horns, and 3 trombones, etc.

On pop tunes, are the rhythms appropriate and authentic-sounding? Or have the rhythms been
simplified beyond the point of recognition? If a piece has comfortable ranges for all instruments,
slightly more complex rhythms can be taught. This is particularly true on popular tunes that the
students are used to hearing a certain way. Its often easier to teach how the real rhythm is
notated, rather than trying to force them to learn a simplified version.
(Care and discretion are called for here!)

Options for bands with incomplete instrumentation:

Flex-Band Grade 2-3

Use with any combination of Brass, Woodwinds or Strings
Scored with just five parts
Includes traditional percussion scoring
Variety of titles from serious to light programming

Pops for Ensembles Grade 2-3

Section features with optional Rhythm Section
Great for pre-concert use
Variety of lighter titles available

Programming considerations (for ALL levels):

Variety!! Program a mix of composers, styles, and historical periods
Play the band classics (expose your students to Holst, Grainger, Vaughan Williams, etc.)
Challenge your students, but dont program over their heads (set realistic goals)
Dont abandon the march, and occasionally try a classical transcription
On occasion, program an easy lyric piece and focus on making music!
(a beautiful and rewarding performance does not always have to be with difficult music)
Include occasional well-written lighter selections for fun, variety and entertainment

visit:
halleonard.com
bandmusicdirect.com

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 Programming Suggestions
* * * * Marches * * * * * * * * Adaptations of Classics * * * *
Grade 3 Grade 3
The Invincible Eagle - Sousa/arr. Jay Bocook Music from Carmina Burana - Orff/arr. Jay Bocook
March of the Belgian Paratroopers - arr. Swearingen Fanfare for the Common Man - Copland/arr. Longfield
Normandy Beach - John Edmondson First Suite in E-flat - Holst/adpt. Robert Longfield
Suite from Lincolnshire Posy - Grainger/arr. Vinson
Grade 2 The Sinfonians - C. Williams/adpt. Jay Bocook
Dorchester - Eric Osterling Themes from An Original Suite - Jacob/arr. James Curnow
New Forest March - Johnnie Vinson
St. Petersburg March - Johnnie Vinson Grade 2
The Streets of Madrid - John Moss British Masters Suite - arr. John Moss
Themes from First Suite in E-flat - Holst/arr. Sweeney
Grade 1.5 Horkstow Grange - Grainger/arr. Michael Sweeney
Forward March! - Paul Murtha Salvation is Created - Chesnokov/arr. Michael Brown
Gallant March - Michael Sweeney (1)
Gateway March - Eric Osterling Grade 1.5
Chorale from Jupiter - Holst/arr. Paul Murtha
New World Symphony - Dvork/arr. Paul Murtha
* * * * Contest/Festival * * * * Night on Bald Mountain - Mussorgsky/arr. Sweeney

Grade 3
Awakening Hills - Richard L. Saucedo * * * * World Music * * * *
Folklore for Band - Jim Andy Caudill
Nathan Hale Trilogy - James Curnow Grade 3
Voices of the Sky - Samuel R. Hazo Celtic Ritual - John Higgins
Lament and Tribal Dances - Michael Sweeney
Grade 2
Black Forest Overture - Michael Sweeney Grade 2
Flight of the Thunderbird - Richard L. Saucedo Asian Folk Rhapsody - Richard L. Saucedo
Our Kingsland Spring - Samuel R. Hazo Distant Thunder of the Sacred Forest - Michael Sweeney
Shackelford Banks - Jay Bocook Highland Legend - John Moss
Korean Folk Rhapsody - James Curnow
Grade 1.5 Three Czech Folk Songs - arr. Johnnie Vinson
Atlantis - Anne McGinty
Imperium - Michael Sweeney Grade 1.5
A Prehistoric Suite - Paul Jennings African Sketches - arr. James Curnow
Celtic Air and Dance - arr. Michael Sweeney
Songs of Africa - arr. Johnnie Vinson
* * * * Lyric Pieces * * * *
* * * * Light Concert * * * *
Grade 3
And Hold in Memory... - Johnnie Vinson Grade 3
Nessun Dorma - Puccini/arr. Jay Bocook Great Movie Marches - arr. John Moss
With Each Sunset - Richard L. Saucedo Music for a Darkened Theatre - Elfman/arr. Brown
West Side Story Medley - Bernstein/arr. Jay Bocook
Grade 2
Down by the Salley Gardens - arr. Michael Sweeney Grade 2
Fantasy on an Irish Air - arr. Richard L. Saucedo Disney Blockbusters - arr. John Higgins
Nessun Dorma - Puccini/arr. Johnnie Vinson Fiddler on the Roof, Highlights from - arr. John Moss
Rivers - Samuel R. Hazo Wicked, Music from - arr. Michael Sweeney
John Williams Trilogy - arr. John Moss
Grade 1.5
Canon of Peace - arr. Paul Jennings Grade 1.5
Looking Past the Shadows - Richard L. Saucedo Do Re Mi - arr. Paul Lavender
Shenandoah - arr. Michael Sweeney Hogans Heroes March - arr. Eric Osterling
Ye Banks and Braes o Bonnie Doon - arr. Sweeney Pirates of the Caribbean - arr. Michael Sweeney