About Cadenzas
    To create cadenzas, it is first necessary to understand how are they are typically structured. They usually have one or more large parts, each of which can be divided into smaller sections. The shortest cadenzas tend to have one or two subsections, short cadenzas have as many as four subsections, and long cadenzas will have anywhere from four to eleven subsections. Virtually every cadenza ends with a trill on the supertonic or occasionally the leading tone.
    Each section is typically comprised of a mixture of arpeggios, scales, chord progressions, and quotations of melodies from the concerto. Often these sections are ornamented in some way. These short cadenzas show some of the many variations possible and include variations and ornamentations on scales, scale fragments, and arpeggios.

Constructing a Cadenza
    Play, analyze, evaluate, and listen to as many different cadenzas as possible. An analysis should determine as much about the structure of each cadenza as possible, including form, keys, chord progressions, and compositional devices used. Analysis makes it possible to alter a cadenza by changing notes or by adding new sections that fit with what is already there. The aim of rewriting and adding material is to use every device you can think of to delay resolution of the ending trill as long as possible. This can help get you caught up in the tension and energy of the cadence itself.

Toolbox of Devices
    To come up with cadenzas that are good, interesting, and believable, a wide variety of devices will be needed. Possibilities include chromatic and diatonic scales, arpeggios, broken arpeggios, filled-in thirds, neighbor notes, appoggiaturas, anticipations, escape tones, and turns. For practice, group variations of these by type and practice them in all major and minor keys, working the tempo up until they can be played cleanly at prestissimo. The fast tempos are particularly important if you want to make each of these figures sound automatic.
    One way to make a passage sound sophisticated is to combine these figures into larger, compound motives, as shown below.

    Sequencing, the process of taking a figure and transposing it to different pitch levels in a stepwise fashion, plays a large role in Western music, and a cadenza will sound more mature and authentic with use of this device. A figuration should be sequenced for at most four repetitions, with two or three being more preferable than four; after this, the pattern becomes too predictable. Along these lines, another important concept throughout much of the history of Western music is bar form, which refers to an AAB (statement-repetition-contrast) pattern on any scale, large or small. The first time something is repeated, it is corroborated and reinforced, but repeating something a third time is predictable and redundant. Therefore, as a default, consider playing a figure at two or three different pitch levels before varying it.
    Use occasional fermatas to separate sections and to give a feeling of recitative or improvisation. If a cadenza lacks these occasional breaks, there is a danger that everything will run together and sound like random, frantic chaos.

Chord Progressions
    A good chord progression can be the most effective dramatic and powerful device in a cadenza. A chord progression can be easily and smoothly inserted after any fermata. Most chord progressions are built over a stepwise diatonic or chromatic bass line, which usually ascends to the fifth of the key, but sometimes modulates to a new key. Other options for chord progressions include playing the chords over a pedal fifth or moving around the circle of fifths or fourths.
    It is rare that chord progressions are played as a series of block chords, even on instruments capable of producing three or four notes at a time. Usually, it is preferable to arpeggiate chords in some pattern. Several common patterns are shown at the bottom of the previous column. Many other possibilities exist; to create new patterns, try changing the order in which the chord notes are played or using different articulations.

    A useful, albeit simplified, method for determining good stepwise chord progressions is known as the rule of the octave.

    The example shown is in a major key, but the rule is essentially the same in minor keys. Knowledge of this rule makes it easier to improvise believable chord progressions. It is unnecessary to play an entire scale in this manner, the aim is to move around within a scale while harmonizing each note of the scale with an appropriate chord. Other chords that tend to work well with stepwise bass lines, chromatic or otherwise, are shown below.

    Fully diminished seventh chords are perhaps the most important and idiomatic chord in cadenzas, because they can be inserted almost anywhere and followed with almost any device in multiple keys. If there is difficulty writing a transition in a cadenza, use a fully diminished seventh chord. Getting a feel for chord progressions may take some time; be patient and persistent.

Tune Quotes
    Tune quotes are the three or four primary melodic themes in the movement. Quote part or all of one of these tunes after a fermata, or simply at an implied cadence at the end of any section in your cadenza. It is good to play the melody in a key in which it has not previously been heard. Mediant key relationships usually work well. The following simple examples are based on a tune called “I’ve Been Working on Cadenzas.”

Advanced Devices
    Once a basic framework for the components of a cadenza is set, there are numerous options to make it sound more sophisticated and interesting. With scales or arpeggio passages, try applying one or more ornamentation patterns or a distinctive rhythm or articulation. Changing registers can sometimes be beneficial too.
    Add suspensions or neighbor notes to chord progressions. When there is stepwise voice-leading motion between chords, suspension figures can be created by changing notes from the old chord to the new chord one at a time. For example, if a chord change requires moving two notes, move one note first and then move the other a bar later.

    There are also many possibilities for altering tune quote passages. Try adding some additional trills. Experiment with changing the key or mode. You might also consider pausing on occasion to add scales or arpeggios; cadences are usually the best place for this. String, percussion, and keyboard players can also add double stops.
    Finally and most importantly, consider developing the tune in some way by fragmenting it (reducing it in length or removing a portion of it), sequencing (repetition at different pitch levels), and interval alteration (i.e., changing a leap of a third to a second, etc.). Adding some development like this can make a cadenza sound sophisticated and almost always helps it sound more improvisatory.

Getting Started Writing
    A simple cadenza might have four sections. The first and third sections can consist of scales or arpeggios, while the second section could have fast or slow chord progressions, tune quotes, or additional ornamented scales and arpeggios. The final portion of a cadenza should be a trill on the second or seventh.
    One option for someone who has no idea how to begin writing a cadenza is to create a random cadenza generator by using the musical examples in this article and a pair of dice. Roll a die to determine how many sections your cadenza will have and then roll for each section to determine its primary content (scales, arpeggios, chord progression, or tune quote). If a section consists of scales or arpeggios, roll to determine whether to ornament them. For the ones that are to be ornamented, roll the dice to see which type of ornamentation to use. In some cases, the dice may say one thing but another idea seems better; choose what seems to work best. This is not the ideal way to create a cadenza, but sometimes seeing random possibilities can help to alleviate the fear of making that first attempt, and the end result might sound better than expected.
    With practice, the ability to write an interesting cadenza will improve. Once you understand the basics of writing a cadenza, the knowledge can be passed to students; having them write cadenzas is a great way to motivate them to learn scales, arpeggios, and double stops. Writing cadenzas will also provide increased enjoyment in the music you play.

* * *

A Sample Cadenza

     The example below shows two versions of a cadenza. The top line is what a student of mine wrote, and the bottom line includes changes that I suggested that she consider making to make it sound more interesting. In measure four, I suggested adding a tie. Ties and rests are excellent tools; changing too often on the beat can sound unsophisticated and predictable.
     The changes in measures six, ten, and the first half of eleven add rhythmic interest and avoid monotony. The change that I suggest in measure seven is made to avoid an early cadence on G, the tonic note. Too many cadences on a tonic chord give a cadenza a fragmented sound. The second half of measure eleven is altered to avoid sitting on a sustained seventh, which should rarely be sustained explicitly for long.
     Measure twelve has been altered to create a more interesting and less simplistic arpeggiation pattern. The first half of measure thirteen is altered to avoid predictability, and the second half is altered to avoid a premature cadence on the tonic note. Measure fourteen has been altered to create a compound motive instead of a simple one. After making this change, the audience will have only heard the pattern twice after one measure, as opposed to four times. The change at the end of measure fifteen was suggested to set up the cadence and to prevent it from seeming predictable.

The post Writing Cadenzas appeared first on The Instrumentalist.

6:25 a.m.
A nice gentle start is just what I need; I am not a morning person. Edvard Grieg’s “Morning” from the Peer Gynt Suite would be the perfect selection to serenade me as I rise and eat a quiet breakfast, reading the newspaper.
6:50 a.m.
Oh, What a Beautiful Morning from Oklahoma! and ZZ Top’s Sharp Dressed Man are excellent choices for showering and getting dressed.
7:20 a.m.
Mr. Blue Sky by the Electric Light Orchestra, Good Vibrations by the Beach Boys and the theme from The Andy Griffith Show lighten up my morning drive to school.
7:35 a.m.
Gonna Fly Now from the movie Rocky starts up as I open the car door at work, and Get Ready for This leads me into first period roll call.
8:45 a.m.
Make ’em Laugh from Singin’ in the Rain strikes up as I leave my office to teach beginners, the only students who truly appreciate my humor.
9:35 a.m.
Some knucklehead has been smoking in the band room bathroom between classes. It must be a student from another class since none of my students left during rehearsal. Man Hunt from The Andy Griffith Show plays as I report the infraction to the assistant principal and the search begins. Of course the automatic implant feature trips Smokin’ in the Boys Room by Brownsville Station.
10:25 a.m.
As I prepare for my senior band rehearsal, I mentally crank up Chaconne from Holst’s First Suite in E-flat to get that perfect mental image of how it needs to be performed. The theme from Mission Impossible begins involuntarily, and I quickly alter it to Climb Every Mountain from The Sound of Music. (Julie Andrews is singing, not Carrie Underwood.)
11:15 a.m.
I read an email from my principal requesting that I meet with him and a school board member at 12:40 p.m. My subconscious triggers Black Sabbath’s Paranoid, but I reprogram it quickly to play I Will Survive by Gloria Gaynor.
Noon
At lunch I relax to Michael Buble’s Call Me Irresponsible, and Frank Sinatra’s Strangers in the Night and My Way.
12:35 p.m.
As I walk to the principal’s office, Eye of the Tiger from Rocky III prepares my mind for the potential conflict ahead. While the board member repeatedly expresses his disappointment that the band doesn’t play at more basketball games, I smile knowingly, tapping my foot to Mick Jagger and the Rolling Stones’ Beast of Burden, followed by You Can’t Always Get What You Want and then Hall and Oates’s I Can’t Go for That (No Can Do).
1:15 p.m.
After the board member leaves, the principal tells me to add four more games despite many other events already on our spring calendar, to say nothing of a very full marching season. I succumb to the pressure as Johnny Cash’s I Walk the Line floods my brain.
My prep period is shot. I leave the office with Elvis’s Hound Dog ringing in my brain. At the song’s conclusion, I continue my slow walk back to the band room, reflecting on our once strong relationship as Barbara Streisand croons The Way We Were.
2:15 p.m.
I teach my fine arts class in a depressed state. While the students take a test, B.B. King serenades me with The Thrill is Gone.
3:05 p.m.
I rebound with the Bee Gees belting Stayin’ Alive, which pumps me up for after-school sectionals.
3:20 p.m.
I Fall to Pieces by Patsy Cline automatically cranks up as an emotional clarinet player enters my office wanting to miss rehearsal because of her breakup with her boyfriend. It’s the third time they have broken up that week.
5:45 p.m.
Reflective, I listen to Running on Empty by Jackson Browne, White Christmas sung by Bing Crosby, and then Judy Garland’s Somewhere Over the Rainbow.
6:00 p.m.
I meet my wife at a restaurant for supper. She asks me why I have such a silly smile on my face. I tell her it’s because I’m listening to If Ever I Would Leave You from Camelot.
7:30 p.m.
I go for a walk to a mix that includes Jump by Van Halen, Born to Run by Bruce Springsteen, I Feel Good by James Brown, and Enter Sandman by Metallica.
10:30 p.m.
After watching some TV, I put my head to pillow while Tomorrow from Annie, The Sound of Silence by Simon and Garfunkel, and Brahm’s Lullaby send me off into a deep, calm sleep.

    Until I get my brain implant in say, twenty years, I’ll have to be content with my smartphone. If you think this seems like nothing but fantasy, who would have dreamed twenty years ago I could have access to thousands of songs on a phone?

The post Songs in My Head appeared first on The Instrumentalist.

    Each year during my long tenure as Director of Musical Organizations at Oklahoma City University, I spent nearly every weekend from the middle of February to the middle of May serving as an adjudicator at various festival-contests throughout the southern and southwestern United States. At the end of these contests I usually had a severe case of writer’s cramp and a bad attack of mental indigestion, the latter induced by the fact that I found it necessary to write the same few sentences over and over again. One year I decided to collect these sentences into a form and to use it along with the regular adjudicator’s sheet when making an evaluation. Since using my own form would enable me to listen to contest performances more attentively, I felt that I would be able to evaluate them more accurately and intelligently. Also, the time saved by simply checking items on my form (just the weaknesses of the ensemble) would allow more time for a written analysis of the interpretation (including the strengths) on the official form.
    Unfortunately, my idea never got off the ground, since contest chairmen preferred that I keep myself busy scribbling away on the approved form. It didn’t seem to matter that I had written the very same sentences at least a dozen times during the day, that the section of music for which I was then making a written evaluation had long since passed me by, and that it was not always easy to recall vividly any part of a performance I had heard only casually when I was busy writing.
    Although I no longer serve as an adjudicator, it is still my opinion that something should be done to make it possible for judges to evaluate what they hear when they hear it. A taped commentary solves only part of this problem. But a check sheet containing most of the basic factors that can adversely affect an ensemble performance may be a more useful aid to first-rate adjudication.

Phrasing
    The phrase contour was invalid due to:
•  Breathing in incorrect places, especially at bar lines. Players should take a breath a cadence points. When it is necessary to take a breath in the middle of a phrase, it should be done after melodic tones or chords at rest. You must tell players when and why they may or may not take a breath. Players of large bore instruments (tubas, euphoniums, bass trombones, bass and contrabass clarinets) are most often at fault in this area of performance.
•  Failure to hold long notes for the full metrical count, thereby breaking the phrase into meaningless fragments.
•  Ragged, abrupt releases. Under normal circumstances, phrase releases should end on a slight diminuendo without sacrificing precision at the point of the release. Brass players in particular are apt to negate smoothness and precision at phrase endings by giving the point of release a dynamic push upward. (This results from the bad habit of stopping the air flow with the tip of the tongue.)
•  The absence of slight crescendi and diminuendi up to and away from the points of climax in phrase contours. It is this kind of “rubato of dynamics” that gives life to the phrase and is an especially useful device when seeking to achieve authenticity of phrasing in more lyrical passages.

Dynamics
    The dynamic profile of an interpretation is always a matter of concern to thoughtful conductors. Indications, such as f, pp, mp, mf, ff and p, must not be thought of as decibel ratings but as different degrees which cannot be interpreted outside the context of a specific work.
•  The reduced dynamic scheme always in force caused the interpretation to lack spirit and vitality and made “monotony” the order of the day.
•  The performance was consistently too loud and rough. There is a top degree of loudness beyond which good bands will not go. Scale the top dynamics downward.
•  In lyrical passages a reduced dynamic scheme is most often the better choice. The crescendi and diminuendi were not kept within the upper and lower limits of this reduced profile.
•  In dramatic passages you should employ a more forceful dynamic scheme with greater extremes between “loud” and “soft.”
•  Subito impacts, such as sfz, fp, and others, were not always in keeping with the character of the music and the mood of the dynamic. While accents should be forceful in marches and dramatic music, the force of the impact must be reduced in lyrical passages.

Melodic Transparency
•  Principal melodies were often covered by accompanying voices.
•  Important melodic outlines were not displayed prominently in fugal and contrapuntal sections. Two factors are involved here. In fugal passages the entering voice is more important, so dynamics in already existing voice lines must be adjusted in a way to affirm this importance; and in sections using episodic material, it is imperative to adjust dynamics so that important subject material is heard clearly and to keep the important play between subject and counter-subject in an appropriate perspective.
•  Secondary melodies and melodic counterpoints were not heard within the proper dynamic context. Since secondary melodies appear most often in instruments not blessed with resonant brightness, they must be lifted to the top place in the prevailing dynamic during the brief time of their appearance.

Tempi
    Good composers do not expect conductors to view metronomic indications as stopwatch directives, but, rather, to regard them as suggestions from one musician to another about what might work in a given situation. Thus, when a conductor’s personal choice of tempi is suited admirably to a work, as is often true, good adjudicators do not react unfavorably, even though the choice may not be that preferred by the adjudicator, or agree with that suggested by the composer. In general, tempi should be criticized only when the interpretation seemed to drag along almost interminably, the interpretation was so overly cautious that emotional content was drained from the music, the tempi were so irregular that the interpretation limped along in disorganized fashion, or the tempi were so fast that ensemble clarity was sacrificed.
•  The tempo was too slow at:
•  The tempo was too fast at:
•  The tempo was too irregular at:
•  The interpretation was arid and failed to come to life because of inflexible tempi. The interpretation of this work is enhanced by the judicious use of flexible tempi, even when composers have not indicated that this be done.

Attacks and Releases
    Attacks and releases must be consistent with the style and mood of the music. When an interpretation lacks conviction, it is often the result of an incorrect approach to this specific area of performance. If two or more items are checked, this interpretation is open to question, and remedial action should be undertaken immediately.
•  The normal attack was not used in the appropriate places. In this attack the note is addressed without delay and played without dynamic modification. There may or may not be separation between successive notes.
•  The legato attack was not used in the appropriate places. This is a smooth attack usually pronounced with a relaxed tongue (but never a relaxed embouchure). The correct use of the legato attack makes it possible to interpret lyrical passages smoothly and in a singing style.
•  The attack by impact was not used in the appropriate places. Here, the note is addressed without delay at a point somewhat above the prevailing dynamic. There is a slight diminuendo to the end of the note. Note-spacing is implied and should exist.
•  The attack by delayed impact was not used properly. The note should be addressed slightly after the ictus of the beat at a point somewhat below the prevailing dynamic. There is a slight crescendo to the end of the note. This is a useful style to employ when three or more successive chordal accents occur in highly dramatic music. Note-spacing is implied and should exist.
•  Staccato pronunciation in this interpretation was often at odds with the style and mood of the music. Remember that staccato means “detached” (not “short”). The detachment may be slight or longer – depending upon the style of the music and the context in which the passage appears.
•  Attacks and releases were not articulated precisely – the result of a vague beat pattern. Your conducting technique needs improvement in this area.
•  The rhythmic design of slurred patterns was not always made clear. Check the score to determine why slurred passages occur and what kind of rhythmic propulsion should then take place. As a general rule, except when smooth passage work is desired, the first note in a slurred pattern should be accented slightly or, if a hemiola exists, a little more forcefully.
•  Rhythmic propulsion was not taut and rhythmic vitality was lacking. Because rhythm functions in combination with harmony to bring tension and release to music, it is imperative to maintain rhythmic balance and tension at all times.

Intonation
    Faulty intonation is generally the result of:
•  Players entering the phrase with relaxed embouchures (causing flatness), tightening the embouchure during the phrase (bringing overall pitch up to acceptable levels), and anticipating the taking of the next breath by relaxing the embouchure again. These devastatingly bad habits make it impossible to achieve an acceptable overall tuning.
•  Upper woodwind and brass players pinching embouchure during fortissimo tutti playing. This causes considerable sharpness in lead parts.
•  The bad habit in all sections (but especially inner voice parts) of relaxing the embouchure when playing softer passages. This causes considerable flatness.
•  Failure to support long tones with sufficient intensity of breath pressure throughout the duration of the tone (especially in larger bore instruments). Considerable flatness resulted as these longer notes came to an end.
•  The overall tuning center in this band being higher than the customary A440-442. This high pitch center cannot be maintained by many instruments used in the band. Why not bring the overall tuning down to more acceptable levels?
•  The existence of more than one pitch center in the tutti ensemble of the band, a fact that made it impossible to evaluate intonation meaningfully. May I suggest a way toward improvement in this area? Play unisonal sustained tones in middle ranges for five minutes each day, using descending scales only. Students will find it much easier to come to an understanding and appreciation of subtle pitch difference during the playing or singing of descending scales.

Timbre
    The quality and purity of ensemble sonority is an important factor when an adjudicator makes an evaluation of an interpretation. All instruments, from tubas up to piccolos, should produce all notes as singing tones, no matter what their duration or at what pitch level they occur. This is as true when playing a Sousa march as when playing a Bach chorale. When individual players or sections in a band neglect to produce singing tones, ensemble intonation, balance, and sonority suffer grievously, and as a consequence, it is impossible to secure a convincing interpretation.
•  The ensemble sonority was harsh and strident because of overblowing and inferior embouchure placement.
•  The overall ensemble sonority lacked lustre, vitality, and character. This band should go on a daily diet (at least 10 minutes per day) of ensemble sustained tone practice, concentrating on producing a beautiful ensemble tone and maintaining an acceptable overall tonal balance.
•  Certain sections overpowered all others in tutti sonorities.
•  Certain solo passages were not played authoritatively, due, no doubt, to nervousness on the part of the soloist. Additional experience will take care of this matter.  

The post Blueprints for Adjudicators appeared first on The Instrumentalist.

    “If the judges cannot find anything wrong with a performance, then they have no choice but to give a band the top rating.” It is a philosophy that stresses the importance of attending to every detail no matter how small, and one that has resulted in plenty of Division I ratings.
    The following checklists will help band directors who have experienced problems in coaching their bands to the top festival competition level, as well as those who are new to the field. If all the statements can be checked off, the chances of a band receiving a Division I rating will be greatly enhanced.

Selecting Festival Music
___  You attended at least two reading clinics in the past year.
___  You heard recordings of the selections you are considering.
___  The selections are in contrasting styles.
___  The selections will challenge students but not discourage them.
___  The music fits the strengths and weaknesses of all sections.
___  You and the band like the music.
___  You have alternate selections available in case your first choices don’t meet your expectations.
___  The music fits the allotted festival time limits.
___  You discussed possible choices of music with top band directors you know.
___  A full score is published for all selections.
___  You considered all music, even transcriptions.
___  You have not chosen music just because everyone is playing it.
___  You made an effort to hear the music you are considering played by outstanding bands in your area.

Preparing the Music
___  You have checked your conducting technique (cuing, beat, etc.)
___  The band is tuned frequently with an electronic tuner.
___  The band does breathing exercises.
___  Recordings of the festival selections are played for the entire band.
___  You have brought in a clinician several weeks before the festival to hear your work, personally conduct the band, and write criticisms of the band.
___  You have paced the presentation of festival numbers so they will not become worn out and you still have time to prepare them.
___  Sectional rehearsals have been held.
___  Each band member can play his or her part accurately and musically.
___  Parts are balanced within sections and with the rest of the band.
___  You are striving for professional quality tone throughout the band, especially in solo and small ensemble passages.
___  You have checked for rhythmic errors.
___  Dynamic marks are being observed.
___  Players are articulating properly.
___  Releases are being executed at the proper time.
___  You know what to do when the band plays out of tune even though you have tuned each instrument accurately with an electronic tuner.
___  You are aware of the unique physical characteristics of each instrument in the band, and are using this knowledge to enhance tone quality, intonation, and finger facility.
___  You are aware of players’ posture, embouchure, instrument placement, and hand position.
___  Players are using the best available instruments. The metronome is used to check tempos regularly.
___  You have checked the meanings of foreign words in the score that are not commonly used. They may affect your interpretation.
___  You have stressed knowledge over enthusiasm and excitement.
___  You have insisted on musical accuracy and musicality rather than letting things slip by.

Checklist for the Woodwind Section
___  Instruments are in perfect mechanical adjustment, and are clean and polished inside and out.
___  Players who need to use vibrato are capable of producing it, and know when to use it.
___  Desirable trill and alternate fingerings are being used.

Flute and Piccolo
___  The head joint cork is properly spaced.

Oboe and Bassoon
___  The best reeds available are being used.
___  All players have at least four good reeds and they know how to adjust reeds.
___  Bassoon bocals are clean inside.
___  The whisper key hole is open on all bassoons.
___  The bassoon bocal being used produces the best intonation, and players have bocals available in different lengths.
___  Bassoon players are aware of the seat strap as well as the neck strap.
___  Bassoon players can play in the tenor clef.

Clarinet and Saxophone
___  Instruments are equipped with top-quality stick rubber mouthpieces selected with the advice of top clarinet teachers or players in the area as to lay and interior shape.
___  The best ligatures available are being used and players know how to tighten the screws of a ligature properly.
___  The best French cane reeds available are being used, and reeds are of optimum strengths.
___  Each player has at least six good reeds available.
___  Bass clarinet players use the floor peg.
___  Saxophone players’ neck straps are adjusted properly.

Checklist for the Brass Section
___  Instruments have been cleaned and polished inside and out, slides lubricated and valves oiled.
___  Springs, water keys, bumper corks, rotary valves, rotary valve strings, etc. are in perfect mechanical adjustment.
___  Instruments with unsightly dents or distracting finishes have been eliminated if possible.
___  Valve, tuning, and playing slides are easily movable, lubricated, and dent-free.
___  The best mouthpieces are being used, selected with the advice from several top teachers or performers in the area.
___  Faulty pitch resulting from built-in acoustical problems has been corrected.
___  Mutes in good condition are available.
___  Players can double and triple tongue.
___  Range has been developed to handle more demanding selections.
___  Mouthpiece stems are without dents.
___  Mouthpiece backbores are clean.

Trumpet and Horn
___  Valve slides have been tuned with a tuner.
___  Horn players know how to play muted and
___  stopped parts.
___  Proper right hand positions are being used by horn players.
___  Horn players understand how to alter pitch with the right hand.
___  Horn players know how to transpose.
___  Horn players know which slide is the tuning slide.

Trombone, Baritone, and Tuba
___  Trombone players understand why some positions are adjusted in order to be in tune (high G should be played sharp).
___  Trombone players know methods for avoiding smears.
___  Trombone players can legato tongue.
___  Trombone players can play in tenor clef.
___  Trombone players have been encouraged to purchase a trombone with an F attachment, and they know when and how to use it.
___  Tuba and baritone players with four valve instruments know when and how to use the fourth valve.

Checklist for the Percussion Section
___  All heads are new and fresh.
___  Proper sticks are being used, and proper sticking technique has been decided and is being followed.
___  Players are standing erect and facing the conductor.

Snare Drum
___  The pitches of all batter heads are the same.
___  Pitches of all snare heads are the same, and the strands of snappy snares touch the drums evenly.
___  The pitch at each tuning screw is the same.
___  Drummers use matched sticks.
___  Stick sizes are right for concert performance.
___  Drummers are using buzz rolls for long rolled parts in selections where they should be used.
___  Drums have been checked for excessive muting.
___  Drummers are beating at the most desirable spot on the drum.
___  Drummers are playing lightly and not covering the band.
___  Drummers are getting the sticks away from the head quickly.
___  Drums are at the proper height.

Bass Drum
___  The bass drum is tuned properly and the pitch at each tuning screw is the same.
___  The bass drum is large enough for the band.
___  The drummer is striking the drum in a light manner midway between center and top.
___  A new lamb’s wool beater is being used.

Cymbals
___  Players are using proper hand positions, and they are striking the cymbals together at the correct spot and with the proper motion.
___  Cymbal players know when to double cymbal parts with the bass drum part.
___  Crash cymbal parts are played with proper motion.
___  Pads are new and clean, and straps are new and laced properly.
___  Cymbals are clean and polished, and have been checked for cracks.
___  Cymbals of optimum size and thickness are being used.

Suspended Cymbal
___  The cymbal is large enough for the band.
___  The player is beating the cymbal at the proper spots on the instrument.
___  The single stroke roll is being used for sustained sounds.
___  The cymbal is at the most desirable height.

Timpani
___  Fresh heads are being used.
___  Enough timpani are available to play the part.
___  Timpani are tuned so the same pitch is heard when striking the timpani at each head screw.
___  New, clean-looking sticks are being used.
___  The brake on each drum is properly adjusted.
___  The timpani player is able to make pitch changes quickly and accurately.
___  The player has a pitch pipe for tuning.
___  The player is using the best hand positions.
___  Rolls are played fast enough and with good technique.
___  The sticks quickly rebound from the head.
___  All dents have been removed from the timpani.

Mallet Percussion
___  Beaters are rebounding quickly.
___  All percussion players can do multiple mallet work.
___  Brass bell beaters are being used.
___  The motor on the vibes is turning at optimum speed, and the damper is working properly.
___  Parts are being played in proper octaves.
___  Bearings on moving shafts on the vibes have been oiled.
___  Belts on the vibes are in good condition, and spare belts are available.
___  The dampers on the chimes work properly and players know how to use them.
___  All chime tubes vibrate freely.
___  Hammers rebound quickly from the chimes.
___  All chime tubes are securely fastened to the instrument.

Miscellaneous Percussion
___  All the needed miscellaneous instruments are available.
___  The tambourine is tuned.
___  The tambourine is struck with the fingers and not beat on the hip.
___  The players use a thumb roll on the tambourine, or, if another roll is used, the players can perform it at a fast speed.
___  Claves are held so the hand holding the lower clave forms a resonating cavity.
___  The maracas have a crisp sound.

Checklist for the Day of the Festival
___  You have allowed plenty of time for travel and warm-up.
___  You have made an effort to keep band members calm and collected.
___  If you plan to announce the names and composers of the festival selections, you can properly pronounce foreign titles and names.
___  You have enough full scores, properly numbered, for all the judges
___  All band members look neat and are properly uniformed.

The post Preparing a Band for Festival Competition appeared first on The Instrumentalist.

Entrances
    When an ensemble is having difficulty with some entrances I keep the conducting plane flat so students have a sure focal point; this should make them confident of where the beat is going to be.
    I also have students clap the rhythm of that entrance while I’m conducting. It is easy to hear if somebody is clapping in the wrong place than it is to hear one wind player out of many come in too soon. Getting off of the instruments and clapping can help students hear and feel exactly when they are supposed to enter. Usually only one or two students are early or late, and they are more likely to notice this themselves when clapping.
    Another tactic, which I borrowed from drum corps, is having a snare drum play beats to give the group a reference. If students struggle with this, I back it up another measure, with six beats of snare drum followed by a rest and a horns up. This need not be as strict in concert band as it would be in a drum corps; the aim is for students to feel the beat and move on it. In an extremely slow tempo, it might be best to have the snare drummer subdivide the pulse.

    The kinesthetic aspect of it seems help some stragglers, especially with younger groups. The students in Japanese school bands move as much as some professional players, and there seems to be some connection there. If moving works for elementary students who can play Holst, I am willing to give it a shot.

Releases
    Releases can extremely difficult. Any time I can explain something in a way that is visual or physical for students, it seems to get the idea across easily. I sometimes have band students emulate bowing on releases. For soft releases I have them stop as if they were releasing by lifting the bow gently off the string. For more abrupt cutoffs I have students picture stopping the bow short on the string without lifting it at all. On slow passages, a good way to introduce some movement is to have students bob their instruments at the end of held notes, similar to what the leader of a chamber group might do.
    I also sometimes get away from what standard circular cutoffs. Instead, I give more of a straight lift off of the conducting plane. This looks and feels similar to giving a downbeat, which seems to be clearer than other options. I use it more often with less experienced groups, especially if they have difficulty with releases in slower passages, or where there is a fermata at the end.
    A standard circular cutoff motion is an excellent visual cue in some circumstances. When an orchestra releases, the low strings are the last sound heard because of the resonance of these instruments. To reproduce this, which I especially like to do when my band plays an orchestral transcription, I have students watch the circle of my cutoff and think of it as a clock. When we are holding a note, whether a long note or a fermata, during the hold I move my hand sideways to three o’clock from my perspective (nine o’clock from the students’ point of view) and start the cutoff motion from there.
    As my hand moves around the circle, at noon soprano instruments release, at two o’clock altos release (two o’clock from the students’ perspective; it would be ten o’clock from the conductor’s), at four o’clock tenors release, and at six o’clock basses release. A circular cutoff should produce complete silence when it reaches six o’clock. This has always helped give endings a resonating sound, and works especially well in a dead room. This goes by extremely quickly; it is not as though I am moving around the cutoff at one second per hour. The entire release might take as much as a second, and in that time, all four voices will be out.   

The post Cleaning Entrances and Releases appeared first on The Instrumentalist.

What are the best works composed in the last five to ten years that should become part of the standard repertoire for middle school and junior high school bands?

Travis J. Weller:
    Appomattox by James Hosay (Curnow). This is a wonderful tone poem with noble themes that define General Grant and General Lee. Performing these lines will give students a wonderful opportunity to phrase and shape the melody. This piece also includes some interesting interplay between the different sections, which will help students to become more aware of other parts of the ensemble.
    Wagon Trail by Julie Giroux (Musica Propria). This work beautifully captures the essence of the Old West, with its feelings of hope, innocence, and persistence. The front half of the piece requires consistent articulation and independent entrances across sections, while the back half offers some wonderful moments of expression and connected playing.
    Unraveling by Andrew Boysen, Jr. (Kjos). It is a unique experience to perform music that has a sinister quality, and this piece has that feeling. An homage of a sort to Ravel’s Bolero, this work contains a melody line that uses an octatonic scale and some vocalization, and it also includes some exciting moments with the use of different timbres and colors in the ensemble.
    Suspended Animation by Patrick Burns (Daehn). Suspended chords are prevalent in every part of this work. Set in a steady tempo from the beginning, the piece continually lays suspension on top of suspension while retaining an engaging groove underneath. Students may not always enjoy discussions of music theory, but this work will allow directors to address some interesting aspects of music theory in a context that students will enjoy performing.
    Friends of Freedom by Timothy Loest (FJH). This march can be used to help young musicians work on articulation and dynamic contrast in the large ensemble setting. Additionally, this piece will help students understand classic march form. The trio section evokes strains of America, which helps make this march an excellent choice for a patriotic concert.
   Moscow, 1941 by Brian Balmages (FJH). Folk songs from any culture can offer not only an excellent musical challenge, but also an opportunity to discuss aspects of that culture in the rehearsal setting. The presentation of the folk songs here preserves a dark, rugged quality that develops into an exciting performance opportunity.

Jill Noerenberg:
    The five pieces I would identify as potentially lasting repertoire are Alligator Alley by Michael Daugherty (Hal Leonard), Sheltering Sky by John Mackey (Osti), The Machine Awakes by Steven Bryant (Steven Bryant), Abracadabra by Frank Ticheli (Manhattan Beach), and Lauda by Tim Miles (Musik Fabrik). All of these pieces have interesting and innovative compositional, harmonic, and melodic structures. They are all well crafted, and my students have been challenged and rewarded by the experience of performing these works.

Michael Oare:
    Moscow, 1941 by Brian Balmages (FJH). This programmatic work depicts the German invasion of the Soviet Union during World War II, and the Soviet army’s struggle to repel the invaders. Although programmatic works are somewhat typical at this grade level, this piece delivers a powerful musical portrayal of the subject matter. It is well orchestrated and offers a variety textures and harmonies, including effective use of dissonance, and it also incorporates an active and musical percussion section. Additionally, much of the melodic material is derived from a well-known Russian folk song, which adds a further historical, cross-curricular component to the work.
    Dance Episodes, James Curnow (Curnow Music). Although listed by the publisher as a grade 2, this masterfully constructed and orchestrated work is well-suited for grade 3 bands. Reminiscent of the folk dance settings of Rimsky-Korsakov, Shostakovich, and other composers, Dance Episodes contains entirely original melodic material. The tune cleverly moves throughout the ensemble with each variation, continuously changing styles and textures. This piece offers a great opportunity for younger players to experience the European folk dance style and tradition.
    Through Darkened Sleepy Hollow by Erik Morales (FJH). Making an effective cross-curricular literary connection, this piece illustrates the harrowing experience of Ichabod Crane from the American classic, The Legend of Sleepy Hollow. Morales incorporates a number of compositional devices, an innovative harmonic language, and some creative percussion writing to portray the infamous night ride. The piece is particularly effective in its use of chromaticism, both as a compositional technique and sound effect and also as a key component in the harmonic content and language.
    To Dream in Brushstrokes by Michael Oare (Boosey & Hawkes). At the risk of seeming egotistical, I would suggest including one of my own works on this list. I find it is often difficult to convince young musicians of the value of working on slow, lyrical, and expressive music. In today’s age of instant gratification, young people often prefer fast and loud selections and sometimes resist slow and expressive music. However, if the piece has a story behind it, especially one with which they can relate, young musicians can learn to accept the work and approach it with an open mind. This work was commissioned in memory of two sisters who died tragically in a house fire.  In a similar vein to Holsinger’s On a Hymnsong of Philip Bliss (TRN), the piece is far from an elegy or requiem. The first section of the work depicts the anguish and tragedy of the actual event. A second, contrasting section follows and is more reminiscent of the beauty and innocence of youth. This is an emotional work, but one that should be within the reach of young musicians.

Wendy Higdon:
    Identifying repertoire-worthy works for middle school or junior high school bands is difficult because much of the standard repertoire at the grade 3 level is really more appropriate for high school bands, since it requires greater musical sophistication. Often a piece may qualify as a grade 3 based on technical considerations but still may not be appropriate for developing musicians. For example, a piece like Lux Aurumque by Eric Whitacre (Walton Music) is beautiful and not technically challenging, but it requires a level of sophistication that would challenge many high school bands. Similarly, On a Hymnsong of Philip Bliss (TRN), which is technically a grade 3 piece, presents the same issue.
    That said, I would encourage directors of young bands to look at some of the newer works by Brian Balmages (FJH) who is able to write quality music that is educationally sound and musically satisfying for bands at the middle school level. Also, the James Swearingen editions of the grade 3 Karl King marches (C.L Barnhouse) are very good for this age group.  Pierre LaPlante also has written some really nice pieces for middle level bands (Daehn and LudwigMasters). I am also really excited about Richard Saucedo’s newest piece, Of Gale Force Winds, which our band premiered at the Midwest Clinic in December (Hal Leonard).

Jim Shaw:
    Tudor Sketches by William Owens (FJH). This arrangment is very well orchestrated and based on material that is tried and true. The variety of styles and time signatures provide some great learning opportunities for band members, but this is also just really great music.
    Foundry by John Mackey (Osti). This contemporary work is basically a percussion feature with band accompaniment, and it allows percussionists to explore different playing techniques and sounds through its use of “found percussion.” Although the technical demands of the winds parts are moderate, unison parts pairing the upper woodwinds and trumpets on certain difficult notes can make this a real challenge for ensemble members.
    Tonadillas Suite by Enrique Granados, arranged by Ralph Ford (Belwin Band/Alfred). This is another quality arrangement of proven material.
    The Seal Lullaby by Eric Whitacre (Hal Leonard). This may be the lowest grade piece written by Whitacre, who is a major composer of choral, orchestral, and band works, but it is substantial nonetheless.

Krystle and Kyle Smith:
Unraveling by Andrew Boysen, Jr. (Kjos).
Divinum Mysterium, arranged by Tom Wallace (Arrangers’).
Reverberations by Brian Balmages (FJH).
Dreamsong by Richard Saucedo (Hal Leonard).
A Walk in the Morning Sun by Pierre LaPlante (Daehn). 

Identify one or two forgotten gems—high quality works that are underperformed and deserve wider programming.

Michael Oare:
    Irish Rhapsody by Clare Grundman. I would also include Grundman’s Fantasy on American Sailing Songs and all four of his American Folk Rhapsodies (all by Boosey & Hawkes). These works are masterfully written and orchestrated. While they are basically collections of folk songs, Grundman took great care to create a work that flows beautifully between songs and styles. The orchestration here may seem a bit dated, as few composers today use four part horns, three part trombones, and a full woodwind section at the grade 2-3 level. However, these works use ample doubling, and they can be successfully performed by smaller ensembles. For larger bands, the depth of sound Grundman achieves with his orchestration is wonderful and well worth the investment of rehearsal time.
    Sonatina for Band, Symphonette for Band or (at a slightly more advanced level) Toccata for Band by Frank Erickson (all published by Bourne). I regard Erickson’s compositions as landmark works in the evolution of American concert band literature. His harmonic language, sense of melody, and creative orchestration were unprecedented in band music of the 1960s. One aspect of Erickson’s (as well as Grundman’s) writing that I particularly enjoy is his treatment of the woodwind choir. Too often in today’s compositions, the flutes and clarinets are relegated to playing simple ostinato patterns or 16th note flourishes to accentuate cadences. But Erickson makes use of the full ranges of these instruments (e.g. writing in the upper registers of both the flute and clarinet) and draws upon the entire woodwind choir to be a vibrant and vital component of the ensemble sonority.

Wendy Higdon:
    My short list of forgotten gems would include Prelude and Fugue in Bb by Bach, arranged by Moehlman (Alfred), and Flourish for Wind Band by Vaughan Williams (Oxford University). Regarding the Vaughan Williams piece, I would note that while it is a grade 3, it may not be suitable for all middle school bands.

Jill Noerenberg:
    The forgotten gems I would note are Sinfonia VI-Earth, Wind, Fire, Water by Timothy Broege (Manhattan Beach), Prospect by Pierre LaPlante (Bourne), and Variation Overture by Clifton Williams (LudwigMasters).

Travis J. Weller:
    Carpathian Sketches by Robert Jager (LudwigMasters). Stylistically this work finds its roots in Slovakian folk song music. Because of the manner in which this work is scored, there are a number of moments that will push young musicians to think, perform independently, and develop their confidence as musicians.
    Salute to the Duke arranged by Mike Sweeney (Hal Leonard). Selections not classified as original concert band works rarely make repertoire lists, but if students do not get experience with jazz styles in the large ensemble setting, they may not get to play jazz music at all. Sweeney’s arrangement here offers a great opportunity for students to learn basic jazz harmony, jazz articulation, and swing style as it goes through the Duke Ellington standards Satin Doll, Mood Indigo, and It Don’t Mean A Thing (If It Ain’t Got That Swing). The piece allows for small group and solo playing, and it is a valuable opportunity to share the music of an American jazz icon with students.

Jim Shaw:
    Overture for Winds by Charles Carter (Bourne). The length of this piece, as well as the demands it places on players in terms of technique and range, make this work a real challenge. It is a warhorse.
    Chant and Jubilo by Francis McBeth (Southern). A major composer and contributor to the band idiom, McBeth is a critically important figure, and our students deserve to be exposed to his music.

Krystle and Kyle Smith:
    Little English Suite by Clare Grundman (Boosey & Hawkes). This multi-movement work is a wonderful vehicle for pitch, tone, and 68 rhythmic patterns.
    Three Ayers from Gloucester by Hugh Stuart (Shawnee). This is good standard band program music that uses cut time, articulation, and rhythmic precision, among many other things.

Chip DeStefano:
    It is unfortunate, but I think the marches of Sousa, Fillmore, and King, while not forgotten, are certainly under-programmed these days. The original marches of these composers should be core repertoire. These pieces are terrific teaching tools, and audiences love them. They should be performed regularly. Beyond those essential marches, I think the works of Clare Grundman (including An Irish Rhapsody, Fantasy on American Sailing Songs, American Folk Rhapsodies 1-4, all Boosey & Hawkes) are real masterworks for our level. They are very tuneful and interesting harmonically. Grundman’s orchestration is also different from much of the music of today, requiring strong color instruments and rhythmic independence.

What criteria do you use when selecting works for rehearsal and performance?
Jim Shaw:
    I try to focus on four main criteria in choosing music for my bands. First, I consider whether the piece is quality music that my students and audience members will find engaging. Next, I ask whether the piece will challenge students to grow musically. I also consider whether the material is within the grasp of my ensemble in terms of range, technical demands, and the level of musicianship required. Finally, I evaluate whether the piece will offer variety from the other works being programmed for the same performance.

Travis J. Weller:
    I always begin the evaluation process for concert band repertoire by carefully examining the current ability levels of my students and considering how we can meet our goals for the year, both as an ensemble and as individuals. There are six aspects that I typically examine when looking at a concert band work. I examine the melodic material, harmony, rhythms and tempos, timbre and orchestration, emotional and aesthetic moments, and form and structure. I also consider whether the work will be useful in my daily teaching of specific skills and whether it help students grow as musicians. With funding for new equipment and materials at a premium, I carefully consider if a new work is simply popular now, or if it can be a classic later and be used again.

Michael Oare:
    It may sound selfish, but my first consideration is that I must truly like the piece of music. A new piece has to say something to me musically before I distribute it to one of my groups. The piece does not need to have any deep emotional component, but it must offer a certain depth and content. If the piece has little to say to me musically, then I tend to get bored with the work, and if I am bored with a piece, it can be difficult to motivate students and teach at a high level. Secondly, I consider whether a piece meets curriculum standards, which requires consideration of ranges, key signatures, and rhythmic concepts. Lastly, I make special considerations in selecting works for performances. For any given concert, I try to choose works with contrasting and complementing styles. For example, I will try to find a concert opener that is generally a bit shorter in length and at a faster tempo. I also try to include a piece or two that will challenge the band musically and technically. I believe transcriptions are an important part of our literature, so I try to include at least one transcription in our repertoire each year. For the spring concert, I also will usually program a lighter selection; pieces from a soundtrack to a popular movie often work well for this purpose.

Wendy Higdon:
    With so much being written and so many choices, I think it is important for directors to be discerning with the literature they select. The key considerations should focus on what students can learn by performing the piece, whether the piece is one the band may perform again in the next ten years, whether the piece is appropriate for the ensemble’s instrumentation and ability level, whether the piece supports the educational goals of the group, and whether it has appeal for both students and audience. On the issue of a work’s appeal, I do not necessarily mean that the piece has to be fun or popular music. Rather, the question is whether the piece is memorable to hear and perform, whether it stimulates the intellect, and whether it is something students can grow to love.

Chip DeStefano:
    I find that choosing music can be an agonizing process. Trying to identify repertoire that I like, with the right balance of difficulty and variety and that also suits our pedagogical goals can be very time consuming. Generally speaking, however, I’m looking for music in which the musical difficulty meets or exceeds the technical difficulty.

Krystle and Kyle Smith:
    The foremost concern is that the music must appeal to the students. Every piece should be an enjoyable experience for them. The music must also allow us to teach musicality, as well as music history, varied time signatures, and key signatures. In addition, each work must fit within the concert set. The pieces should be chosen so that each concert presents not only a variety of music in terms of style and tempo, but also a wide range of moods. Rather than trying to find a march, a ballad, and a focus piece, it is often useful to choose pieces with different moods, such as a piece that is happy, a piece that is angry, a piece that is aggressive, and a piece that is joyous. Seeking out this range of moods is not the only consideration, but students and audiences often respond well to this approach. When the audience loves the music performed, it goes a long way.

Jill Noerenberg:
    I think we are fortunate to live in a time when new composers are being commissioned to write works for younger bands. John Mackey and Steven Bryant, for example, have written a lot of really fine music for younger as well as advanced bands. 
    I also refer to the Facebook Band Directors Forum Twice Taught Repertoire database. That group is a great source for ideas and advice on literature. I also rely on a number of colleagues and mentors for their advice, and I will often run programs by them to get their input.

What selections would be on your top ten list for grade three repertoire?
Chip DeStefano:
My top ten list, not including marches, would be the following:
Prelude and Fugue in Bb by J.S. Bach, arranged by Roland Moehlmann (Alfred/Belwin).
American Riversongs by Pierre LaPlante (Daehn).
Unraveling by Andrew Boysen, Jr. (Kjos).
An Irish Rhapsody by Clare Grundman (Boosey & Hawkes).
Parade of the Wooden Warriors by Adam Gorb (G&M Brand).
Pirates by Douglas Akey (Queenwood/Kjos).
Symphony No. 4 by Andrew Boysen, Jr. (Kjos).
A Renaissance Festival by Claude Gervaise, arranged by Kenneth Singleton (Grand Mesa).
Shenandoah by Frank Ticheli (Manhattan Beach).
Overture for Winds by Charles Carter (Bourne).

Jill Noerenberg:
Tricycle by Andrew Boysen (Kjos).
A+ March by Thomas Duffy (Hal Leonard).
Sinfonia VI-Earth, Wind, Fire, Water by Timothy Broege (Manhattan Beach).
Prospect by Pierre LaPlante (Bourne).
Variation Overture by Clifton Williams (LudwigMasters).
Alligator Alley by Michael Daugherty (Hal Leonard).
Sheltering Sky by John Mackey (Osti).
The Machine Awakes by Stephen Bryant (Steven Bryant).
Abracadabra by Frank Ticheli (Manhattan Beach).
Lauda by Tim Miles (Musik Fabrik).
Flourish for Wind Band by Vaughan Williams (Oxford University).
Overture for Winds by Charles Carter (Bourne).

Michael Oare:
Not in order, and in addition to the pieces I note in my other answers, my top ten list would be:
Three Colonial Ballads, arranged by James Curnow (Bourne).
Celtic Suite by Elliot Del Borgo (Alfred).
On a Hymnsong of Philip Bliss by David Holsinger (TRN).
Procession of the Nobles by Rimsky-Korsakov, arranged by Jay Bocook (Hal Leonard).
Images of Ireland by Brian Balmages (FJH).
Portsmouth Reflections by Michael Oare (Kjos).
Our Kingsland Spring by Samuel Hazo (Hal Leonard).
Korean Folk Rhapsody by James Curnow (Hal Leonard).
Thunderscape by Erik Morales (FJH).
Arabian Dances by Roland Barrett (Alfred).

Jim Shaw:
Butterfly’s Ball by Ryan Fraley (FJH).
Canarios Fantasia by Douglas Akey (Alfred).
American Riversongs by Pierre La Plante (Daehn).
Latin Folk Trilogy by William Himes (Curnow).
Simple Gifts: Four Shaker Songs by Frank Ticheli (Manhattan Beach).
The Jig is Up! by Emmerich Kalman (Boosey & Hawkes).
Greek Folk Song Suite by Franco Cesarini (De Haske).
West Highlands Sojourn by Robert Sheldon (C.L. Barnhouse).
Danses de Fantaisie by Jan de Haan (Curnow).
Songs of Old Kentucky by Brent Karrick (Alfred).

Krystle and Kyle Smith:
Joy Revisited by Frank Ticheli (Manhattan Beach).
Abracadabra by Frank Ticheli (Manhat-tan Beach).
Any grade 3 march by Karl King.
Air for Band by Frank Erickson (Bourne).
Prairie Songs and American Riversongs by Pierre LaPlante (Daehn).
Kentucky 1800 by Clare Grundman (Boosey & Hawkes).
Flourish for Wind Band by Vaughan Williams (Oxford University).
On a Hymnsong of Philip Bliss by David Holsinger (TRN).
Prelude and Fugue in Bb Major by Bach, arranged by Moehlmann (Alfred).
Three Ayers from Gloucester by Hugh Stuart (Shawnee).

Travis J. Weller:
Air for Band by Frank Erickson (Bourne).
Our Kingsland Spring by Samuel Hazo (Hal Leonard).
Suspended Animation by Patrick Burns (Daehn).
Unraveling by Andrew Boysen (Kjos).
Carpathian Sketches by Robert Jager (Hal Leonard).
Courtly Airs and Dances by Ron Nelson (LudwigMasters).
Cumberland Cross by Carl Strommen (Alfred).
The Pony Express by Chris Bernotas (Alfred).
Flourish for Wind Band by Ralph Vaughan Williams (Oxford University).
Canto by W. Francis McBeth (Southern).

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