have found difficulty in programming for my ensembles before hearing what the sonority of the ensemble is and how a particular ensemble "sounds". At the beginning of the year, having several compositions in the folders to see how the band “sounds” has proven helpful to me. We should have a good idea of the technical abilities that exist within our ensemble at the onset of the school year. However, the sound of the group is difficult to “predict”. We must allow ample time to sightread each composition several times to see if the piece "fits" our ensemble. “Forcing” a selection onto our ensembles simply because we like the piece is unwise.


When you have worked through the “nuts and bolts” of the programming challenge, you can then begin to match repertoire with your ensemble. When you are at this point in the process, you should be sure that the literature you select is quality literature-literature that you can use to teach your students to become more advanced musicians and to make wise musical choices. You will find that almost every composer writing for bands today has com- positions available that will enable you to accomplish this. Do not fall into the trap of programming only one or two composers, and avoid at all costs programming pieces by the same composer on the same concert. If you are pro- gramming for an adjudicated event, be even more aware of programming only one selection by a composer. I have had the opportunity to adjudicate ensembles at a state level event and found one conductor who programmed all three selections by the same composer! The march that was programmed was arranged by the same composer who wrote both the second and third pieces on the program! This is not a healthy diet for your students. I would encourage you to "feed" your students a diet filled with variety on each concert.


This will allow them to be


exposed to different composers and allow you to grow as a conductor and teacher.


Making your final selections for programming should be an exciting process for both you and your students. As you make your selections, ask these simple questions about each piece: • What educational value does this composition have? • What can I teach my students from programming this piece? • What will my students learn from working on this piece? • What life lessons can be supported by spending time on this piece? • Will the audience enjoy listening to the composition? • Will my students enjoy working on this piece? • Will I enjoy working on this piece?


If you find positive responses from these questions, you ala breve


can safely bet that the piece will provide a quality experi- ence for both you and your students.


Another important piece of the programming puzzle is to be aware of what selections are being played by other groups similar to your own. Attend as many performances of other school groups as possible. In addition, attend District and State Performance Assessments and listen and observe.


This is a priceless experience. Making notes of what literature “works” is good advice, especially for younger teachers. I always keep my program books from all the conferences and conventions I attend. These serve as valuable references when searching for programming ideas. One of the most useful tools band conductors have at our disposal today is the “Teaching Music through Performance in Band” series of books and recordings. These books and recordings provide useful starting points for both programming ideas and rehearsal assistance. If you don’t own these books, start your collection today. Building the entire collection may take a few years, but the investment is well worth it. I am constantly referring to one of these books for either programming ideas or assistance with a problem spot in a rehearsal. I can’t rec- ommend this series highly enough.


With time and energy on your side, the important task of selecting your curriculum for your students will be both enjoyable and educational for you and your students. I encourage you to approach your literature selection with the same diligence that you would find in a state textbook adoption for an English text….maybe without the commu- nity input!


Randall Coleman is currently the Associate Director of Bands and Assistant Professor of Music at the University of Alabama. At the Capstone, Mr. Coleman conducts the Alabama Symphonic Band, teaches undergraduate con- ducting and is the Associate Director of the Alabama Wind Ensemble and Million Dollar Marching Band.


Prior to


his appointment at the University of Alabama, Mr. Coleman was the Director of Bands at Milton High School in Milton, Georgia. His ensembles at Milton High School performed at the National Convention of the Music Educators’ National Conference, the Bands of America National Concert Band Festival and the Georgia Music Educators’ Association State Conference. His marching bands won numerous “Grand Championship” awards and were selected as a Finalist Band at the Bands of America Regional Championships. He also previously served as President of the Georgia Music Educators’ Association and Georgia State Chair of the National Band Association.


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