Programming for Band The Continuing Quest for Quality and “Fit”


One of the most difficult responsibilities we have as instrumental music teachers is selecting quality repertoire that is appropriate for our ensembles. If we are conscientious about this task, it takes time, deep thought, and can at times, be frustrating. Considering a number of principles can make this process more artistic, and hopefully, less difficult for all teachers.


A reality that all instrumental music teachers face is that our repertoire is our curriculum. The question we all should ask is, what do we want our students to learn during the time they are in our ensembles? It is very easy to become trapped in the concert preparation cycle and forget that we are responsible for the music education of our students. So what are some elements to consider while selecting repertoire?


Historical Time Periods


One of the first considerations should be a variety of historical time periods. It’s easy to program all of the latest new compositions and neglect works from the baroque and classical periods. There are many excellent transcriptions of early music that work well with wind groups.


Technical Demand


Considering technical demand should occur on multiple levels. If all works programmed for a performance are technically demanding, it is very likely musical expression will suffer. Consider programming some pieces that your students can sight-read with ease; works like this will enable everyone to focus on valuable ensemble skills like listening, matching articulation, and intonation.


More difficult works, or “project pieces”, can be scheduled later in the term and/or year.


Programming more


substantial works later in a term allows students time to develop individual technique. Allowing more time to rehearse more difficult works allows students extra time to not only learn their part, but to learn everyone else’s part as well. This next level of “knowing” beyond the individual part is something we should all strive for with our students.


Harmonic Interest


Many new works are harmonically predictable. If we continually program works that lack harmonic interest and variety, we are limiting the student’s experience. Search out works that “sound different” and avoid harmonic


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clichés. The composition that leads the listener to an unexpected place is the one that most interests me. If we believe our students won’t enjoy performing dissonant or harmonically challenging works, it is our responsibility as teachers to introduce the piece in such a way that prepares the students for the “unknown”.


Formal Design


If you are band director you are well acquainted with the following form: introduction, A, B, A’, coda. We must avoid an overabundance of concert overtures and works that contain a “drum break” between the introduction and A section. Total avoidance of this form is not ideal, as we know that many professional orchestras open concerts with an overture, but variety is a key component of successful programming.


Unique Scoring and Orchestration There is safety in numbers. Composers who write for young bands tend to use more block scoring. This helps students gain confidence while they develop individual musicianship. Once those skills are more secure it is imperative that we expose our students to a wider rage of orchestration.


I have looked at scores and noticed the trumpet ranges or the English horn solo and closed it right away. I think back to those moments and realize that may have been the moment I denied a student an opportunity for growth. Trust me, there is a fine line between appropriate challenges for students and hanging them out to dry!


Some of the most talented and creative composers combine instruments in a way to create beautiful and unique sounds that we may not have experienced. Our band colleagues certainly know that the combination of alto saxophone and piccolo is a sure sign of a Vincent Persichetti composition!


Rotation of Masterworks


In many situations there may be more than one ensemble in the school. You may consider establishing a rotation system for composers and/or compositions. If your ensemble has the ability to play the Holst suites, consider rotating each piece every two years. In this scenario your students will have the opportunity to play both of these wonderful works during their four years in your program.


by Rodney Dorsey


Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education. Chamber Music


This is also an appropriate time to consider chamber music. As a college band director, I have accepted the fact that there are students who prefer to play in orchestra. It can be difficult for individuals to hear themselves play in large bands. When I program chamber music it allows students the opportunity to interact with their colleagues in a more musically intimate way. We also know that students develop more musical independence and confidence through performing chamber music.


Works for Study versus Performance In my current setting rehearsal time is very limited and precious. If you have more time consider using some of the more difficult pieces as works for study. When I was a high school band director there were works in the folder that we never played for festivals or concerts. Consider using these pieces to build individual/ensemble skills, or as the subject of group projects based on the composer, a historical period, or a programmatic element of the piece.


Your Audience


I also consider my audience while programming for my ensemble. If the majority of our repertoire is harmonically challenging our audiences may feel alienated. Notice the large audiences in concert halls when symphony orchestras program Beethoven’s Ninth Symphony! Programming something accessible on the same program that you play a modern work is a way of exposing your audience to diverse sound worlds.


Self Improvement


If you are reading this article you are interested in improving your teaching. There are several ways you can expand your knowledge of repertoire:


Lists: Collect and refer to a variety of repertoire lists. The internet allows us access to music lists from a number of state associations. Download the graded lists and search for titles and/or composers you may not know.


Trusted Colleagues: Talk to colleagues you respect to get ideas for new works. When I started teaching I had a local band director recommend quality pieces he thought would work well for my ensemble. This was very helpful as I was fresh out of college and didn’t have a working knowledge of works for young bands.


Classical Concert Reviews: Be aware of 43


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