bands are to study and perform this style of music, the groups should have something approaching this instrumentation. We obviously do not live in an ideal world; bands may well not have a complete traditional instrumentation. Conductors should feel free to make alterations when certain instruments are not available. However, instrument substitution can
only go so far. If classic literature for band is to be performed as part of the core cur- riculum, then the band’s instrumentation should at least approximate the composer’s intentions. If the Holst Suite in E-flat is to be studied, then the band should have some- thing of a traditional instrumentation in- cluding tubas and euphoniums; an electric bass is not a good substitute at the begin- ning of the piece. A more radical choice would be to aban- don the traditional band. Instead, teachers might lead whatever instruments happen to be in an ensemble and adapt music to fit the instrumentation that exists. The litera- ture could be in a great many musical styles, not limited to traditional band repertoire. Certain styles of music, including classical, do not require traditional band instrumen- tation to be valid. As has been done many times in the past, what constitutes a band can be redefined. Directors might change the nature of the band to align with current cultural ideals. No longer would instrumen- tation be such a challenge because most any configuration might work. Obviously, this would be a dramatic change for the profes- sion.
Vertical Curriculum
Assuming that traditional bands will continue in the schools, the instrumenta- tion problem must be addressed. In the past, band teachers often spoke of a feeder program assuming that elementary and middle school teachers were solely respon- sible for instrumentation. The term implies that there is only one direction of commu- nication: elementary to high school. This would seem to place the high school band as the only real goal for the instrumental music program. This is not correct since the development of students at each level is important. Instrumentation is everyone’s problem.
MARCH 2016
A vertical concept implies that there is communication between the three levels— elementary, middle, and high schools— recognizing that each level is important in its own way, and that everyone must work together. By working collaboratively, all stu- dents and all programs will prosper. If each level works autonomously, all will suffer. It would seem that all instrumental teachers would all benefit by making sure that the curriculum is consistent and united.
Finding New Solutions To Old Problems Instrumentation was a challenge even
in the distant past when I was a school band director. The problem is much more com- plex now. American culture is different and nature of education has changed dramati- cally. This is a time of high stakes testing and significant accountability measures. It is abundantly clear that it is difficult to persuade students to play certain instru- ments, particularly double reeds, horns, eu- phoniums, and trombones. Many of these
instruments are not part of any popular cul- ture. Also, they tend to be more expensive than instruments like the flute and trumpet. If schools are to continue to include traditional concert and marching bands in their curriculum, administrators and teachers might develop concrete plans to address the problem of promoting the less popular instruments. Everyone must work together and consider what instruments should be encouraged at the elementary school and how teachers at the middle and high schools will make adjustments. While having a large number of students in band is important, instrumentation must be a vital consideration as well. Otherwise instrumental music teachers must consider the possibility that the instrumentation and repertoire of the band must change to meet current conditions.
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