When I write, I have something to say – I just choose sounds to say it.  I write music that (I hope) the students would enjoy playing, the audience will enjoy hearing, and that conductors will enjoy teaching. Sometimes I get inspired by words spoken or written, an image, or people.  In the case of American Visions it was all three.  Read the fourth verse to the Star-Spangled Banner – I read it in the spring of 2007 and finally understood what my grandmother went through when her only son (my father David J. Weller) went through when he left for Vietnam.  “Oh thus be it still when free men shall stand, between their loved homes and the wars desolation!”.

I remember having one real in-depth conversation with my father about his time in the military – I asked him what it was like.  He replied “Guy, I hope you never have to find out.”  War is an atrocious event, and freedom, our freedom, has been paid with the lives of many young patriots.  My dad served in 1967 for people he never met or knew, and some – like his two sons – were not even born yet.  I went to parades on Memorial Day and Veterans Day growing up – I said the pledge, I sang The Banner – but I didn’t understand until age 34 what had been done for me by my father and countless others I never knew and will never know.  We are a blessed nation, indebted to our men and women who serve and protect.  American Visions became an outpouring of thanks and love from a grateful and fortunate son.  How could I not write this piece for my dad? I knew purpose when each of my four children had been born, but I knew musical purpose in 2007.  In a span of four weeks beginning in February, American Visions was born.

My vision of America I owe to my parents – work hard, do something you love, love family, love friends, have faith in God at all times, honor your country, respect the men and women who serve – they have always shown me those qualities.  My dad is my first musical role model; he is my friend, and a patriot.  I wanted to write a piece that celebrated those things.  American Visions is what I hope our country will be – a vision for which David J. Weller would be proud.

The opening fanfares came first – mixing and shifting meter came very naturally.  The trumpet trio in the middle – the only clear My Country Tis of Thee statement – was easy to write, the counter in the alto saxophone and flute took a bit longer.  After much laboring over the ending of the song, I finally went to bed one morning at 1:30 a.m.  After falling asleep (as the start of my day was only about 4 and a half hours away), I was dreaming about the piece being played by an ensemble to be annoyed by a metronome beating in the group.  I woke to realize it was my alarm clock beating in time – and it prompted the shift from 3/4 to 6/8 towards the end and allowed me to conceive the French Horn counter-melody (which I adore).  I sang repeatedly in the shower that morning, and frantically wrote everything down on paper before leaving for school – ended up almost arriving late that day – but I had it!

This spring as I marched down Constitution Avenue with the marching band at Mercer for the National Memorial Day Parade, tears filled my eyes for a good two blocks.  I was reminded what a fortunate son I am thanks to my father, David J. Weller and countless other men and women in the armed services.  I am humbled by the success the piece has enjoyed, and thankful that I could share this story with many others in music education.

While it is our job to teach instrumental music, we as a profession must take time to consider these student musicians and ultimately where there career path might lead.  Not every student in our program may become a professional musician or a music educator, but we do want them to leave with a positive connection to music that they can tangibly see in their lives.  We must also choose music that allows us as directors to connect the academic music of the school ensemble with the outside world in which the student live, and that music must contribute to and enrich the community in which the school ensemble is situated.  While high school bands have enjoyed list upon list in book after article of best music for study and performance, I am somewhat disheartened by the lack of attention paid to Middle School and Junior High Ensembles.  It is though because this music is studied and performed by amateur musicians it is somehow not serious literature, and is of little importance or no consequence – I whole heartedly disagree with that line of thinking.  I have previously tried to get the FIRE started for discussion about Middle School Band Literature.  My goal here today is to discuss aspects for choosing literature for Middle School/High School, and then present a list for consideration.

There is a wealth of traditional literature that needs to be part of the “core” repertoire of young musicians as it allows them to develop certain techniques.  Ballads, which can be used to develop legato tonguing and musical expression, and marches, which can be used to develop marcato style, contrasting dynamics and articulation, and understanding of form, are two such types of traditional literature appropriate for study and performance.  There are also a number of writers expanding the sound canvas and providing excellent contemporary literature that present opportunities to explore musical concepts once reserved for more advanced pieces played by advanced groups.  Aleatoric episodes, vocalization, body percussion, different textures, elements of other music styles, and experimental timbres are such concepts that students may experience (Wilborn, 2001).

While contemporary literature offers one kind of experience into a different sound canvas for young musicians, another source to consider in selecting literature is multi-cultural pieces.  Many “multi-cultural” pieces performed by ensembles are arrangements or compositions by a Western-trained musician and are typically written for a standard Western instrumental ensemble.  Goetze’s view is that stylistic practices of some culture’s music cannot be adequately recreated using Western instruments or Western harmonic structure and that the experience gained by student is a Western art musical experience rather than a multi-cultural one (Goetze, 2000).  Goetze doesn’t suggest that this music should be avoided, and suggests through study of the culture, seeking out authentic performances (live ones work best), and providing insight into the music’s use within its native culture can inform our choices and our teaching.

Another aspect to consider in selecting literature with regard to developing student’s technical skills is having a long-term vision for what you hope the students can accomplish as musicians.  A number of articles and chapters in text (i.e. Miles, 1997) have been devoted to the high school ensemble curriculum devised so that students make progress over the course of several school years.  Middle school becomes a unique situation in that some directors see their students only 1 year, others 2 to 3 years, and others continue to see them as they are the only instrumental teacher in grades 7-12!  In the case of students that move on to another teacher, a open and professional line of communication should exist so the high school and middle school director(s) can frame their expectations for student development through the study of instrumental music.  In the case of being “master of your own destiny”, a director should be able to build a logical repertoire curriculum for his own students.

Because repertoire can serve as the source for a long-term plan, it is very important that teachers at all levels have a repertoire list he or she believes that all students should perform over a period of several years (Geraldi, 2008). Geraldi offers the following considerations for inclusion on “core repertoire list”:

• Work should have formal, rhythmic, harmonic, and melodic creativity.
• Work should convey the composer’s imagination.
• Work should be well-orchestrated.
• Balance between tutti sections and thinner texture sections.
• Work should convey emotional or expressive depth.

Speaking to that last point made by Geraldi, we should give our students the opportunity to hear the emotion in the music.  Through this process of recognizing and exploring emotional moments in music,  it causes students to become aware of their own emotions (Whitwell, 2009).  As long we choose music that is authentic, the students (and the eventual audience!) cannot fail to perceive the generalized form of the emotion.  So in our selection and programming of literature, we need to be sure that our students become aware of the emotional depth of the music, begin to explore and understand what that emotion conveys, how the composer expresses it in the music, and they must find a means of expressing their own personal emotions through performance, self-reflection, or discussion within the ensemble.

Composers, conductors, and educators alike all discuss the need for variety in programming and repertoire selection.  Selecting literature of diverse style and origin provides much needed variety for the director, students, and audience.  Even such simple concepts as balancing different textures, contrasting tempos, and balancing major, minor, and modal tonalities are ways in which variety in programming can be achieved.  Other considerations when programming literature include having the required instrumentation and equipment, instructional time to teach the work effectively and efficiently, and the enjoyment that can be gained from rehearsing and the performance of the piece for the director, students, and audience.

With all of this in mind, I offer some suggestions (from the past 15 years of teaching) for pieces for middle school/junior high band I believe a) are worthwhile for students to study, b) provide variety in style, c) have aesthetic/artistic appeal to all parties involved, and d) allow students to draw out their own meaning and emotions.  The list is where I am in 2010 as an educator, and is subject to revision as my perspective, experience, and knowledge grows.  I would be interested in hearing about a list for your ensemble.

1) Air for Band – Frank Erickson

2) Wagon Trail – Julie Giroux

3) Suspended Animation – Patrick J. Burns

4) Kentucky 1800 – Clare Grundman

5) A Childhood Hymn – David Holsinger

6) Grant County Celebration – Mark Williams

7) Unraveling – Andrew Boysen, Jr.

The Forge of Vulcan – Michael Sweeney

9) Bashana Haba’ Ah – Lloyd Conley

10) Basin Street Blues – Mark Higgins

11) Carpathian Sketches – Robert Jager

12) Marching Song – Holst/John Moss

13) Cloud Gate – Timothy Loest

14) Our Kingsland Spring – Sam Hazo

15) Canto – W. Francis McBeth

16) Kilaeua – Brian Balmages

17) Crusin’ – Willie Owens

18) Ghosts in the Graveyard – Scott Watson

19) Highlights from the Music Man – Johnnie Vinson

20) Appomattox – James Hosay

Enjoy the list, good luck with your spring concerts, and don’t forget to add to the conversation!

Geraldi, K. M. (2008). Planned programming pays dividends. Music Educators Journal 95 (2), 75-79.

Goetze, M. (2000). Challenges of performing diverse cultural music. Music Educators Journal, 87 (1), 23 -25, 48.

Miles, R. (1997). Teaching music through performance in band. Chicago: GIA Publications.

Whitwell, D. (2009). Music education of the future: Two paramount new purposes. NBA Journal, 50 (2), 43-60.

Wilborn, D. F. (2001). Spicing up band with contemporary literature. Teaching Music,8 (5), 36-40.

The most pervasive musical element in term of correct interpretation by both composers and conductors was in regard to tempo.  Other commonalities existed across both conductors and composers (notably by Barnes, & Camphouse) including utilization of recordings, becoming familiar with a score through a secondary instrument (piano or voice were mentioned frequently), and that over time our interpretation of a piece may change because of new perspectives or personal experiences.  It would seem to me that the process by which one learns a score varies widely across known experts in the band world, and is a highly personalized decision based upon your pedagogical training.  Choices of meter, key, and tonal and rhythmic patterns are sufficed to say objective, but in matters of overall general expressive musical elements, tempo seems to be a common focus because of the great variability for which it can possess.  It is interesting to note that a number of conductors and composers both concede that a performance tempo can differ from the ideal (marked tempo in the score), and that the adjusted tempo of the performance can still result in a quality or reputable performance.  In some cases it is a matter of ensemble technique that will prevent an ensemble from being able to achieve the demands printed in the score, but it is obvious in the writings that conductors and composers acknowledge this and are able to recognize when other elements are brought to the best possible quality which contribute to effect interpretation.

Another commonality that seems to exist across many of the composers and conductors is they concede that there is a limit to what musical notation can convey, and at times there are ambiguities that may not make sense during score study.  Hopefully these moments of questions and uncertainties can be answered by the director as he looks at the work he is studying, compares it with other known pieces by the same composer, and compares the current piece against stylistic practices of the time or pieces of similar musical structure.  I believe it is worth noting that here that this process the conductor is going through for just one piece of music is not so far removed from the idea of comprehensive musicianship whereby the musician immerses him/herself in studying music from multiple perspective, each perspective contributing to a greater understanding of a larger picture. Andrew Boysen Jr.’s (Camphouse, 2007, p. 11) comments perhaps summarize the idea best as he asserts that the notation in the score should support the conductor’s musical decisions.  It follows that the performance is the very best attempt by an ensemble and conductor to represent what they believe to be the composer’s intent.

Flexibility as it relates to letting the music “live in a certain place” as Giroux states (Camphouse, 2004, p. 80), gathering insight from the ensemble not previously considered as Kirchoff suggests (Williamson, 2008, p.53), and, as Hunsberger observes, understanding each ensemble has an “optimum tempo” (Williamson, 2008, p.37), also seems to an important aspect of interpretation.  The modern conductor must have in his arsenal of abilities an understanding to be flexible as his perspective may change while working on a piece with his own students, but find a new perspective when asked to conduct the group of a colleague or an honor ensemble.  Getting back to the idea of tempo, both the music and the ensemble must find the tempo at where they can ideally perform.  I believe this is the reason why at times pieces are adored by one ensemble, and despised by a group 12 miles away – optimum performance tempo of the music and the ensemble do not converge.  Part of this problem may be related to that, but it might also have to do with directors being afraid to vary from the printed score even when it might be more educationally sound to do so (emphasis added, duplicity implied).  A discussion for another day – but this isn’t math or science with one right answer – and some directors are chasing a trophy  on the wall and it is easier to play it safe.  While McBeth and Giroux go as far to say that composers are sometimes indicating the wrong metronome markings they include on a score, Camphouse and McBeth agree with Jack Stamp that composers are not always the best interpreter of their own work.  James Barnes recounts a story about Verdi and Toscanini that is a reminder that one’s inner musician is critical for a conductor’s interpretation that is truly “in the spirit” of the composer’s intent.  Jack Stamp (Miles, 1998) discovered during his college experience that although Stravinksy was held in high regard compositionally, others did not feel he was the best interpreter of his own work!

The final aspect of interpretation that seems to be a shared concern of importance between composer and conductor is that of feeling, emotion, and passion.  To a degree, many of the composers explicitly mention important aspects of feeling, expression, and emotion in the interpretation of their work.  No matter what reason a composer decides to put “pen to paper”, their works are a product of their experiences, beliefs, surroundings, and creative ideas – and those experiences are at times attached to significant feelings, emotions, or expressions.  As stated by my friend and colleague Dr. Joseph M. Pisano, a composition conveys a concrete thought such as the liberation one’s country, an emotional thought such as the liberation of one’s heart, or a spiritual thought such as the liberation of one’s soul.  The composer is literally molding a conceived idea or a feeling into a sonic musical existence.  The passion of music becomes interpreted correctly when the conductor understands and enjoys the music, and is able to get the students in the ensemble to “reproduce those feelings” as Hilliard states (Camphouse, 2007).  Sam Hazo’s experience with Paul Thornton’s band demonstrates the importance of connecting the music to the lives of the students.  Paula instructed her students to write a meaningful life experience to the sound of the music in the margins of their music – it created in every student a way to connect their life stories to the music in which they were engaged in performing.  I would be interested in knowing just how many of those little anecdotes written by her students were emotionally charged or connected.  Robert Sheldon states that in order to convey passion (emphasis mine), a conductor must possess technical means and the wherewithal and self-confidence to do and say whatever is necessary to get the ensemble to respond (Camphouse, 2002). Frank Ticheli shares that the conductor must find meaning in the work, and believe in it passionately (emphasis mine) (Camphouse, 2002).  When asked about it, Mark Camphouse’s opinion is that “Passion (emphasis mine) comes from believing in the music long before a conductor ever steps on the podium…If a conductor has passion for the art of music and for playing great literature, his performance will have passion…” (Brown, 2001, p. 13).

Many conductors have written about helping the ensemble recreate or realize the interpretation of the composer’s intent, and rarely do they discuss a performance that was devoid of feeling, emotion, or passion if it was achieved.  Can we forgive a less then perfect performance that lacks emotional expression? My feeling is that many would agree yes.  I am not saying technical accuracy and precision may be tossed out – they are part of our responsibilities as educators to ensure that students have mastered.  But we might also be aware that there is another side that is beneficial for the student to experience, and that through our own authentic interpretation we may be able to unlock the emotion, passion, and feeling in music for the benefit of our students (Help them find the love!).  As Craig Kirchoff (Williamson, 2008, p. 54) states so eloquently, “Without such passion, there is no communication…and not even any real music.”

Brown, J. S. (2001). Mark Camphouse creates music with the passion of a performer. The Instrumentalist, 56 (6), 12-15.

Camphouse, M. (Ed.). (2002). Composers on composing for band (Vol. 1).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2004). Composers on composing for band (Vol. 2).  Chicago: GIA Publications.

Camphouse, M. (Ed.). (2007). Composers on composing for band (Vol. 3).  Chicago: GIA Publications.

McBeth, F. W. (1992). Interpretation: Unlocking the drama in music. The Instrumentalist, 47 (5), 14-18.

Miles, R. (1998). Teaching music through performance in band (Vol. 2). Chicago: GIA Publications.

Williamson, J. E. (2008). Rehearsing the band. Galesville, MD: Meredith Music Publications

This post has been brewing for some time now, and it has taken a few days off from slinging a stick and writing passes to get there.  The Midwest 2009 experience was a big reminder of where our profession is in relation to the music that is made available for school ensembles to study, rehearse and perform.  Studies in English lead us to the pinnacle as evidenced in the works of Shakespeare, Melville, and Milton.  Studies in band lead us to the pinnacle as evidenced in the works Holst, Grainger, Vaughan Williams. But are there not other authors, and likewise are there not other composers?  The names are familiar and many great works are conjured up by a simple mention – Francis McBeth, Clifton Williams, Alfred Reed, Robert Jager, Claude T. Smith, and  Ron Nelson.  Chant and Jubilo, Symphonic Dance No. 3, The Hounds of Spring,  Esprit de Corps, God of Our Fathers, and Rocky Point Holiday (though for me, Mvt. 2 of A Medieval Suite…check it out, seriously).

This is by no means a comprehensive list that follows – but it represents a selection of composers and their pieces that are regarded by many as significant and worthwhile endeavors for ensembles to study and rehearse.  There are names left off – I mean no disrespect.  These are humble opinions and evaluations.  Even the composers listed might feel the piece below is not their best work.  They are all perhaps a tier or two down from pieces by those listed above as of the last day in 2009.  But in another 25 to 30 years, we might find them regarded quite differently.

I have no doubt that Ride, by Samuel Hazo, will one day be a standard measuring stick for ensembles technical facility.  Ghost Train, by Eric Whitacre, will stretch the limits of musicianship by an ensemble.  Bands will come to know new depths of patriotic emotional connection to music by experiencing Julie Giroux’s No Finer Calling.  Movement for Rosa and Watchmen Tell Us Of The Night, by Mark Camphouse, are musical gems with significant social consciousness.  There are a number of pieces by Ticheli which have garnered some deserved attention (and on a personal note,  I think the fact his piece followed mine in the Vandercook performance at Midwest caused me more anxiety than the performance of my piece!).  Even Puszta, by Jan Van Der Roost, has opened our ears to depth and quality of music being written by musicians from other parts of the world.  To my ears, James Barnes’ The Trail of Tears transcends the idea that great music is hard music, and his work reveals our capacity for writing music that transfers well to the medium and is culturally sensitive.

These are but a few pieces regarded as serious literature for mature ensembles.  The process of selecting them and the reasons for doing so are often give less scrutiny as the name of the composer, the “prestige” of the piece, its appearance on state festival lists, or reviews in magazines often provide the impetus for its programming.  Much will be written about these kinds of pieces, much attention will be given to their interpretation, and little will be considered before it is selected.  From my perspective, the opposite holds true in regard to literature for elementary and middle school bands.  There will be little written, little regard to interpretation (as these are “non-serious” musicians), and a lot will be considered (like whether or not it is easy enough to earn a top rating at contest!).

I applaud the efforts of the Teaching Music Through Performance in Band series, as it has done a lot to identify significant pieces at both the elementary and junior high ability/grade level that are regarded as “serious” literature.  There are a number of fantastic composers who are writing absolute masterpieces at this ability/grade level, yet their work is not regarded as significant because it is played by non-serious musicians.  We could spend days going through the history of music citing pieces that are masterpieces, but yet were intended for use by teachers to raise the musical ability of their students.  There are people within our profession that would look upon some of this literature as not worthy of creating a meaningful musical experience.  There are some outside the profession that decry its quality and have made verbal and literary attacks on composers for writing music that has no connection to the performers, or the intended audience.  I reside somewhere in the middle truth be known – while the music written for the American Wind Band to me is the most exciting and interesting written today, it is incumbent upon educators to make informed educated choices in the selection of music for study and find ways in which to make meaningful connections to our students.

At an elementary and middle school level, there are many factors that play in to our decision to select a piece for study that include but are not limited to: balance of our instrumentation, fitting the need of the ensemble, rehearsal time, balancing musical expectations of the administration, community, and students, and the difficulty of the piece versus the ability of the ensemble.  All are areas that must be weighed and considered before we make that selection.  There are two significant qualities I look for in a piece – but I usually cannot get a complete read on them until after I have started working on it: 1) Does it get the students excited about music and point them towards a more meaningful and personal relationship with music, and 2) Does it provide a worthwhile experience whereby the student, director, and ensemble experience growth intellectually, musically, and socially?  If both of those questions come back in the affirmative, it is hard for me to dismiss a piece as not being significant.  Whether it is programmatic, multi-cultural, or an extension of the American Wind Band heritage, I think it is important to weigh it against those two qualities alongside the pre-selection criteria that is utilized.

My question to all of you at middle school or elementary levels (current or future), what criteria do you use in the selection of music for your ensemble and how do you rank them in order of their importance?  Let’s start the new year with a good discussion, and sharpen up our skills as we search for greatness in elementary and middle school band literature.

Speaking of Drew – the RCYBB will present “A Frontire…er… I wish Finale had a spell checker.  The RCYBB got a huge chuckle as did I on the spelling error on the parts.  At any rate, “A Frontier Fought and A City Found” will debut later this month.  I cannot wait! I got to know several of the students in the group this year and I know they will do an awesome job especially under Drew’s direction.

I am still in a little bit of shock – I found out that “Journey to the Prairie” received third prize in the young band division of the 2nd Annual Frank Ticheli Composition Contest.  I took time to listen to some of the other winners – great stuff to be sure! I was especially taken with Joni Green’s “Moonscape Awakening”.  My thanks to Dr. Edwin P. Arnold and the Grove City College Wind Ensemble for making the recording that I sent in with the submission.  I always believe in what I write, but was just hoping for some more feedback from a different set of ears.  It is a thrill beyond words, and quite an honor to be included alongside so many other composers.

Our eventual performance on March 12^th by all the ensembles was superb.  It was probably the best concert I have put together in my 14 years of teaching.  Other program selections included Wagon Trail by Julie Giroux (excellent work), Cumberland Cross by Carl Strommen, and Cajun Folk Songs 2 by Frank Ticheli.  I am so proud of what they accomplished in the rehearsal hall, the auditorium, and now, as I begin to review the submissions for the interdisciplinary unit, in the computer lab.

The one main goal of the class last summer was to explore ways in which we as educators can help students make more authentic connections between the music we study and other subjects like art, music, history, and poetry.  The National Standards for Music make it pretty clear that we should be teaching students to understand disciplines outside the arts.  My view of the profession of band directors is that it must include becoming heritage bearers of the American Wind Band.  When that is translated into every day teaching, we must seek ways to help our students make more authentic connections with the music performed by the large ensemble.  It is no longer enough to just get music ready for the concert and adjudication or festival (Though noble goals they are).  We must find ways to engage them beyond the notes on the page so that their memories not only include the wonderful music they performed and studied but how that connects to their everyday lives and the culture in which they are living.

You can visit the website that I prepared by clicking here.  It was my first experience using iWeb, and the ease of use the software provided was appreciated since I am – as the commercial says – “PC”.  I am especially appreciative of Tracy Sevin, the technology coach in the building where I work, who provided me with a very easy way to collect the assignments from the students.  All the students are submitting their work digitally via Rcampus.  Within 15 minutes, I had registered myself as a teacher, set up 3 sections of classes, and provided links to the website and the learning activities.  The students are currently preparing their work in a Word Document, and then using a simple attachment option can send me the file electronically.  While we have used several of our rehearsal periods for the ensembles to access the computer lab, the beauty of this entire assignment is that it can be accessed and completed outside of school time.

Though very new to Rcampus, I am very impressed with their ease of use for both students and teachers.  A regular classroom teacher who creates projects for their students would be able to utilize Rcampus on a more regular basis.  It would provide a way for students to submit recordings for a playing exam or audition material, but there are issues of accessibility outside of school (several of my students do not have the internet), a student having the ability to record a sound file, and integrity of the person making the recording.  None of my students will be printing out any work – everything is handled through digital submission.

The student feedback so far has been very good.  Many of the upperclassmen have commented that the break from playing once every couple of weeks since January has made them refocus the next time a rehearsal begins.  I am planning on doing a post project survey to gauge their perspectives, and the open response section should provide some very interesting results.  The possibilities for future interdisciplinary projects are really endless, but it does take research outside our realm to bring authentic connections to the students.  I hope this sparks some interest and curiosity amongst our profession as move our 20^th century ensembles into a 21^st century educational setting.

So, I never dreamed in a million years that writing a post called “My Band Room is on Fire” would get the attention that it has.  After having the summer to review that list, it has churned a significant repertoire list that as a profession of directors should be familiar. I got to thinking about it over the summer, and while thought provoking and good debate for high school directors the conversation should not stop there.  There are plenty of colleagues (myself included) who really struggle with selecting good music for the Middle School/Jr. High Level.  There are some exemplary standards out there, but I believe there to be a wealth of undiscovered gems as well.

The rules: You have time to save 10 pieces for study.  I chose 10 so we have a little more flexibility, plus it creates a little larger rep list.  Don’t be like a near-sighted colleague from my area that said he would wait for the place to burn and get the insurance money – contribute to the conversation and help the profession make progress!.  A list of songs with arranger and/or composer will suffice.  If you want to explain any of your choices, feel free to do so but it is not necessary.  I will recap it all in about a month.  Beware, the fire is burning again!

Carpathian Sketches…..Robert Jager

Suspended Animation…..Patrick J. Burns

Friends of Freedom…..Timothy Loest

Air for Band…..Frank Erickson

Canto…..W. Francis McBeth

Kentucky 1800…..Clare Grundman

Grant County Celebration…..Mark Williams

Marching Song…..Gustav Holst/arr. Moss

Salute to the Duke….arr. Michael Sweeney

The Battle Pavane…..Susato/arr.Margolis

First Suite in E-flat – Holst
Greensleeves – arr. Alfred Reed
Flourish for Glorious John – Vaughan Williams
The Pines of Rome – Ottorino Respighi
I Am – Andrew Boysen Jr.
O Magnum Mysterium – Lauridsen/arr. Reynolds
The Liberty Bell – John Philip Sousa
Lincolnshire Posy – Percy Grainger
Washington Post March- John P. Sousa
Dedicatory Overture- Clifton Williams
Allegro Animato- Frank Erickson
March to the Scaffold- Hector Berlioz (arr. Leidzen)
Shenandoah- Frank Ticheli
Incidental Suite- Clarke
Sleigh Ride-Leroy Anderson
Jupiter- Holst
Concerto For Orchestra-Bartók
Syphonic Metaporphosis- Paul Hindemith
Adagio for Strings- Barber
Irish Tune from County Derry – Grainger
Dusk – Whitacre
Blue Shades – Ticheli
Chester – Schumann
Robin Hood Prince of Thieves – Horner (arr. ?)
American Overture for Band Jenkins, Joseph W.
Russian Christmas Music – Alfred Reed
American Salute – Gould, Morton
March from 1941 – John WIlliams
Of Sailors and Whales – McBeth
Amazing Grace – Ticheli,
Loch Lomond – Ticheli
America the Beautiful – Carmen Dragon
Daphnis and Chloe – Ravel
Manhattan Beach March – Sousa
Variations on a Korean Folksong – Chance
Hands Across the Sea – Sousa
March of the Belgian Paratroopers – Leemans
Flourish for Wind Band – V. Williams
Overture for Winds – Charles Carter
Salvation is Created – Tschesnokov
Canterbury Chorale – Van der Roost
An American Elegy – Ticheli
Courtly Airs and Dances – Nelson
La Fiesta Mexicana – H. Owen Reed
Rushmore-Alfred Reed
Canzona-Peter Mennin
Abram’s Pursuit-David Holsinger
Pagent-Vincent Persichetti
American Patrol-FW Meachum (concert band, not jazz)
Shiny Stockings-Frank Foster (jazz band)
Switch In Time-Sammy Nestico (jazz band)
Symphony No. 1 – Lord of the Rings – de Meij
Gran Partita- Mozart
A Child’s Garden of Dreams – Maslanka
Armenian Dances – Reed

My sincere thanks and appreciation to Joe Pisano at Mustech.net who helped get this post out there and generate a significant amount of attention to it.  If you have not been keeping up with Joe – the man has been more than a little busy lately.  Get on over to the Music Educator Blogger campaign and you will have a little understanding why.  He has really opened so many doors and avenues for all of us and started a lot of people talking about music education in a productive matter.  While you are there, do some searching and buy the man a cup of coffee!!!

For the rest of you courageous directors who decided to risk your life in this little exercise, a humble thanks for joining in this conversation. If you haven’t decided to save anything yet, head back into the band room and make some choices (chances are the fire hasn’t got down burning up that alto clarinet yet, and besides we all know it will take twice as long to go burn through a bassoon). List the seven pieces you would save and contribute to a great resource list!