Programing Project: High School Ensembles

Beginning/Intermediate Band

Triumph, Robert Foster (3:15)

- Rationale:
o I thought this would be a great piece to start the concert because it’s creative and
light, catching people’s attention. This piece is very fun and encompasses a lot of
musical ideas including lyricism, sfz, articulation, and involves all note lengths.
- Program Notes:
o Written by Robert E. Foster, a music educator from Kansas. Triumph is a show
piece for young bands showcasing energetic dance rhythms.
- Physical Approach:
o The important concept of marches is using wrist to help with time as well as an
articulate motion in those sections. This piece has quick, melodic sections that
would require light, flowing conducting. In the darker low brass sections it would
be appropriate to show some weight in the beats.
- Instructional Approach:
o One thing I appreciate about this piece is that everyone has the melodic rhythm at
the beginning and throughout. One of the first things I would do is tackle that
rhythm and do it in a scale pattern. The second step would be making sure that
they all sound similar and that they are matching articulations. The second thing
that catches my eye is the woodwinds have most of the melody while the low
brass has the rhythmic pulse. Depending on instrumentation, the pulse might get
too loud and accidentally override the melody.
Seventeen Come Sunday from “English Folk Song Suite Mvt. 1”
Ralph Vaughn Williams/arr. Ed Huckeby (3:38)
- Rationale:
o I picked movements from English Folk Song Suite because it allows the students
to play a great musical work at their level. A lot of beginning band music lacks
story and can be boring. A piece like this can allow students to feel accomplished
that they played something people know. It also encompasses everything they
learn into something really enjoyable.
- Program Notes:
o The first movement is made of three folk songs: I’m Seventeen Come Sunday,
Pretty Caroline, and Dives and Lazarus. The first two are love songs while the
third is about the denying of food by a rich man.
- Physical Approach:
o To help with the different style changes, it is going to be very important for me to
show that in my conducting. For the beginning my conducting would be light and
small, especially since most of the people playing will be right in front of me. For
the lyricism, I would try to go more horizontal with my conducting but still
keeping clear time. For heavier section I would show more weight in my
conducting.
- Instructional Approach:
 o From experience, players really like to slow this piece down by holding note
lengths too long. Because this is an adaptive arrangement, things might be
different due to rhythms being changed. The trick with this piece is switching
between lyrical playing and articulation. I would try to isolate the two styles and
then put them together.
My Bonny Boy from “English Folk Song Suite Mvt. 2”
Ralph Vaughn Williams/arr. Ed Huckeby (3:36)
- Rationale:
o (above)
- Program Notes:
o The second movement of this work features folk songs My Bonny Boy and Green
Bushes. This movement is written with betrayal and how lonely it can be.
- Physical Approach:
o This movement is very lyrical and involves a lot of dynamic changes throughout.
There are also a lot of layering going on. Cueing each section when they come in
will be very useful. The time change will have to be very clear and rehearsed
especially with a younger band. A clear two pattern will also be very useful for
the young players.
- Instructional Approach:
o As I said there are a lot of different layers to this piece that come in in different
places. This is great to use to start teaching students how to be really depended
and count correctly. I might have them write in their parts where people come in
to help their counting. For the time change it might be useful to have them count
while we learn how it is conducted. Once we count we can sing our parts and then
move to playing through the change.
Folk Songs from Somerset from “English Folk Song Suite Mvt. 3”
Ralph Vaughn Williams/arr. Ed Huckeby (3:54)
- Rationale:
o (above)
- Program Notes:
o The third movement of this suite contains traditional folk songs: Blow Away The
Morning Dew, High Germany, The Tree So High and John Barley’s Corn.
- Physical Approach:
o This movement is very powerful and needs to be conducted as such to assist the
musicians. This movement also changes styles frequently so it will be important
to help show that. Time has a tendency to want to slow down in this movement as
well. Basically, keep good time and show the changes of the music styles.
- Instructional Approach:
o The one tricky thing about this piece is the constant repeats. Helping students
write those in will be important to keep the band from falling apart. It might also
help to create some type of signal with the group for repeats and codas so that just
in case they forget there is a visual reminder from the director.
Energy!, Adrian B Sims (2:30)
- Rationale:
o This piece is energetic and can showcases each section one last time. It is not too
challenging on the face so it won’t be too difficult to play at the end of their
 portion of the concert. It has a slight lyrical section as well as loud, articulated
sections making it a perfectly rounded piece to end a concert. It also ends in a
very confident last note, solidifying the ending well.
- Program Notes:
o The definition of energy is the capacity of being active or to be scientific. Energy
is what connects all of us whether that be thermal, electromagnetic, or
mechanical. This piece by Adrian Sims is to showcase how inspiring energy can
be for all.
- Physical Approach:
o This piece has a syncopated feel due to where the articulations are as well as the
ties. Having clear down beats will be beneficial as well as using the left hand to
try to show them where some of the beats land. This piece will require a light tap
gesture and a smaller pattern due to how quick it is.
- Instructional Approach:
o For some of these rhythms and practicing the articulation patterns, I would use
them in a scale so that they become very skilled at it. This piece changes between
slurs and articulations frequently. To help my students get the hang of this, I
would do the articulations individually and then eventually start integrating both
together.
Percussion Ensemble
Disclaimer: None of these pieces would be conducted on this concert.

Mambo Schmambo (from Rhythmsicles), Chris Brooks (2:06)

- Rationale:
o This piece allows for students to play separately as well as a whole. The piece
includes tutti rhythms as well as separate, syncopated rhythms. There are also step
out snare parts allowing for two students to have the spotlight.
- Program Notes:
o Chris Brooks is a percussionist and an arranger by trade. Brooks creates fun,
musical experiences for percussionists to play. He currently arranges for Row-
Loff Productions.
- Physical/Instructional Approach:
o The idea of this piece is to not have it conducted on the concert. However, when
first rehearsing it may be necessary and useful. For this type of music its more
important to keep time than anything else. Cues will be helpful at the beginning
but we do not want our students using those cues as a crutch. All of the pieces that
the percussion ensemble will perform will be performed without a conductor. In
rehearsals we will slowly remove myself as the conductor slowly. This will also
allow for students to start making their own musical decisions with the music.
Marisa’s Merengue, (from Rhythmsicles), Lalo Davila (2:30)
- Rationale:
o This piece is rehearsed and felt in a very loose feel. I chose this piece to allow
students to explore a more relaxed type of performing. The piece takes congas,
bongos, and toms to create a “merengue groove” throughout the piece.

- Program Notes:
 o Lalo Davila is a well-known educator, percussionist, and performer in the USA as
well as other countries. He is currently the Director of Percussion Studies at
Middle Tennessee State University.
- Instructional Approach:
o To be able to understand and play the groove properly, I would have the students
practice bar 5 and 6 repeatedly until it is up to good standards. Once the
understanding of the groove is had we can start working on the entirety. This
piece has a lot of mini solos throughout while other members are playing. This
will require appropriate balances from everyone to make sure the solos can be
heard.
Funky Buckets (from Noveltysicles), Ed Argenziano (2:25)
- Rationale:
o Part of being a percussionist is doing things that are not in the “classical” realm.
Something my director told me was to always give the percussionists something
fun and creative to do. A lot of basic band works do not give percussionists
difficult parts making them bored. I wanted to program this piece so that they
were able to have fun and still learn something from it.
- Program Notes:
o Ed Argenziano is a renowned music educator from the New Jersey area.
Argenziano is known for creating small, eccentric percussion ensemble pieces for
all age levels.
- Instructional Approach:
o For this piece I want them to learn how to genuinely have fun while still
upholding musical integrity. It’s something that I think is often looked over and
isn’t ever taught. First we would play through the piece and hit spots that we
need. After the musical concepts are met, we can start viewing the visuals that are
in the music as well as starting to truly have fun with it. Once we get to a point
where it is clean musically, the students will have free reign on how they want to
enjoy and groove to it.
The Pink Panther (from Poppedsicles), Chris Cockarell (2:55)
- Rationale:
o It is important that our musicians get to play popular music as well. Most likely,
those students do want to play popular music but do not know how to with
classical-based instruments. I chose this so that students had the opportunity to
play something fun. But while also having fun, they are working on practical
music skills on common accessory instruments. This arrangement is also very
groovy and will hopefully get adults who know the Pink Panther excited.
- Program Notes:
o This Pink Panther music theme is based off of a British-American movie from
1963. This work features the classic movie theme in a percussive, groovy fashion.
- Instructional Approach:
o The first step would be showing the students where this theme comes from. I
think it’s important in an educational setting to show students where certain music
comes from and why it is iconic. By listening to it as well, they get an idea of how
it sounds and how it should be performed. This enhances their aural skills as well
 as sight reading skills. This piece should be approached in a laid-back, jazzy
fashion.

Symphonic Band
Amparito Roca, Jaime Texidor arr. Fagan (2:46)
- Rationale:
o This piece is a quick, exciting movement that will draw attention from the
audience. This is a Spanish march which is something that student’s should play
throughout their career. It contrasts with the other styles performed on the concert
and will allow the students to broaden their musical tastes.
- Program Notes:
o Written by Spanish bandleader Jaime Texidor, Amparito Roca is a mix of several
different styles in Spanish culture. The piece starts with bullfighter’s music which
moves into a lighthearted, couples dance. The piece finishes out strong with more
bullfighter music.
- Physical Approach:
o A lot of quick movement and wrist motion. The quick tempo also calls for a small
pattern to keep it in time. This piece involves a lot of quick dynamic changes from
bar to bar. It will be useful to the players to help show that with the left. Cues will
also be helpful with eye contact and gesture with the left hand.
- Instructional Approach:
o This piece is very scalular in nature. Having students focus and work on those
scales on their free time as well as in class will help with tempo and
understanding of the piece. Reviewing these scales in class with added dynamic
changes will help in the long run of the piece.
Accolada, Ed Huckeby (6:14)
- Rationale:
o
- Program Notes:
o Accolada is a syncopated band piece that showcases Huckeby’s work. During this
piece, he features the oboe in an appealing and exciting manner.
- Physical Approach:
o This piece changes meter almost every measure making clear patterns important.
- Instructional Approach:
Shenandoah, Frank Ticheli (6:10)
- Rationale:
o To be honest, this is one of my favorite pieces of music, so I am a bit biased. This
piece is a staple in the band world and it’s one of those pieces that everyone
should play. If I were teaching in Virginia, this piece connects students to the
history and culture of the area.
- Program Notes:
o Shenandoah is based off of an old folk tune from the Shenandoah Valley. There
are several interpretations; one of a pioneer longing for his home in Virginia, a
Native American lady being taken from her homeland across the wide Missouri
river, and a Civil War soldier dreaming of his home in Virginia. Ticheli was
 inspired by the melody and the images it evoked and created a timeless, reflective
arrangement.
- Physical Approach:
o Because this is a lyrical piece I would try to think very horizonal. For some of the
heavier playing near the end I would evoke that in my left hand shape as well as
add weight to my beats in the right hand. Cues will be useful especially before
and after solos.
- Instructional Approach:
o Again, it’s important to know where music comes from and the true meaning
behind it. Before playing this piece I would have students look at the original folk
song and listen to someone singing it. We would also discuss what it might mean
to them and what emotions it brings them. Afterward, we would start working on
the piece with those emotions and thoughts in mind. This is a great piece that
showcases how music can evoke certain images.
Balkan Seven, Scott Watson (5:43)
- Rationale:
o This piece is written in a mix of simple and compound meter. It’s important to
teach students how to count and play in mixed meter. This piece also gives
students an opportunity to play music in a different style. This piece also has a fun
clapping section.
- Program Notes:
o Balkan Seven is a celebration of music based out of the Balkan region of
Southeast Europe. In Balkan dance music, most of it is written in 7/8 or other
uneven dance meters and rhythms. This piece takes the 7/8 meter and dances in
that region to create a beautiful, cohesive band piece for all to enjoy.
- Physical Approach:
o Because the meter changes it will be important to show clear time and clear
differences between the meters. This piece is also heavy and weighted which will
call for more of a weighted composure.
- Instructional Approach:
o To start to get the feel of the piece and how to count in 7/8, we would start with
the clapping portion. This would allow for the students to grasp the meter before
even touching instruments. We would then bring it to scales. This piece is very
repetitive making it a bit easier to learn.
All Together

Fairest of the Fair, John Philip Sousa (3:30)

- Rationale:
o Any Sousa piece is a classic in band repertoire. It also allows for me to teach
march form. I enjoy this march because it has the characteristics of a march but
also has a beautiful lyrical section.
- Program Notes:
o Fairest of the Fair is recognized as one of Sousa’s finest and most melodic
marches. Written about a pretty girl Sousa saw, this is one of the finest examples
of pleasing melodies in the restrictions of a military march.
- Physical Approach:
 o Bouncy, clear conducting. Because of the lyricism and the articulated portions it
is important to show the difference in the conducting. The lyrical sections will
have a quick two but in a lyrical form while the march-like portion has more
wrist.
- Instructional Approach:
o Going over the form of Sousa marches is pertinent to playing the piece correctly.
Having students analyze the piece as a class and label the parts will be great to
help their analyzing skills and understanding of form.
Celebration, Randal Sandridge (2:41)
- Rationale:
o This piece is a great ending to the concert because it’s joyful and ends on a
playful note. It allows for students to have solos and section solos. There are also
syncopated rhythms. Everyone also gets the melody at some point.
- Program Notes:
o This musical piece celebrates the simple joys, exhilarations, and good will
involved in life. This engaging piece exhibits a musical celebration for all to
enjoy.
- Physical Approach:
o This piece has a very laid-back feel. For the solos, I would only conduct with the
right hand. I would keep the pattern “chill” and not so rigid unless time started to
get messy.
- Instructional Approach:
o Because the melody is in every part at some point, making sure it is all played the
same will make the piece sound better. To practice tossing the melody back and
forth between sections we might break it down and have other sections not play.
These sections would listen and observe and make a judgment about if the
melodies sounded the same.