Thinking About the Concert Performance Curriculum

Dr. Jay W. Gilbert

Doane College, Crete, Nebraska
jay.gilbert@doane.edu

As the son of an opera singer, I have led a charmed life in music. My formative years, particularly
high school, was filled with tremendous, no stupendous, musical adventures, and the memory of
those experiences has stayed with me, probably polished to perfection over the years. During high
school, I had the privilege of playing percussion on a multitude of masterworks. Foremost in my
memory are Lincolnshire Posey by Percy Grainger, Symphony in B-flat by Paul Hindemith, Apotheosis of
This Earth by Kavel Husa, Symphony No. 6 by Vincent Persichetti, as well as orchestral masterpieces
like Symphony No. 5 by Dimitri Shostakovich and La Creation du Monde by Darius Milhaud.

In the intervening forty years, I find two things about my high school experience that are
remarkable. First, I was blessed to have some incredibly gifted teachers who were fine musicians in
their own right. They were disciplined and expected us to be as well. They had high expectations
for everyone including the third clarinets. They took a personal interest in all of us and wanted what
was best for us. They had enthusiasm and it was contagious. Second, they consistently programmed
great music. The music was at times very difficult. Yet by their study and rehearsing, by their
industry and sheer will, they got us to play our hearts out. I know this was not about them, it was
about the music and also about the students. My teachers in Madison, Wisconsin, had very strong
ideas about what great music was, and they worked very hard to instill in each of us a sense of taste
and of beauty in the hopes that our lives would be better and richer, more civilized and
discriminating, and deeply meaningful.

This is what they wanted for us, and I cant help but feel that this is what I should be giving to my
students at Doane College. That is, the best possible experiences with the best possible music in
order to equip them for lives filled with beauty, joy, and lasting appreciation for music. I am
privileged to teach many of the very best students at Doane, and Ill bet you, too often have the best
students in your program. Since most of us are the only person teaching our subject at our
respective institutions, it falls to us to develop every students music making and music appreciation.
This should be our goal, and it can only be achieved by using the very best music we are capable of
playing.

What is good music? What are some of the masterpieces for my students? What is the best
approach to present these pieces for my students? Together we examine the main issues of
repertoire and curriculum. It is hoped that you will find things you can put to use this fall and that
the music you encounter will profoundly impact your enjoyment of teaching and provide your
students with a lasting appreciation of our great art.

A teacher affects eternity; he can never tell where his influence stops.
Henry Adams

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 What Is It That We Teach?
Understanding of the fundamentals of music and of music making.

Tone Production Listening

Rhythm Perceiving
Pitch Sight reading (literacy)
Notation Historical (style periods)
Timbre Cultural (American, Other Cultures)
Form Appreciations
Musicality

National Standards (1994)

1. Singing alone or in groups, varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding the relationship between music, the other arts, and disciplines outside the
arts.
9. Understanding music and its relationship to history and culture.

National Standards (2014)

Create Perform Respond - Connect
The basic purpose of the school music program is to teach musical independence.
(Richard Caldwell/Thomas Goolsby The Teaching of Instrumental Music, page 13)

We have two essential curricular responsibilities:

1. To organize a viable program of studies that correlates instrumental music
performance with the study of music structure and style and encompasses a
diversity of musical behaviors: performing, listening, analyzing, composing,
conducting, arranging.
2. To establish a stimulating musical environment in which students are
continually brought into contact with the creative musical experience either
directly or indirectly.
(Robert Garofalo: Blueprint for Band, page 1)

How Do We Achieve This?

"The performance score provides the nucleus from which all objectives flow. Hence, the critical factor in building a
comprehensive musicianship program is the selection of a qualitative body of literature for performance and study.
In the performing ensemble, the repertoire represents the foundation of the curriculum."
(Robert Garofalo: Blueprint for Band, page 28)

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"Children should be taught with only the most musically valuable material. For the young, only the best is good
enough. They should be led to masterpieces by means of masterpieces."
(Zoltan Kodaly in Childrens Choirs, the Selected Writings of Zoltan Kodaly, page 76)

What is Good Music ?

Criteria for Making Judgments about Serious Artistic Merit
1. The composition has form -- not a form but form -- and reflects a proper balance
between repetition and contrast.
2. The composition reflects shape and design, and creates the impression of conscious
choice and judicious arrangements on the part of the composer.
3. The composition reflects craftsmanship in orchestration, demonstrating a proper balance
between transparent and tutti scoring, and between solo and group colors.
4. The composition is sufficiently unpredictable to preclude an immediate grasp of its
musical meaning.
5. The route through which the composition travels in initiating its musical tendencies and
probable musical goals is not completely direct and obvious.
6. The composition is consistent in its quality throughout its length and in its various
sections.
7. The composition is consistent in its style, reflecting a complete grasp of technical
details, clearly conceived ideas, and avoids lapses into trivial, futile, or unsuitable
passages.
8. The composition reflects ingenuity in its development, given the stylistic context in
which it exists.
9. The composition is genuine in idiom, and is not pretentious.
10. The composition reflects a musical validity which transcends factors of historical
importance, or factors of pedagogical usefulness.
(Acton Ostling: An Evaluation of Compositions for Wind-Band According to Specific Criteria of Serious Artistic Merit. Diss.,
University of Iowa, 1974. N.B. For more information on this criteria of Serious Artistic Merit, go to this website:
www.doane.edu/HTMLfiles/Gilbert/welcome.htm)

Criteria for Selection

Nebraska State Bandmasters Association
Recommended Music List Committee
Adopted January 13, 1996

1. The composition provides opportunities for educational and musical growth.

2. The composition provides opportunities for technical advancement.
3. The composition provides opportunities for the development of the expressive qualities
in music (including melody, rhythm, harmony, form, tone color, texture, phrasing, and
dynamics).
4. The composition provides opportunities for the development of musical independence.
5. The composition represents a balance between repetition and contrast.
6. The composition reflects sensitivity in the treatment of block scoring.
7. The composition reflects sensitivity toward the possibilities and limitations of each
instrument.
8. The composition attempts to be genuine and original as an educational and artistic work.

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 Craftsmanship Sensitivity - Originality

What Are the Best Examples of Masterpieces of

Western Music?
Ten Works All Band conductors at All Levels Should study
Of the eighty-nine works listed the following ten were cited most often:
1. Stravinsky: The Rite of Spring
2. Copland: Appalachian Spring
3. Schoenberg: A Survivor from Warsaw
4. Mozart: Serenade No. 10 in Bb (Gran Partita), K. 361
5. J.S. Bach: Six Suites for Unaccompanied Cello
6. Bartok: Concerto for Orchestra
7. Beethoven: String Quartet, Opus 132
8. Beethoven: Symphony No. 3 (Eroica)
9. Brahms: A German Requiem
10. Ives: Three Places in New England
(Camphouse: Composers on Composing for Band. Clinic, Midwest 2002)

Ten Composers Whose Music Speaks in Especially Meaningful Ways

Of the fifty-six composers listed the following ten were cited most often:
1. Beethoven 6. J.S. Bach
2. Copland 7. Ives
3. Mozart 8. Barber
4. Stravinsky 9. Britten
5. Bartok 10. Debussy
(Camphouse: Composers on Composing for Band. Clinic, Midwest 2002)

What are Some of the Great Pieces for Wind Band?

Serenade in D Minor, opus 44 (1878) Antonn Dvok
Lincolnshire Posy (1937) Percy Grainger
Music for Prague (1968) Karel Husa
Serenade Number 10 in B-flat Major k. 361 (1782-95) W. A. Mozart
Sinfonietta for Band (1961) Ingolf Dahl
Symphony in B-flat (1952) Paul Hindemith
Hammersmith (Prelude and Scherzo), opus 52 (1930) Gustav Holst
Symphonies of Wind Instruments (1947 version) Igor Stravinsky
Theme and Variations, opus 43a (1943) Arnold Schoenberg
and the mountains rising nowhere (1977) Joseph Schwantner
Suite No. 1 in E-flat (1909) Gustav Holst
Serenade, opus 7 (1881) Richard Strauss

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If the teacher studies only the works of a typical band composer, hes not going to be deep enough; he must be well
acquainted with the late quartets of Beethoven, the Beethoven Piano Sonatas and the Mahler symphonies among
others. Then because he has done or is doing that kind of study, when he goes to Air for Band by Frank Erickson
hell get from Air for Band whats really there.
(H. Robert Reynolds in Teaching Techniques and Insights for Instrumental Music Educators, page 28)

What are Some Masterpieces at My Level, for My Students?

GRADE 1: NB All pieces in grade 1 are the beginning band volumes of TMB
Broege Train Heading West TMPBB p. 361
Byrd/Fenske La Volta TMPBB p. 239
Daehn Song for Friends TMPBB p. 325
Duffy March of the Nightcrawlers Not in the series
Edmondson Anasazi TMPBB p. 128
Hillard/Elledge/Pearson African Festival TMPBB p. 92
Pearson Ayre and Dance TMPBB p. 141
Ryden Jeanette, Isabella TMPBB p. 236
Smith, R. W. The Tempest TMPBB p. 352
Visconti/DelBorgo Space Echoes TMPBB p. 337

GRADE 2:
Broege Rhythm Machine Not in the series
Curnow Korean Folk Rhapsody TMPB vol. 1; p. 104
Erickson Balladair TMPB vol. 3; p. 128
Grundman Little Suite for Band TMPB vol. 1; p. 112
Grundman Kentucky 1800 TMPB vol. 1; p. 100
Holsinger A Childhood Hymn TMPB vol. 1; p. 85
McBeth Canto Not in the series
McGinty The Red Balloon TMPB vol. 1; p. 139
Susato/Margolis The Battle Pavane TMPB vol. 1; p. 77
Ticheli Portrait of a Clown TMPB vol. 1; p. 132

GRADE 3:
Carter Overture for Winds TMPB vol. 1; p. 191
Daehn As Summer Was Just Beginning TMPB vol. 1; p. 74
Erickson Air for Band TMPB vol. 1; p. 154
Erickson Toccata for Band TMPB vol. 1; p. 207
Holsinger On a Hymnsong of Philip Bliss TMPB vol. 1; p. 188
McBeth Chant and Jubilo TMPB vol. 1; p. 170
Stuart Three Ayres from Gloucester TMPB vol. 3; p. 204
Ticheli Sundance TMPB vol. 3; p. 285
Tschesnokoff/Houseknect Salvation in Created TMPB vol. 4; p. 370
Vaughan Williams Flourish for Wind Band TMPB vol. 1; p. 179

GRADE 4:
Arnold/Paynter Prelude, Siciliano, and Rondo TMPB vol. 4; p. 276
Chance Variations on a Korean Folk Song TMPB vol. 1; p. 304
Dello Joio Scenes from The Louvre TMPB vol. 1; p. 281
Grainger/Rogers Irish Tune from County Derry TMPB vol. 1; p. 255
Hanson Chorale and Alleluia TMPB vol. 1; p. 229
Holst/Matthews First Suite in E-flat TMPB vol. 1; p. 251
Holst/Matthews Second Suite in F TMPB vol. 1; p. 286
Persichetti Pageant TMPB vol. 1; p. 271
Vaughan Williams Folk Song Suite TMPB vol. 1; p. 241
Zdecklik Chorale and Shaker Dance TMPB vol. 1; p. 234

GRADE 5:
Arnold/Paynter Four Scottish Dances TMPB vol. 2; p. 452
Dello Joio Variants on a Medieval Tune TMPB vol. 1; p. 378
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Grantham Southern Harmony TMPB vol. 4; p. 680
Jacob Williams Byrd Suite TMPB vol. 1; p. 385
Milhaud Suite Franciase TMPB vol. 1; p. 349
Persichetti Symphony No. 6 TMPB vol. 1; p. 361
Reed, H. O. La Fiesta Mexicana TMPB vol. 1; p. 330
Schuman Chester TMPB vol. 2; p. 431
Schuman George Washington Bridge TMPB vol. 1; p. 326
Ticheli Blue Shades TMPB vol. 2; p. 547

GRADE 6:
Colgrass Winds of Nagual TMPB vol. 2; p. 644
Dahl Sinfionetta TMPB vol. 1; p. 461
Grainger/Fennell Lincolnshire Posy TMPB vol. 1; p. 410
Hindemith Symphony in B-flat TMPB vol. 1; p. 465
Holst Hammersmith TMPB vol. 1; p. 403
Husa Music for Prague 1968 TMPB vol. 1; p. 420
Maslanka A Childs Garden of Dreams TMPB vol. 3; p. 592
Schoenberg Theme and Variations op. 43a TMPB vol. 1; p. 482
Schwantner and the mountains rising nowhere TMPB vol. 2; p. 529
Stravinsky Symphonies of Wind Instruments TMPB vol. 1; p. 104

How Should I Plan to Teach Theses Pieces?

NB: The following is a summary of ideas presented by Richard Miles in Chapter 7 titled; Curricular
Models Based on Literature Selection in Teaching Music Through Performance in Band, Volume 1
(revised edition) pages 67-87.

All conductors of all musical ensembles are encouraged to provide long term planning through curricular design so that
the concert program of literature will introduce performers and audiences to a comprehensive musical experience.
Improved sequential and cyclic programming has the potential to develop more musical understanding and appreciation
for all.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 67)

Comprehensive Music Curriculum Robert Garofalo

Three Components
1. Instructional units the unit study composition- and special unit study
2. Band projects
3. The source/reference notebook
A carefully selected composition formed the nucleus for basis for the unit study and projects.

Garofalo published several of his unit studies and they include the following works:

Middle Level
Air for Band, Frank Erickson
The Battle Pavane, Theiman Susato (arr. Robert Margolis)
The Civil War, James Ployhar
Festival Celebration, (A movement for Music for the Royal Fireworks) arr. John Kinyon
Kentucky 1800, Clare Grundman
Mini-Suite, Morton Gould

Advanced Level
Chorale and Shaker Dance, John Zdechlik
Chester Overture, William Schuman
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First Suite in Eb, Gustav Holst
George Washington Bridge, William Schuman
On a Hymnsong of Philip Bliss, David Holsinger
Overture for Band, Felix Mendelssohn
Second Suite in F, Gustav Holst
Suite Franaise, Darius Milhaud
Trauersinfonie, Richard Wagner

In Blueprint for Band Garofalo provides a selective list of repertoire. The list is organized by style
period and listed in three grades: medium (M), moderately difficult (MD), and difficult (D).

The Three or Four-Year Cyclic Curriculum Based on the Menu Principle Joseph Labuta
Labuta proposes a Cyclic Approach to learning about music while studying theory, styles and values.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 72)

A four year curriculum would be sequenced as follows:

First year Timbre and materials of Music
Second year Musical Form
Third year Styles based on historical periods
Fourth year Interpretation and discrimination

Concentration upon one content area would not result in the complete omission of the other areas. After initial
presentation, review is necessary and should be continuous for efficient learning and reinforcement. This cyclic approach
is further required by the entrance of new students into the organization each year. With such a curriculum, the
administration can no longer accuse the band program of being the same year after year. Students will not only develop
in technique but in musicianship as well.
(Joseph Labuta; Teaching Musicianship in the High School Band, page 23)

Scattered throughout the book are dozens of pieces as well as numerous examples. Labuts organizes
them like Garofalo; into historical periods and graded medium, moderately difficult and difficult.
Miles points out that many of the works cited are out of print.

Modified Four-year Hybrid Cycle Bruce Pearson

The selections of one composition to study in depth, for each concert season. The work selected would then be the
source and model for activities that would include studies in tonality, rhythm, melody, music theory, phrasing, terms
and symbols, ear training, composition, music history, multi-cultural and inter-disciplinary studies.

Standard of Excellence in Concert: (Note: this is an example what of

what a publisher does with curriculum, not an endorsement per se)
(www.kjos.com/sub_section.php?division=1&series=67)

Grade 1 Eagle Crest March Pearson

Ayre And Dance Pearson El Coqui Holmes Spears
Blues Down Under Gott Falcon' Flight March Hommel
Bossa Blue Gott First Concert: A Demonstration Performance Pearson
Castles and Kings Pearson King Arthur's Coronation March Hommel
Chugach Overture Hagen Knightsbridge March Pearson
Costa Del Sol Pearson La Fiesta Sorenson
Court Festival Pearson Mango Tango Gott
Crown And Scepter Del Borgo Mariachi Madness Molter
Downtown Blues Gott Ming Court Pitter
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North Winds Festival Pearson San Simeon Overture Hommel
Ode To Joy-Opt Grade 1 Part Longfield Spanish Hills March Cotter
Regal March Pearson The Summit Vogel
Regency Court Overture Elledge Ukrainian Overture Hommel
River City Parade Pearson Wyndham March Pearson

Grade 1 .5
African Festival Hilliard Grand March-The Australian Land Hultgren
Ancient Dances Pearson March Of The Brigadier Guards Pearson
Ariodante Suite Elledge March Of The Nightcrawlers Duffy
Awakened Voices Resound Oare Matterhorn Overture Elledge
Baroque Celebration, A Elledge Perseus And The Sea Monster Grady
Blue Street Parade Elledge Rattler Ridge Crump
Canterbury Overture Gott Rudimental Regiment Pearson
Dervish Dance Del Borgo Stanley River Overture Gott
Drums Of Daruma Himes Starchaser Balant
Echoes Of Time Pearson Sunridge Overture Cotter
El Marinero Hannickel The Voice on the Mountain Schmit
Enter The Phoenix Vogel Vision On An Old American Tune Pegram
German Dance Pearson

Grade 2
A Holiday Extravaganza Bobrowitz March And Ecossaise Kopetz
Afternoon Of A Puppy Lazarich March For A Celebration Pearson
Asian Sunrise Kopetz Music For The Royal Fireworks Pearson
Barbarossa Himes Ode To Joy-Opt Grade 2 Part Longfield
Barrington Overture Cotter Pioneers Hultgren
Brazilian Childrens Song (Cai,Cai,Balao!) Balant Proclamation Pearson
Calypso Variations Holmes Spears Renaissance Festival And Dances Pearson
Ceremonial: Prologue & Dance Cowherd Renaissance Triptych Pearson
Downing Street March Kopetz Song Of Tosagata Hannickel
Fiesta Sunrise Sorenson Tapestry Pearson
For The Glory Of The Flag Kopetz The Flight of the Eagle Bobrowitz
Greenbrier Legacy Oare Valse Lyrique Himes
Heartland Overture Himes Year Of Jubilee Balant
Legend Of The Mountains Gott

Grade 2.5
Beyond The Frontier Hultgren Joyance Pearson
Canticle Pearson March For A Festival Pearson
Crown And The Glory, The Gott Portsmouth Reflections Oare
Declaration Pearson Psalm Himes
Great Warm-Ups For Young Bands Pearson Thingamajig Himes
Immortal! Invisible! Hultgren Voyages On A Rowing Song Himes
In Old Melbourne Town Kopetz West! Elledge

Grade 3
Celebration Of Life Hultgren Grade 4
Ode To Joy Longfield River's Bend March Pearson
Spirituals! Hill
Three Chinese Miniatures Jager SoE In Concert Grade 2-3
Walking with the Pride Grady Great Warm-Ups For Advancing Bands Pearson

Basic Four-year Hybrid Cycle Richard Miles

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The Hybrid curriculum compiles parts of each of the above curricular ideas. This curriculum involves teaching a four-
year cycle of literature in which aspects of historical period, form and structure, and musical elements are presented in
small units of instruction. Four works per year are slected for this instructional focus, one work for each of four
concerts. Two works per year represent a specific historical period, and tow works per year are from a Basic Band
Curriculum or the Recommended Works for Band which are presented in the project. The following outlines the
sequence.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 79)

Year 1
Baroque and Classical eras emphasized

Year 2
Romantic era emphasized

Year 3
Contemporary era (part 1)

Year 4
Contemporary era (part 2)

Overall Concert/Curricular Plan

Concert 1 Concert 2 Concert 3 Concert 4
Timbre/Tone Musical Forms Interpretation: Music Styles:
Elements of Music Expression Articulation and
Rhythm Phrasing structure historical
Melody/Theme and discrimination
Harmony
Texture

(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, pages 79-80)

How Does One Teach In This Curriculum?

Curriculum for Literature Selection Rehearsing and Teaching
To many music educators, there is a distinct difference in the approach to rehearsing only and rehearsing and
teaching. We encourage conductors who focus totally on the methodology to achieve the performance e.g., technique
development, drill, repetition, special exercises, and other methods of preparation to explore additional aspects of
preparation for performance. In this comprehensive four-year curriculum we encourage directors to continue to use
traditional rehearsal procedures (addressed in Volume 7) and to enhance those procedures, but also teach the
musicians about the music as the music is being prepared. Musicians who are informed about the music will
potentially develop a deeper level of musicianship, appreciation, and understanding, and a listening emphasis will help
encourage lifelong enjoyment.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 81)

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Developing a Long-range Plan: The Curriculum
The next area is perhaps the most important aspect in this chapter, as it outlines a sequential and cyclic plan to teach,
program, and perform music based on selected core and historical literature which applies to all ensemble types. The
aspects of focusing on specific content areas to emphasize over an extended period may best apply to educational
ensembles. These content areas can be presented in numerous ways, including recommended one-to-two-minute segments
interjected during rehearsals.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 81)

Content Areas
1. Teaching, Performing and Programming with Concert Repertoire (core and historical)
In the first content area, Concert Repertoire, the design is based on presenting four yearly concerts. One curricular
work (core or historical) is selected for special teaching and emphasis for each concert. For the four concerts, two of the
works should be from core repertoire for the appropriate grade level of the ensemble and two from a historical perspective
with a different period focus that should vary each year.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 84)

2. Teaching Musical Elements (melody, harmony, rhythm, and timbre)

The second content area in the curriculum design addresses the Music Element that should receive focus and attention
for the entire year. For example, in year one of the four-year cycle, Melody is the element addressed. The conductor
should constantly bring attention to different aspects of melodic construction, deviation, or variation elements, and/or
the significance from a creative or expressive aspect. Again, concentrate on the selected repertoire or include all works
in the presentation.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 85)

3. Teaching Form and Structure

The third content area addresses Form and Structure. Address the varied organizing forces used in the creation
process of each work being prepared during rehearsal. Through the study and analysis of music structure (the tonal
center) and design (the melodic intent), students may better understand the musical essence the composer intends to
express through the creative process of composing.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 85)

4. Technique Development
The fourth content area presents the basic and minimal Technique Development fundamentals required to perform
music at a particular grade level. One way to increase the ability of the ensemble and to move forward to the next
difficulty level is to develop a series of exercises to incorporate into rehearsal.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 85)

5. Teaching Enjoyment and Understanding through Listening

The fifth content area presents the need for each and every ensemble to experience Listening to music. The purpose of
this emphasis is to stress the importance of developing appreciation and understanding of music by listening to varied
sounds, ensembles, and interpretations of the music being performed. There is more than just hearing the music.
Often groups achieve exceptional levels of performance and develop no appreciation or understanding of what they
performed. The emphasis on listening can assist in helping create lifelong consumers of music as well as performers.
(Richard Miles: Teaching Music through Performance in Band, Volume 1 Revised Edition, page 86)

Because music is an integral part of human history, the ability to listen with understanding is essential if students are
to gain a broad cultural and historical perspective. The adult life of every student is enriched by the skills, knowledge,
and habits acquired in the study of music.
(The National Standards for Arts Education: Consortium of National Arts Education Associations(MENC). Page 59.)

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 What Would a Concert Look Like?
The following concert model is based on the assumption that the composition of emphasis would
be the big piece and that it would be your hardest piece.

Opening Selection Fanfare, overture, march (could also be core or historical or special occasion)
Quiet tune Chorale, Chorale prelude, slow piece, folk song (could also be core or historical or
special occasion)
Big Piece Suite, extended work (could be core or historical or special occasion)
Closer March, Galop, Something light fast or joyous or light. (could be historical or special
occasion)

Additional works can be inserted into the concert format. These might feature a soloist or be
something contemporary or something for a special occasion or holiday.

How Should I Begin?

Read Richard Miles Chapter on Curricular Models in Teaching Music through Performance in Band
Volume 1 Chapter 7.
Also examine Appendix B in Volume 7 of Teaching Music through Performance in Band.
Map out a Four Year Cycle using compositions you feel have real value. (select four core/historical
works per year)
If there are gaps (opening where you have not selected pieces) fill them in with the NSBA Core List.
Think about the style periods (Renaissance, Baroque, Classical, Romantic) and find works that are
representative of each of those eras.
Use only music you like and will enjoy working on.

Whatever you do remember its always about the students and what is best for them.
We want every student to have a lifelong appreciation of music.

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