Concert band

A concert band, also called a wind band, wind ensemble, wind symphony, wind orchestra, symphonic band, the symphonic winds, or symphonic wind ensemble,^[1] is a performing ensemble consisting of members of the woodwind, brass, and percussion families of instruments,^[2] and occasionally including the harp, double bass, or bass guitar. On rare occasions, additional, non-traditional instruments may be added to such ensembles such as piano, synthesizer, or electric guitar.^[3]

A full concert band—Indiana Wind Symphony in concert, 2014

Concert band music generally includes original wind compositions, concert marches, transcriptions of orchestral arrangements, light music, and popular music. Though the concert band does have similar instrumentation to the marching band, a marching band's main purpose is to perform while marching. In contrast, a concert band strictly performs as a stationary ensemble.^[4]

Origins

The origins of concert band can be traced back to the French Revolution, in which large bands would often gather for patriotic festivals and celebrations. These bands would play popular music that would immediately captivate the public's attention. Throughout the French Revolution, however, serious composers were often not interested in composing music for bands; this was due in large part to the instrumentation. Concert bands were (and still are not) standardized in their required type and number of instruments, making it nearly impossible to write the correct number of parts for the correct types of instruments. The quality of instruments also impacted composers' unwillingness to compose music for concert band. Wind instruments at this time were often difficult to play in tune and had difficulty in switching pitch and rhythm fast enough. This in turn influenced bands to stick with pieces that were transposed from orchestral movements and arrangements, something that has carried into modern day.^[5]

During the 19th century, large ensembles of wind and percussion instruments in the British and American traditions existed mainly in the form of the military band for ceremonial and festive occasions, and the works performed consisted mostly of marches. The only time wind bands were used in a concert setting comparable to that of a symphony orchestra was when transcriptions of orchestral or operatic pieces were arranged and performed, as there were comparatively few original concert works for a large wind ensemble.^{[citation needed]}

It wasn't until the early 20th century that composers began writing works for concert band. Concert band composers of this time were frustrated at the lack of quality music for bands, and as such, began writing and performing pieces to remedy this. One of the first and most important concert band arrangements, First Suite for Band by Gustav Holst was written in 1909. Other composers of this time period include Ralph Vaughn Williams, Richard Wagner, and Aaron Copland.^[6]

Instrumentation

Before the 1950s, wind ensembles included various combinations of instruments. The modern "standard" instrumentation of the wind ensemble was more or less established by Frederick Fennell at Eastman School of Music as the Eastman Wind Ensemble in 1952 after the model of the orchestra: a pool of players from which a composer can select in order to create different sonorities.^[7] According to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music.^{[citation needed]}

Bands today

Military bands

Main articles: Military band and Corps of drums

A military band is a group of personnel that performs musical duties for military functions, usually for the armed forces. A typical military band consists mostly of wind and percussion instruments. The conductor of a band commonly bears the title of Bandmaster or Director of Music. Ottoman military bands are thought to be the oldest variety of military marching band in the world, dating from the 13th century.^[8]

Military bands were originally used to control troops on the battlefield, using instruments such as drums, bugles, and fifes among others. As communication systems during war became more advanced, the use of instruments on the battlefield as signaling devices fell out of use. From then on, military bands would fulfill a ceremonial role, entertaining troops and playing for the community. As its role shifted so too did its instrumentation. A wider range of instruments was employed to play transcriptions of orchestral works, the bulk of the early wind band repertoire.^[9] These military bands evolved into the modern drum and bugle corps and helped to spread the idea of a concert band. A modern military will often have multiple types of bands (e.g. the United States Marine Corps has both a drum and bugle corps and wind ensemble).

 

A military band—The United States Army Band

Professional bands

Professional concert bands not associated with the military appear across the globe, particularly in developed countries. However, most do not offer full-time positions. The competition to make it into one of these concert bands is incredibly high and the ratio of performers to entrants is narrowly small.^{[citation needed]} Examples of professional non-military concert bands include:

• Dallas Wind Symphony, led by Jerry Junkin
• Tokyo Kosei Wind Orchestra, led for many years by Frederick Fennell, and currently conducted by Takeshi Ooi
• Osaka Shion Wind Orchestra
• Royal Hawaiian Band, created by royal decree in 1836 by King Kamehameha III

Community bands

Main article: Community band

A community band is a concert band or brass band ensemble composed of volunteer (non-paid) amateur musicians in a particular geographic area. It may be sponsored by the local (municipal) government or self-supporting. These groups rehearse regularly and perform at least once a year. Some bands are also marching bands, participating in parades and other outdoor events. Although they are volunteer musical organizations, community bands may employ an artistic director (conductor) or various operational staff.

The rise of the community band can partially be attributed to industrialization. As the instruments became easier to manufacture, their availability greatly increased.^[10] This meant that many amateurs could now form a town band, their arrangements typically consisting of patriotic tunes, marches, and popular music. The American Civil War marked a turning point in the American community band where many military musicians, either stemming from amateur or professional backgrounds, sought to create their own community band after the war's conclusion.^[11] The large number of bands created during this era led to a "Golden Age of Bands", spearheaded by conductors such as John Philip Sousa and Patrick Gilmore.^[12][13] The new forms of twentieth-century entertainment, namely the radio and phonograph, led to decline in community bands. This led to instrument manufacturers, who previously had marketed to the community bands, to focus on schools.^[14] The expansion of school music programs would eventually help restore interest in the community band as graduates sought to play in a band together again.

Notable community bands include:

U.S.A.

• The American Band, Providence, Rhode Island, conducted by Brian Cardany
• Allentown Band, the oldest American civilian band, Allentown, Pennsylvania, conducted by Ronald Demkee
• Brooklyn Wind Symphony, Brooklyn, NY, conducted by Jeff W. Ball
• Lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins
• Northshore Concert Band, Evanston, Illinois, conducted by Mallory Thompson
• Salt Lake Symphonic Winds, Salt Lake City, Utah, conducted by Thomas P. Rohrer
• The TriBattery Pops, New York, NY, conducted by Tom Goodkind
• East Winds Symphonic Band, Pittsburgh, PA, conducted by Susan Sands

United Kingdom

• Birmingham Symphonic Winds, conducted by Keith Allen
• Newark and Sherwood Concert Band, Newark, Nottinghamshire, conducted by Colum J O'Shea
• North Cheshire Wind Orchestra, Warrington, Cheshire, conducted by Catherine Tackley
• Nottingham Concert Band, conducted by Robert Parker
• National Youth Wind Orchestra of Great Britain, various conductors

Canada

• Pacific Symphonic Wind Ensemble, Vancouver. David Branter, Resident Conductor and Acting Music Director

Australia

• North West Wind Ensemble, Sydney, James Brice, Musical Director
• Sydney Wind Symphony, Mark Brown, Musical Director
• Queensland Wind Orchestra, conducted by David Law
• Weston Winds, conducted by Peter Shaw

Norway

• Dragefjellets Musikkorps (Bergen Symphonic Band)
• Sandvikens Ungdomskorps, Bergen, conducted by Tormod Flaten and Bjørn Breistein

Portugal

• União Filarmónica do Troviscal, Troviscal—Aveiro, conducted by André Granjo

Finland

• Tikkurilan Soittokunta, Vantaa, conducted by Kimmo Nurmi

School bands

Main article: School band

A school band is a group of student musicians who rehearse and perform instrumental music together. A school band is usually under the direction of one or more conductors (band directors). A school band consists of woodwind instruments, brass instruments and percussion instruments, although upper level bands may also have string basses or bass guitar.^[15]

In many traditional U.S. high schools, there are multiple band levels, distinguished by skill level or other factors. In such schools, an audition may be required to advance to further band levels, while the common level would be open to anyone. For example, in many U.S. high schools, "Concert Band" refers to the introductory level band, "Symphonic Band" is the title for the intermediate level band, and "Wind Ensemble" is the title for the advanced level band.

Instrumentation

 

The early instrumentation of a large concert band (including violin soloist Nicoline Zedeler) is shown by the John Philip Sousa Band during their 1911 world tour.^[16]

Instrumentation for the wind band is not completely standardized; composers will frequently add or omit parts. Instruments and parts in parentheses are less common but still often used; due to the fact that some bands are missing these instruments, important lines for these instruments are often cued into other parts.

Instrumentation differs depending on the type of ensemble. Middle school and high school bands frequently have more limited instrumentation and fewer parts (for example, no double reeds, or only two horn parts instead of four). This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the less common instruments.

The standard concert band will have several players on each part depending on available personnel and the preference of the conductor. A concert band can theoretically have as many as 200 members from a set of only 35 parts. The wind ensemble, on the other hand, will have very little doubling, if any; commonly, clarinets or flutes may be doubled, especially to handle any divisi passages, and others will have one player per part, as dictated by the requirements of a specific composition. It is also common to see two tubas and two euphoniums or baritones playing the same part in a wind ensemble.

While largely made up of wind and percussion instruments, string instruments such as the string bass and concert harp are often scored for.^[17] The use of a harp dates back to its inclusion in the professional and military bands of John Philip Sousa and Edwin Franko Goldman. Such bands would often contain the top harpists of the country, such as Winifred Bambrick, who was one of the first female instrumentalists to tour with the Sousa Band, and Victor Salvi, who played with the United States Navy Band.^[18] Notably, the United States Air Force Band scores for cellos, a practice unique to the ensemble that dates back to the tenure of director George S. Howard.^[19]

Complicated percussion parts are common in concert band pieces, often requiring many percussionists. Many believe this is a major difference between the orchestra (which usually lacks a large battery of percussion) and the concert band. While in older transcriptions and concert works, the timpani were treated as their own section as in an orchestra, today in bands the timpani are considered a part of the percussion section. Consequently, the timpani player often will double on other percussion instruments.

Contemporary compositions often call on players to use unusual instruments or effects. For example, several pieces call on the use of a siren while others will ask players to play recorders, whirly tubes, or to sing, hum, snap, clap or even crinkle sheets of paper. The wind band's diverse instrumentation and large number of players makes it a very flexible ensemble, capable of producing a variety of sonic effects.

Instrumentation has developed throughout time to become more efficient for the conditions that marching bands need to play in. For example, clarinets were found to be more suitable than the older oboes and became more widely used in the 18th century. Less heavy and bulky instruments were replaced by trombones and cornets. In the 19th century, band instruments became highly developed as they started to add keys and valves that made certain ranges and notes on instruments easier to navigate and perform, which became a huge game changer for all musicians.^[20]

Woodwinds Piccolos 1 (, 2) Flutes 1, 2 (, 3) Alto flute^[note 1] Oboes 1, 2 English horn^[note 2] Bassoons 1, 2 Contrabassoon^[note 3] Clarinet in E♭ Clarinets in B♭ 1, 2, 3 (, 4, 5)^[note 4] Alto clarinet Bass clarinets 1 (, 2) Contra-alto clarinet/Contrabass clarinet (often one of either, rarely both^[note 5]) Soprano saxophone^[note 6] Alto saxophones 1, 2^[note 7] Tenor saxophone/ Baritone saxophone/ Bass saxophone Brass Trumpets or cornets in B♭ 1, 2, 3 (, 4, 5, 6^[note 8]) (Piccolo trumpet^[note 9]) (Flugelhorns in B♭ 1 (, 2)) (Alto/tenor horns in E♭ 1, 2 (, 3, 4)^[note 10]) Horns in F 1, 2, 3, 4 Tenor trombones 1, 2 (, 3)^[note 11] Bass trombone Alto trombone^[note 12] Euphoniums^[note 13] or baritone horns^[note 14] 1 (, 2) Tubas (or sousaphones) Keyboards Piano Celesta Organ Synthesizers

Percussion^[note 15] Examples of non-pitched choices Snare drums Bass drums Tenor drums Cymbals Tam-tams Triangles Tambourines Güiros Timbales Slide whistles Sleigh bells Wood blocks or temple blocks Tom-toms Bongos Congas Claves Vibraslaps Wind chimes Rain sticks Whips Maracas Finger cymbals Drum kits Examples of pitched percussion instruments Timpani^[note 16] Glockenspiels Xylophones Marimba Crotales Vibraphone Chimes Strings String bass^[note 17] Harp (1, 2) Cello Electric guitar (1, 2) Steel-string acoustic guitar Bass guitar

1. If called for, sometimes doubled by flute 2 or 3.
2. If called for, sometimes doubled by oboe 2.
3. If called for, sometimes doubled by bassoon 2.
4. Clarinets in A are sometimes used in professional concert bands, generally with a similar intent as symphonic orchestras for which B♭ or A clarinets are substituted to simplify a part's key signature.
5. The contrabass clarinet part is usually provided in both B♭ and E♭ (contra-alto).
6. In most cases, if a soprano saxophone is called for, it will replace the first alto saxophone part.
7. In very rare cases, only a single alto saxophone will be called for (e.g., Holst Band Suites). However, this practice has generally been discontinued with two alto saxophones almost always called for.
8. Trumpet and cornet parts have often been considered interchangeable and are sometimes separated into 3 or 4 cornet parts and two trumpet parts; however, this practice is no longer used and is usually only seen in older (e.g. pre-1950) works and transcriptions. Trumpets are almost always in B♭ though models in E♭, D, and C were used commonly in the heyday of professional concert bands.
9. If called for, sometimes doubled by trumpet 1.
10. In older works, there was often a middle brass part that could be played on either alto/tenor horn in E♭, French horn, or mellophone in F or E♭. There were usually copies of the parts in both F and E♭, for players to read off of based on the key of their instrument. Some modern publishers still include E♭ horn parts, which are merely duplicates of the F horn parts transposed to E♭. Alto/tenor horns are especially common in Britain, where they are often referred to as tenor horns.
11. Trombone parts will usually be divided into three parts with the first two parts (trombones 1, 2) played by tenor trombones and the third played by a bass trombone. However, in rare cases where a fourth part is required, either trombone 3 is a tenor and trombone 4 is a bass, or trombones 3 and 4 are both Bass. Scores will typically notate which one is preferred.
12. If called for, sometimes doubled by trombone 1.
13. The baritone/euphonium part is usually provided in both bass clef (concert pitch) and treble clef (in B♭, sounding a major 9th below written).
14. Baritones and euphoniums are often used interchangeably, though some works have distinct parts for the two instruments. Most of the time when a composer writes for "baritone", they are actually thinking of the larger-bore euphonium.
15. Percussion ensembles in concert bands can range from 2 to over 14 players. The type of percussion instruments used varies with the piece of music being played. Many percussion instruments from different cultures are used in a lot of contemporary concert band literature, especially in high school and college bands.
16. Timpani are always included in percussion parts; they have their own stave, notated in bass clef.
17. String bass parts are typically included in more advanced band pieces and larger ensemble instrumentation. The string bass part is sometimes replaced with an electric bass in certain contemporary band pieces. Some high schools and most college and professional bands will have a bassist in the ensemble.

 

A high school concert band—BHS Band in performance, 2013

Repertoire

Development of a repertoire

Until early in the 20th century, there was little music written specifically for the wind band, which led to an extensive repertoire of pieces transcribed from orchestral works, or arranged from other sources. However, as the wind band moved out of the sole domain of the military marching ensemble and into the concert hall, it has gained favor with composers, and now many works are being written specifically for the concert band and the wind ensemble. While today there are composers who write exclusively for band, it is worth noting that many composers famous for their work in other genres have given their talents to composition for wind bands as well. This is especially true in Japan, where an enormous market can be found for wind band compositions, which is largely due to commissions by the All-Japan Band Association and leading professional ensembles such as the Tokyo Kosei Wind Orchestra and Osaka Municipal Symphonic Band, as well as the Kappa Kappa Psi and Tau Beta Sigma Commissioning Program, the longest-running commissioning series for wind band in the United States.

Prominent composers for concert band

Early to middle 20th century

Some of the most important names in establishing literature written specifically for concert band in the early and middle 20th century were:

Robert Russell Bennett Aaron Copland Norman Dello Joio Vittorio Giannini Percy Grainger Morton Gould Howard Hanson Paul Hindemith Gustav Holst Gordon Jacob Darius Milhaud Martin Mailman

Vaclav Nelhybel Vincent Persichetti Alfred Reed H. Owen Reed Arnold Schoenberg Claude T. Smith John Philip Sousa Igor Stravinsky Fisher Tull Ralph Vaughan Williams Clifton Williams

Late 20th century to the present

Over the last fifty years, many composers have written major new works for wind ensemble. Some of these composers have risen to the forefront as being particularly important in the concert band's development. Others have risen to prominence independently and came to compose music for concert band. These include

Samuel Adler Brian Balmages James Barnes Leslie Bassett Warren Benson Derek Bourgeois Jerry Brubaker Mark Camphouse John Barnes Chance Steven Bryant Nigel Clarke Michael Colgrass John Corigliano James Curnow

Greg Danner Michael Daugherty Ingolf Dahl Elliot Del Borgo David Del Tredici David Gillingham Julie Giroux Peter Graham Donald Grantham Edward Gregson Jacob de Haan Samuel R. Hazo Frigyes Hidas Jennifer Higdon

David Holsinger Alan Hovhaness Karel Husa Yasuhide Ito Robert Jager John Mackey Timothy Mahr David Maslanka W. Francis McBeth Johan de Meij Lior Navok Ron Nelson Carter Pann Vincent Persichetti Jan Van der Roost

Richard St. Clair Gunther Schuller Joseph Schwantner Alex Shapiro Robert W. Smith Philip Sparke Jack Stamp Karlheinz Stockhausen James Swearingen Frank Ticheli Fisher Tull Eric Whitacre John Zdechlik

Important concert band literature

See article at List of concert band literature and Symphonies for concert band

Wind-band research

During the early 21st century, research on wind band-related topics greatly increased due to the expanded publication activities of organizations that promote band research: Germany-based IGEB (founded 1974),^[21] the World Association of Symphonic Bands and Ensembles (WASBE, founded 1983),^[22] and US-based organizations Historic Brass Society (founded 1988),^[23] National Band Association (NBA, founded 1960),^[24] and College Band Directors National Association (CBDNA, founded 1941).^[25]

Publications from these organizations expanded the corpus of research that had been developing since 1964 through the Journal of Band Research,^[26] affiliated with the American Bandmasters Association. Internationally notable wind-band researchers include Vincent Dubois on French bands, Paul Niemisto on Finnish bands, Frederick Harris on wind-band conductors, Jill M. Sullivan on US women's bands, Frank Battisti on US bands, David Hebert on Japanese and Polynesian bands, Patrick M. Jones on US military bands, and David Whitwell on European bands and repertoire.

Band associations

Some notable band associations include:

• American Bandmasters Association
• British Association of Symphonic Bands and Wind Ensembles
• All Japan Band Association
• Association of Concert Bands
• Lesbian and Gay Band Association
• National Band Council of Australia

See also

• Ottoman military band
• United States military bands

References

1. "Ultimate Guide: What is a Concert Band?". Dawkes Music. Dawkes Music. 23 January 2019. Retrieved 1 June 2022.
2. Harpstead, Ella. "Concert Band 101: An introduction to wind ensembles". Your Classical. Your Classical. Retrieved 1 June 2022.
3. Harpstead, Ella. "No strings attached: get to know the instruments in a concert band". Your Classical. Your Classical. Retrieved 1 June 2022.
4. "Bands". Course Hero. Course Hero. Retrieved 2 June 2022.
5. Schmidt-Jones, Catherine. A Short History of Wind Bands. OpenStax CNX. Rice University. Retrieved 2 June 2022.
6. Reese, Emily (9 September 2013). "Learning to Listen: Back to School". Your Classical. Your Classical. Retrieved 2 June 2022.
7. Wakin, Daniel J. (9 December 2004). "Frederick Fennell, 90, Innovative Band Conductor, Dies". The New York Times. Retrieved 22 April 2021.
8. Turkish Cultural Foundation. "Military (mehter)". Retrieved 2013-08-09.
9. "History of Bands in World War 1 Part 1". Taps Bugler: Jari Villanueva. 2019-08-01. Retrieved 2020-11-11.
10. Rohwer, Debbie (2016). "Research on Community Bands: Past, Present, and Future". Contributions to Music Education. 41: 15–30. JSTOR 24711126.
11. Hartz, Jason (2003). The American Community Band: History and Development (MA thesis). Marshall College.
12. "State College, PA - Band concert to feature the 'Golden Age of Bands' -". www.statecollege.com. Retrieved 2020-11-11.
13. "A History of the Wind Band: The Nineteenth-Century American Wind Band". ww2.lipscomb.edu. Retrieved 2020-11-11.
14. Guion, David (2019-09-02). "School bands in the United States". Musicology for Everyone. Retrieved 2020-11-11.
15. Newton, Bret (2016). Band Orchestration. ISBN 978-1-5376-1984-2. OCLC 1035017338.
16. Bierley, Paul E. (2006). The Incredible Band of John Philip Sousa. University of Illinois Press. p. 10. ISBN 0-252-03147-4. OCLC 67345796.
17. Reed, Alfred; Neubert, David (May 1988). "The String Bass in a Wind Group". American String Teacher. 38 (2): 66–69. doi:10.1177/000313138803800225. OCLC 7254879185. S2CID 125597639.
18. Govea, W. M. (1995). Nineteenth- and Twentieth-century Harpists: A Bio-critical Sourcebook. Greenwood Press. pp. 20, 249. ISBN 978-0-313-36946-9. OCLC 650310430.
19. Schofield, Donald Edward Jr. (2017). A History of the United States Air Force Band and Its Relationship to Music Education: The Foundational Years, 1941-1945. Boston University. p. 119. ISBN 978-1-369-86947-7. OCLC 8518794570. ProQuest 1917411365 – via ProQuest.{{cite book}}: CS1 maint: url-status (link)
20. Schmidt-Jones, Catherine (2007). A Parent's Guide to Band. Catherine Schmidt-Jones.
21. Initiatives expanded in recent decades include a research award, digital books, biography series, and monograph series. IGEB: International Society for Research and Promotion of Wind Music
22. WASBE Journal became peer-reviewed from 2006. WASBE Journal
23. . Archived from the original on 2020-08-06. Retrieved 2020-07-05.
24. "NBA Journal". Nationalbandassociation.org. Retrieved 22 April 2021.
25. CBDNA Journal established in 2010. CBDNA Journal
26. "JBR Home". The Journal of Band Research. Retrieved 22 April 2021.

External links

• Community-Music—a resource for community band musicians and conductors
• The Concert Band Portal
• Directory of Canadian Community Concert Bands and Wind Ensembles
• Wind Bands and Cultural Identity in Japanese Schools, by David G. Hebert (Dordrecht and New York: Springer, 2012).

 

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