Matching Music to a Concert Band’s Skill Level

Concert bands, with their diverse instrumentation and rich musical tapestries, hold a special place in the world of music education. Guided by the baton of a dedicated director, these ensembles bring together musicians of varying ages and abilities to create harmonious performances that resonate with audiences. However, beneath the seamless melodies and captivating rhythms lies a complex challenge that concert band directors face: selecting and matching music to the skill level of the band. This article explores the intricate world of music selection, exploring the art of balancing ambition and attainability, fostering growth, and ultimately creating memorable musical experiences. 

Striking a Delicate Balance 

One of the biggest challenges for concert band directors is striking a delicate balance between the ambition to push the band's boundaries and the need for attainable music that showcases the ensemble's strengths. Selecting pieces that are too complex can lead to frustration and discouragement among the musicians, while choosing pieces that are too easy may fail to challenge and engage them fully. The result of that can be that some of the players become bored, possibly resulting in inappropriate behavior. Thus, the director must carefully assess the current skill level of the ensemble and determine the appropriate level of difficulty for each performance. 

This relates to the use of the Pygmalion Effect, an experience in which higher expectations of, for instance a concert band director, leads to an increase in performance, including a group’s attitude, playing and sense of accomplishment. It often works in a group of people who are aiming for the same goal. So, while matching new music to a band’s current skill level is good for playing comfortably, sometimes a band director needs to use a piece that is slightly more difficult than the band can currently play. With the proper enthusiastic presentation and encouragement, many bands can improve their performance and confidence through the use of this process. 

Matching music to skill level requires an in-depth understanding of the technical and musical capabilities of each instrument section and individual player. For example, a piece that highlights the brass section might not be suitable if the brass players are still developing their embouchure and breath control. Similarly, a piece with intricate woodwind runs might pose challenges if the woodwind players are still mastering finger dexterity. The director's role becomes that of a musical architect, skillfully selecting pieces that provide a foundation for growth while allowing the ensemble to shine.

Sections should be evaluated as parts within a general section. For example, the clarinets should be assessed as First, Second and Third Clarinets, not all clarinets together. Not all clarinet parts are the same and each section wouldn’t be expected to play the same range or complexity of fingering. 

The best way to evaluate the abilities of each player is to use some means of objective assessment. Below are two possible ways to determine the skill level of each player in order to place a relative value on each section. These assessments should enable a concert band director to properly determine the player’s technical proficiency, sight-reading abilities, and capability to play a prepared piece. These, then, would be combined to fairly evaluate each player's skills. This approach ensures an impartial and transparent process. For a truly objective evaluation, these should be conducted blindly. 

Here are the two suggested methods: The first one is conducted in a way similar to the way a professional music ensemble would choose its players and leaders. This would work in larger bands. It would also have to be performed in such a way as to foster healthy competition and recognition of accomplishment rather than encouraging the wrong kind of pride and reinforcing a shame culture. 

1. Each musician chooses a number, randomly drawn.
2. Each musician performs a prescribed set of pieces behind a screen so that the director can hear, but not see the candidate. The set of pieces should include a prepared piece chosen by the director, and the same for all candidates. It would include all of the technical skills required to determine the player’s skill level.
3. Each musician would also perform a piece not seen before to test sight reading skills.

The second one may prove a little more difficult but, in the end, it may be better, especially in a smaller or less mature band. This method reduces the possibility of hurting the feelings of, or undermining the confidence of the musicians. In this one, the director is using a more covert method. 

1. During a regular rehearsal, the director asks to hear each section play a section of a well-rehearsed tune. The director can say that he or she is investigating something, which is the truth, and that the players not to be concerned as he or she wanders around among them.
2. While each section plays, the director does what was described and wanders among the players, listening, critiquing and making note, mentally or on paper.
3. The same process can then be used with a piece that the band has never played before, perhaps one that the director is considering using. That way, the director can analyze the players’ sight reading skills and see if the piece is one that they might like to play.

From either method, the director can determine the skill level of each individual player. The next step may be a little more involved. Let’s say that a first clarinet section contains ten players. For the sake of simplicity, we’ll use a five tier skill level designation system, with 1 being beginner and 5 being advanced. Out of the ten First Clarinets, three are at a 2 level, five are at a 3 level and two are at a 4 level. In order for all of them to be able to play it easily, the conductor would have to choose level 2 music. That would be disastrous because seven of the players would not be challenged, would be easily bored and quickly lose interest. Choosing music at the 4 level would be extremely frustration for those at level 2. 

Here, the director may have another job to do. The assignment of First Clarinet to these imaginary players may have been done because that was the part that they played last year, or even last semester. Perhaps the First, Second and Third part assignments need to be re-evaluated. The findings from the initial evaluation could very easily be used. In that case, the two First Clarinetists who only achieved a score of 2 could be exchanged for two Second Clarinetists who scored a 3 or better. Then, music with a designation of 3 or 4 could be chosen. 

If the director is left with the original set of Clarinetists, the choice may be to use some level 3 music that has a few unusual challenges to it. As was discussed at the beginning, it is truly a delicate balance when choosing music.

Another good way to help choose the music is if the band director has had an opportunity to have played a representative sample of each instrument and be familiar with the nuances of each instrument. That way, he or she can be able to see if the players are able to play that particular piece. On a clarinet and other reed instruments, there are things to know such as how to use the pinky keys and how to transition in the middle of the register. Trumpet players sometimes have to use alternate fingerings to make it possible to play some complex passages, especially in the lower register. For a trombonist, some series of notes are much more difficult to play than others due to awkward slide positions. Low register instruments like tubas, tenor and baritone saxophones, and bassoons are hard to play fast notes on by less experienced players. 

Salt Cellar Creations has a number of original pieces for Concert Band that offer some challenges for musicians endeavoring to achieve the next level of proficiency. For Flutes and Oboes, a challenging part in Rockin’ Rondo works well for that. Toward the end of the piece is a classical style duet that fully lives up to its Advance Intermediate skill level designation. For First parts, especially Flute, Oboe Trumpet and Trombone, the Minuet in Four is a good piece for a bit of a challenge. And, Carry Me Back to Old Killarney has a part in it for First and Second French Horns that will take just a little extra practice. The melody is in 6/8, and in the key of C for the horns, but it mostly eighth notes. 

Fostering Growth and Progression 

Music selection in a concert band is not merely about showcasing current abilities—it's also about fostering growth and progression. Directors aspire to nurture a culture of continuous improvement, where musicians can see tangible advancement in their skills from one performance to the next. This entails carefully choosing pieces that challenge musicians to expand their technical prowess, musicality, and ensemble playing. 

Introducing incremental challenges is key to this growth. As the band conquers a piece that pushes their boundaries, they gain a sense of accomplishment that fuels their motivation to tackle even more complex music. Akin to scaffolding in education, directors strategically choose music that builds on previous achievements, allowing the band to reach new heights while feeling supported and empowered.  

Individual vs. Collective Abilities 

In a concert band, individual abilities must harmonize to create a cohesive and unified sound. Directors must consider not only the collective skill level of the ensemble but also the diversity of abilities within it. Some players may be exceptionally skilled on their instruments, while others may be newer to playing. This diversity enriches the ensemble's dynamic but also presents challenges in finding music that allows everyone to contribute meaningfully. 

Directors often employ strategies to address this challenge, such as incorporating solos or small ensemble features within pieces. This approach gives more advanced players an opportunity to shine while providing support and inspiration for those who are still building their skills. Moreover, directors can use sectional rehearsals to focus on specific challenges within each instrument group, ensuring that all musicians receive the guidance they need to succeed. 

In addition to the pieces mentioned above, there are a few other pieces either composed by or arranged by Salt Cellar that could provide an opportunity for parts to be played as a solo or duet. The First Trombone part at the beginning of the SCC arrangement of Bridge Over Troubled Water would work quite well as a solo. The better woodwind players could play as a small group in Morning Star Serenade. 

Some band directors have students play individually for them so that they can see how much improvement each student has made, and what their particular skill level is. This make it easier to determine what kind of music to choose for the band as a whole, while keeping in mind the general skill level of each section. 

Conclusion 

Concert band directors navigate a multifaceted challenge in selecting music that aligns with the skill level of their ensemble. The art of balancing ambition and attainability, fostering growth, and acknowledging the diversity of abilities requires a keen understanding of each musician's potential. As the baton is raised and the band's notes resonate, the director's choices become a symphony of guidance, mentorship, and inspiration, guiding musicians toward a harmonious convergence of skill, expression, and achievement. In their dedication, directors contribute to the evolution of not just musicians, but artists who can navigate the complexities of skill with grace and harmony. 

Salt Cellar Creations realizes that not all bands are the same. Its growing catalog of original pieces and arrangements contains music playable by bands categorized as Easy/Intermediate to Advanced/Intermediate, making them playable by the greatest number of bands. 

Find out more about what Salt Cellar Creations has to offer for Concert Bands HERE. Explore the available music HERE. 

SCC can also compose a custom arrangement for you. There are two ways that this can be done; one is much more affordable than the other. And SCC is always looking for ideas of pieces to arrange or suggestions for original pieces. Please CONTACT US to let us know what you think. 

We have sold music not only in the US but in Canada, the United Kingdom, France, Australia,  New Zealand and Austria. Please visit the WEBSITE or  CONTACT US to let us know what we can do for you!