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A concert band, also called wind band, symphonic band, symphonic winds, wind orchestra, wind symphony, or wind ensemble, is a performing ensemble consisting of several members of the woodwind instrument family, brass instrument family and percussion instrument family. Its various repertoire include original wind compositions, arranged classical items, light music, and popular tunes. Though the instrumentation is similar, it is distinguished from the marching band in that its primary function is as a concert ensemble. The repertoire for a concert band may, however, contain marches.

Contents 1 Terminology 2 Development of the Wind Ensemble in the context of music in American universities 2.1 Collegiate band directors 2.2 Military bands 2.3 Professional bands 2.4 Community bands 2.5 School bands 2.6 Competitions 3 Instrumentation 4 Repertoire 4.1 Development of a Repertoire 4.2 Prominent composers for concert band 4.2.1 Early/Middle Twentieth Century 4.2.2 Late Twentieth Century through the Present 4.3 Important Concert Band Literature 5 Band associations 6 References 7 See also 8 External links

In the 18th century, these military ensembles were doing double duty as entertainment at the royal courts, either alone or combined with orchestral strings. Composers such as Mozart were writing chamber music for these groups, called Harmonie bands, which evolved to a standard instrumentation of two oboes, two clarinets, two horns, and two bassoons. In addition to original compositions, these groups also played transcriptions of opera music.

Contact with the music of the Turkish Janissaries contributed to the expansion of the Western European wind band. The splendor and dramatic effect of their percussion prompted the adoption of bass drum, cymbals, and triangle, as well as piccolo to balance the increased weight of the percussion section; see Turkish music (style). More clarinets were gradually added and brass instruments were further developed. By 1810 the wind band had reached its current size, though the instrumentation differed in various countries.

During the 19th century large ensembles of wind and percussion instruments in the English 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. The first notable and influential original symphonic work for band was Gustav Holst's First Suite in E-Flat, written in 1909. To this day the piece is considered the classic work of symphonic band, and beginning with Holst a variety of British, American, Canadian and Australian composers wrote for the medium, including notably Howard Cable, Percy Grainger and Ralph Vaughan-Williams.

The works of the British band masters, in conjunction with the aspirations of college band directors, lead to the belief that the wind band could complement the symphony orchestra as a vehicle of artistic expression at the highest level. This led to the formation of the College Band Directors' National Association, and spawned the commissioning of works from a wide variety of composers.

The modern wind ensemble was 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. The wind ensemble is generally modeled on the wind section of a "Wagner" orchestra. While many people consider the wind ensemble to be one player on a part, this is only practical in true chamber music. Full band pieces usually require doubling or tripling of the clarinet parts, and six trumpeters is typical in a wind ensemble. According to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. However, the concept was in stark contrast to the large collegiate symphony bands of the time, particularly the 100-member band of the University of Michigan, conducted by William D. Revelli.

H. Robert Reynolds and others of his school of thought extended the Eastman model for wind ensembles, declaring that the wind ensemble should play only original wind ensemble works — no transcriptions, and no band pieces such as the Sousa marches or concert music intended for larger symphonic winds. This music should be of a serious and worthwhile nature, or the highest quality. Time and practicality have moderated this position, and today even Reynolds has produced quality arrangements for the modern wind band.

Contemporary composers found that wind bands offered a welcome opportunity to perform new music, in contrast to the conservative stance maintained by many symphony orchestras.

Main article: List of University and College Band Directors and Conductors

College band directors have been the driving force behind the expansion and improvement of repertoire of the concert band. Nearly every college or university with a music program has a performing wind band; most give concerts that are open to the general public as well as the university community, and often tour other locations as well as perform at conferences.

Some of the foremost collegiate band directors in the world today include:

• Eugene Corporon (University of North Texas)
• Gary Green (University of Miami)
• Philip Robinson (University of Manchester)[1]

Some famous recently retired band directors include:

• Frank Battisti (New England Conservatory)
• Frederick Fennell (deceased) (Eastman School of Music) (also conducted the Tokyo Kosei Wind Orchestra)

Their collegiate ensembles often play at a professional or near-professional standard, and the availability of these highly skilled groups and their openness to new music is attractive to composers.

The majority of full-time professional ensembles are military bands and, outside the United States, also police bands. One example is the Air Force Academy Band (inception in 1942 as the "Flying Yanks", reactivated for the United States Air Force Academy in 1955, Colorado Springs, CO).

Professional concert bands not associated with the military are few and far between, and most do not offer "full-time" positions. The few ensembles in this category that exist today include the following:

• Dallas Wind Symphony [2], led by Jerry Junkin
• Tokyo Kosei Wind Orchestra [3], led for many years by Frederick Fennell, and as of 2006 conducted by Sir Douglas Bostock
• Knoxville Wind Symphony [4], conducted by Dr. Marshall Forrester [5]
• Royal Hawaiian Band
• Concordia Santa Fe [6], a newly formed wind ensemble in Santa Fe, New Mexico

Main article: Community band

Most adult bands outside of colleges and military institutions are community bands. A community band is a community-based ensemble of wind and percussion players, generally sponsored by the town or city in which it is located and consisting of amateur performers. It will typically hold regular rehearsals and perform at least one to three times per year. Notable community bands today (2006) include:

• Dragefjellets Musikkorps (Bergen Symphonic Band)
• Savannah River Winds, conducted by Richard Brasco and Lou Cefus
• The Keystone Winds, conducted by Dr. Jack Stamp
• The Bangor Band, Bangor, Maine, conducted by Dr. Fredric Goldrich
• The Tara Winds conducted by Dr. David Gregory.
• The Atlanta Wind Symphony, conducted by Paul Bamonte
• The Northshore Concert Band, conducted by Mallory Thompson
• The Cedar Rapids Municipal Band, conducted by Dr. Morgan Jones
• The Hanover Wind Symphony, conducted by Jason Noble
• The Tallahassee Winds, conducted by Dr. Bentley Shellahamer
• The Gisborne Youth Concert Band, conducted by Chris Fox.
• The Littlehampton Concert Band, conducted by Bob Haselip.
• The Bergholz German Band, conducted by Dan Pieczynski.
• Salt Lake Symphonic Winds, conducted by Dr. Thomas P. Rohrer.
• Birmingham Symphonic Winds, conducted by Keith Allen

Main article: School band

School bands vary in size and instrumentation, depending on the number of students that are in the band, and the versatility and virtuosity of the players. Some school bands follow a set educational program which dictates particular styles of pieces that are standard to the music curriculum. Such curricula usually include a concert overture, a march, and a miscellaneous band piece, often one in the pop music genre. The director may also slightly bypass the curriculum, choosing music of whatever style he or she pleases, especially if the band is small.

Most school bands start at the 5th or 6th grade, and they go up to upper high school. The high school band resembles a community band in ability and repertoire, with considerations for the increased rehearsal time available to high school students.

Almost every public and private school district has a band, and some schools have a school orchestra as well. Some private and public schools have both, especially if the district is very large.

Throughout much of their history, wind bands have been promoted through regional and national music competitions and festivals. Currently, the largest among these is the annual All-Japan Band Association national contest, which in recent years has included around 14,000 bands. Through its enthusiastic support of this competition, as well as the renowned Tokyo Kosei Wind Orchestra, Japan has attained a very strong reputation in the field of concert bands (called buraban in Japanese). Europe's largest and most renowned competition is the World Music Competition held in Kerkrade, Netherlands.

Instrumentation for the wind band is not 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.

Woodwinds

Piccolo

Flutes 1 ,2 (, 3)

(Alto Flute)

Oboes 1 (, 2)

(English Horn)

Bassoons 1 (, 2)

(Contrabassoon)

(E♭ Clarinet)

B♭ Clarinets in 1, 2, 3 (, 4)

Alto Clarinet

Bass Clarinet

(E♭ Contra-alto Clarinet)

(BB♭ Contrabass Clarinet)

(Soprano Saxophone)

Alto Saxophones 1, 2

Tenor Saxophone

Baritone Saxophone

(Bass Saxophone)

Brass

Trumpets/Cornets 1, 2, 3 (, 4) ¹

(Flugelhorn)

Horns 1, 2 ,3 ,4

Trombones 1, 2 ,3

(Bass Trombone)

Baritone/Euphonium 1 (, 2) ²

Tuba

Percussion

Timpani (2-4 drums)

Non-pitched (Battery) percussion may include: Snare Drum, Bass Drum, Cymbals, Tambourine, Triangle, Tam-tam, Wood Blocks, Tom-toms, etc.

Pitched (Mallet) percussion may include: Glockenspiel, Xylophone, Marimba, Crotales, Vibraphone, Chimes, etc.

Keyboards and Strings

(Piano)

(Celesta)

(Harp)

(Organ)

String Bass/Electric Bass

¹Trumpet and cornet parts are sometimes interchangeable and sometimes separated into 3 or 4 cornet parts and two trumpet parts, but usually only on older or transcribed works.
²The baritone/euphonium part is usually provided in both bass clef (concert pitch) and treble clef (in B♭, sounding a major 9th below written).

It should be noted that instrumentation differs depending on the type of ensemble. Middle and high school bands frequently have more limited instrumentation and fewer parts (for example, no contrabassoons, 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. 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. Also, it is common to see two tubas playing the same part.

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, a glass harmonica, or to sing. 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.

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.

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

• Howard Cable
• Percy Grainger
• Paul Hindemith
• Gustav Holst
• Gordon Jacob
• John Philip Sousa
• Igor Stravinsky
• Ralph Vaughan Williams

Over the last forty 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. Among these:

Samuel Adler Leslie Bassett Warren Benson John Barnes Chance Steven Reineke Michael Colgrass John Corigliano Anne McGinty Morton Gould David Holsinger Karel Husa David Maslanka

Johan de Meij Vincent Persichetti Alfred Reed H. Owen Reed Gunther Schuller Joseph Schwantner Claude T. Smith Robert W. Smith Frank Ticheli David Del Tredici Fisher Tull Eric Whitacre Anthony Iannaccone

See article at List of concert band literature.

• American Bandmasters Association [7]
• Association of Concert Bands [8]: "the international voice of adult bands"
• British Association of Symphonic Bands and Wind Ensembles [9]
• College Band Directors National Association [10]
• National Band Association [11]
• Norwegian Band Federation
• World Association for Symphonic Bands and Ensembles [12]
• National Band Council of Australia
• Band Directors' Association (Singapore) [13]
• Wind Bands' Association of Singapore [14]

• "Band", Grove Music Online ed. L. Macy Grove Music Online: subscription only
• Berz, William, "What's in a Name?," Tempo, 52 no. 1 (November 1997): 28-29. [15]

• Category: Concert band pieces

• Winds: The International Magazine for the Wind Band Enthusiast
• Community-Music - a comprehensive resource for community band musicians and conductors
• Directory of American Community Concert Bands and Wind Ensembles
• Directory of Canadian Community Concert Bands and Wind Ensembles
• Art of the States: symphonic band works for symphonic band by American composers
• Harmonie Municipale de Dudelange - a concert band from Luxembourg (Europe), offers a selection of audio clips from many original works and transcriptions mentioned above.
• Brassmusic.Ru — Russian Brass Community
• A History of the Wind Band