• Latest
  • Trending

UPFRONT: CONNECTING WITH A COMPOSER

September 19, 2022
My Start in Music

My Start in Music

September 17, 2025
Videotaping Your Show

Videotaping Your Show

September 16, 2025
ADVERTISEMENT
Tone Deaf

Tone Deaf

September 15, 2025
Set the Stage for High Expectations on Day 1

Set the Stage for High Expectations on Day 1

September 12, 2025
Serving Others Through Music – Ryan’s Story

Serving Others Through Music – Ryan’s Story

September 11, 2025
Reflections

Reflections

September 11, 2025

LA County Secures Nearly $24 Million to Boost Life Sciences Sector, Create 10,000 Jobs

September 11, 2025
Headlines

Headlines

September 10, 2025
Blueprints and Building Blocks: Starting the Year with Intention

Blueprints and Building Blocks: Starting the Year with Intention

September 9, 2025
Here We Go Again

Here We Go Again

September 5, 2025

The 2026 YoungArts Application is Now Open!

September 5, 2025
Empowering Educators: Bridging the Gap Between Teaching and Technical Expertise in Music Education By Lisa Canning

Empowering Educators: Bridging the Gap Between Teaching and Technical Expertise in Music Education By Lisa Canning

August 26, 2025
Wednesday, September 17, 2025
  • Contact
SBO+
  • Departments
    • Concert Band
    • Orchestra
      • String Section
    • Choral
    • Marching Band
    • Jazz
    • Modern Band/Popular Music
      • Mariachi
    • Theater
    • Editorial
      • Upclose
      • Advocacy
        • NAfME Neighborhood
        • MAC Corner
        • MusicEd: Mentor Minute
      • Commentary
        • Bubbett’s Bookshelf
        • Leadership Tips
        • Perspective
        • InService
          • America’s Bandmasters
          • America’s Musicians
        • Tone Deaf Comics
      • Features
    • News
      • Headlines
      • New Products
    • Performance
      • Woodwinds
        • Wind Talkers
      • Percussion
        • GoodVibes
      • Repertoire
      • Playing Tips
    • Technology
    • Travel/Festivals
      • Fundraising
  • Current Issue
    • Past Issues
  • Awards/Entries
    • Teachers’ Choice Awards
    • 50 Teachers Who Make a Difference
  • Subscribe to SBO+
    • Subscribe
    • Login/Manage Subscription
    • Support
  • Advertise
    • Email PR!
No Result
View All Result
  • Departments
    • Concert Band
    • Orchestra
      • String Section
    • Choral
    • Marching Band
    • Jazz
    • Modern Band/Popular Music
      • Mariachi
    • Theater
    • Editorial
      • Upclose
      • Advocacy
        • NAfME Neighborhood
        • MAC Corner
        • MusicEd: Mentor Minute
      • Commentary
        • Bubbett’s Bookshelf
        • Leadership Tips
        • Perspective
        • InService
          • America’s Bandmasters
          • America’s Musicians
        • Tone Deaf Comics
      • Features
    • News
      • Headlines
      • New Products
    • Performance
      • Woodwinds
        • Wind Talkers
      • Percussion
        • GoodVibes
      • Repertoire
      • Playing Tips
    • Technology
    • Travel/Festivals
      • Fundraising
  • Current Issue
    • Past Issues
  • Awards/Entries
    • Teachers’ Choice Awards
    • 50 Teachers Who Make a Difference
  • Subscribe to SBO+
    • Subscribe
    • Login/Manage Subscription
    • Support
  • Advertise
    • Email PR!
No Result
View All Result
SBO+
No Result
View All Result

UPFRONT: CONNECTING WITH A COMPOSER

September 19, 2022
in Concert Band, Archives, July 2002, Choral
Share on Facebook
ADVERTISEMENT

Have you ever premiered a work written especially for your performing group? Or have you thought about engaging a composer to work with your students and perhaps conduct a piece in concert? If you have, I trust it was a valuable experience for all involved. If you have yet to enter these waters, I encourage you to dive right in. To make this happen is easier than you might imagine, and the benefits are many.

But you might ask, “Won’t this take away too much time from preparing for competition and concerts?” Experience has shown that through careful planning and advance discussions with the composer, you can have ample time for your regular performance preparation while providing your students with the thrill and learning opportunities afforded by interacting with a living composer.

Large and small ensembles at all levels can benefit from connecting with a composer. By working with a composer, students can gain valuable insight into how a piece is constructed and learn about the composer’s sources for ideas. Through question-and-answer sessions with the composer, students can learn about the processes of instrumentation and orchestration, along with uses of rhythm, melody and harmony. Students also benefit from learning what the composer was thinking when writing various passages. For instance, I worked with one band as the guest composer and told the students that I had constructed the work by thinking of a story, and that I had used that technique to hold the structure of the work together. The group then demonstrated a deeper understanding of the form of the work and gave an outstanding, mature performance.

Finding a Composer

Who will compose a piece for your ensemble and where can you find such a person? A good way to start connecting with a composer is by contacting someone you know or someone who is close by. For example, you might find that a fellow music teacher or someone in your community has composed works and would be honored to write for your group. It might be that a local college faculty member would welcome the chance to compose a piece. Above all, don’t forget student composers. A talented high school student or a former student who is now a college composition major might offer an exciting new composition that your ensemble would enjoy learning. If a prospective composer is unsure about becoming involved, I suggest that you invite the person to listen to your group rehearse and then consider the possibility of writing something for the ensemble. I recently did just that with the head of our college composition faculty who, at my invitation, listened to my college band rehearse. As a result, he became inspired to compose something for the group and thought up several themes for the composition that very evening.

Once you have experienced successful performances with these composers who are close to home, you might want to expand the project and contact other composers further afield. Some regions have composers’ societies or composers’ alliances whose members are always looking to have their works performed. A Web site check would be a good place to start to find these groups.

Ensuring a Successful Composition

If this is your first time considering such a move, I suggest that you help ensure success by placing limits on the proposed new work. The piece need not be long or complex. Even something as short as a fanfare or brief march composed for the opening of the spring concert could serve as a good starting point for programming new works.

As to the type of work that will be composed, you won’t dictate what should be written, but certainly you will want a piece that students will relate to and benefit from and which will match their achievement levels. To help in this area, discuss the proposed project with the composer and ask what style the person writes in. Ask to see or hear examples of pieces written by the composer. Also ask if the person’s style would be accessible to school students and a parent audience. The discussion can help greatly in determining whether the proposed piece will be something that can be understood and performed well by your group.

If at all possible, have the composer attend a few rehearsals to get to know the capabilities and instrumentation of your ensemble. You should also discuss frankly the strengths and weaknesses of the group so the resulting composition will emphasize the ensemble’s strengths. As the old adage goes, “Let’s not show them what we can’t do!” This is one advantage of having a work tailor-made for your ensemble. I composed one piece for a large, excellent seventh-grade band that had full instrumentation; however, the trombone section was not up to the level of the rest of the band. So I wrote a substantial work that challenged everyone according to his or her achievement level. The trombones were challenged but were not given parts over their heads. The concert was a success and the band played to a standing ovation.

Engaging the Composer

As you think about engaging a composer, there are various types of approaches to consider. A common approach features a single performance with the composer attending a rehearsal or two before writing the piece, and then attending a few rehearsals before the concert to make any changes or offer performance suggestions. Then there is the possibility of extending the above arrangement by adding workshops in which the composer will actively work with the ensemble to explain the piece and engage in question-and-answer sessions with the students. For example, in one school, I used these additional workshops to help the band understand how to perform a portion of my piece that contained improvisation.
Further enrich your composer connection by having the composer conduct his own work. This approach is particularly valuable as it provides students with a very special inside look at a work, along with the exciting opportunity to play a world premiere under the baton of a composer.

If funds are available, a composer residency is a further possibility. Usually some sort of grant must be obtained in order to pay for this. Having a composer-in-residence can provide rewarding opportunities for students across the district over an extended period of time.

With any of these approaches, be sure to plan a little extra rehearsal time to allow for any notational errors to be corrected and, if parts are hand-written, to give time for students to get used to reading manuscript.

Paying the Composer

What is expected in the way of remuneration for such a project? It really depends on the individual. Payment arrangements with a composer could be as simple as an agreement to provide a high quality recording of the performance and funds to cover photocopying and travel costs, or a composer might want a larger payment for creating a commissioned work for your group. To cover these types of remuneration, support groups such as your music booster club or PTA might be willing to provide the funds. For larger amounts, you may need to explore the possibility of obtaining grants from foundations, arts in education groups, or from local, county or state agencies. The Internet can be a valuable source for tracking down these groups. Don’t let a lack of funds stand in your way. I urge you to get started down this road by beginning modestly perhaps with a short piece written by a fellow teacher or student. The important thing is to get your students involved in the exciting venture of giving a first performance of a work written by a living composer with whom your group can interact.

Promoting the Premiere

As you prepare for the premiere, be sure to crank up the publicity. Turn it into an event that will help boost your music program. Send press releases to local media outlets well in advance of the event. Include photographs of your group working on the new piece. Send photos of the composer and, if possible, the composer working with the students. Also pump up the publicity within the school district by sending special invitations to school board members, building and district administration, and other school officials. Invite area politicians to the event and request a special citation to be presented by them to the district on the occasion of this auspicious world premiere performance. This could be the photo-op they’re looking for. At the end of the performance, you could present a framed copy of the program to the composer which has been signed by your whole group. After the performance, don’t forget to send another press release with photographs to the newspapers as well as thank-you letters to the parent groups which have helped secure funds for the project.

In all, this should be a night to remember for your students and your performing ensemble program. Experience has shown that working with a composer can provide lasting, meaningful educational experiences for your students. The parents love it, the students feel special, and it is wonderful PR for your program: all provided by connecting with a composer.

Alfred S. Townsend has been conducting bands on Long Island, N.Y., for more than 30 years. During this time, he directed middle and high school concert, marching and jazz bands, and served for many years as District Director of Music and Art in the Baldwin, N.Y., public schools. He was also music director and principal conductor of the Bay Area Symphony Orchestra with performances on Long Island and in New York City. Currently, Dr. Townsend is professor of music and conductor of the Five Towns College Concert Band, Dix Hills, Long Island, N.Y., where he is director of music education and graduate music studies. He remains active as a composer of band and choral works and conductor of regional festival bands.

You may also like:

The 2014 Best Communities for Music Education The 22nd Annual 50 Directors Who Make a Difference SBO Presents the 21st Annual 50 Directors Who Make a Difference Report: 50 Directors SBO Presents The 19th Annual 50 Directors Who Make A Difference
ADVERTISEMENT
ADVERTISEMENT

POPULAR STORY

  • 50 Music Teachers Who Make a Difference

    50 Music Teachers Who Make a Difference

    1369 shares
    Share 548 Tweet 342
  • When Selecting New Choral Music, Choose Success

    1296 shares
    Share 518 Tweet 324
  • Concert Band Set-up Fundamentals

    1111 shares
    Share 444 Tweet 278
  • The Immediate Threat to School Music Programs

    1013 shares
    Share 405 Tweet 253
  • TI:ME Announces Free PreSonus Revelator USB Microphone at 30th Anniversary Celebration at TMEA

    971 shares
    Share 388 Tweet 243
ADVERTISEMENT

SchoolMusic.Travel

Top 10 School Music Travel Destinations in the Northwest USA

Top 10 School Music Travel Destinations in the Northwest USA

Mountains, music, and vibrant cities — the Northwest offers unforgettable experiences for student groups. 🎷 1. Seattle, WA – Innovation Meets Inspiration• Why it’s great:…

Top 10 School Music Travel Destinations in the Northeast USA

Top 10 School Music Travel Destinations in the Northeast USA

From Broadway to Boston, the Northeast inspires music students with rich culture and iconic venues. From Broadway lights to historic concert halls, the Northeast is…

Top 10 School Music Travel Destinations in the Midwest USA

Top 10 School Music Travel Destinations in the Midwest USA

The Midwest is the heartbeat of America — and it beats in 4/4 time. The Midwest is the heartbeat of America — and it beats…

Top 10 School Music Travel Destinations on the West Coast

Top 10 School Music Travel Destinations on the West Coast

Coastlines, concert halls, and creativity — the West Coast delivers stunning performance opportunities. From iconic performance halls to scenic coastal venues, the West Coast offers…

Next Post
50 Steps to a Better Marching Band

50 Steps to a Better Marching Band

  • September 2025

    Articles | Digital Issue
  • August 2025

    Articles | Digital Issue
  • July 2025

    Articles | Digital Issue
  • June 2025

    Articles | Digital Issue
  • May 2025

    Articles | Digital Issue
© 2005 - 2025 artistpro, LLC
7012 City Center Way, Suite 207
Fairview, Tennessee 37062
(800) 682-8114

No Result
View All Result
  • Departments
    • Concert Band
    • Orchestra
      • String Section
    • Choral
    • Marching Band
    • Jazz
    • Modern Band/Popular Music
      • Mariachi
    • Theater
    • Editorial
      • Upclose
      • Advocacy
      • Commentary
      • Features
    • News
      • Headlines
      • New Products
    • Performance
      • Woodwinds
      • Percussion
      • Repertoire
      • Playing Tips
    • Technology
    • Travel/Festivals
      • Fundraising
  • Current Issue
    • Past Issues
  • Awards/Entries
    • Teachers’ Choice Awards
    • 50 Teachers Who Make a Difference
  • Subscribe to SBO+
    • Subscribe
    • Login/Manage Subscription
    • Support
  • Advertise
    • Email PR!

© 2005 - 2024 artistpro, LLC 7012 City Center Way, Suite 207 Fairview, Tennessee 37062 (800) 682-8114