SBO+: This was originally published in our December 2022 issue. However, I judged several festivals this fall where directors performed all three of their pieces by the same composer, so it’s due for a reminder.
Repertoire selection is among the most important responsibilities for all band, choir, and orchestra music educators. We have the freedom to make choices based on our groups’ abilities, preferences, and most important, musical growth. Yet, it seems to remain a struggle for every director every year. Certainly, this is a formidable task and not one to be taken casually. I have found that having a clearly defined template of criteria brings focus and consistency to the task. I call mine the Ten Commandments of Repertoire Selection.
Here goes!
- Thou shalt introduce students to music that expands their horizons. Remember there is some 700 years or music out there. Everything from Renaissance to classical to traditional band repertoire to new works of the 21st Century should be on your radar screen. Certainly, we are teaching technique and craft. But we are also developing musical tastes for a lifetime. The music matters!
- Thou shalt limit your repertoire selection to no more than one piece by any given composer at any given time. Programming a steady diet of repertoire written by only one or two composers short-changes your students as well as you! Certainly, I have my favorites, but I constantly remind myself that there are many talented composers out there. Be obsessed with finding artistic, musically satisfying repertoire for your students. Expand their musical taste. Most important, don’t forget to consider young and underrepresented composers. Their music needs to be heard.
III. Thou shalt explore a broad range of key signatures, both major and minor. Certainly band, choir and orchestra directors have their “user friendly keys.” But it is our responsibility to expand our students’ comfort zone in terms of tonalities.
- Thou shalt perform one expressive, lyrical piece on all concert programs. I have a friend who calls them “mellow, yellow pieces” A caveat! A piece that has 8-16 measures of lyricism at the beginning then quickly transitions into something that could easily be a marching band chart, or a show tune does not count. The bottom line, always be working on at least one piece that is expressive rather than impressive.
- Thou shalt perform one multi-movement piece in its entirety. I sometimes refer to these as “project pieces.” Consider programming one movement for the holiday concert, add another for music festival, and perform the entire work on the spring concert. You and your students will experience a great sense of accomplishment.
- Thou shalt program pop music sparingly. Of course, there are certain times when pop music is appropriate such as pep rallies, football games, spring concerts, and even summer music camp. But a steady diet of music that is ear candy does not serve our educational mission.
VII. Thou shalt consider musical challenges of every student. While every piece in your folder cannot be equally challenging to all, there should be at least one piece that “pushes the envelope” for every section. A challenge that takes them somewhere they’ve not been before.
VIII. Thou shalt choose at least one piece that challenges your students both in terms of craft and artistry.
- Thou shalt program at least one piece that challenges YOU to grow as a teacher and conductor.!
- A final thought for my band friends. Thou shalt routinely program one quick step march. My dad always says it’s not a real concert without a real march. Everybody gets to be in the spotlight as a rule and a traditional march has a key change. Also, you can explore 2/4, cut time or 6/8 in a fun energy filled setting.
Forward march!!!
