Chapter 19 Scoring for band or Wind Ensemble
Pages 772 - 783
Intro- The band began mostly as an ensemble used outdoors and therefore needed multiple
instruments per part for carrying power. Advocates of these ensembles have waxed eloquent
about the virtues of the band sound; Frederick Fennell, for one, has stated about twentieth-
century wind playing in America: "The development of wind playing has been one of this
country's greatest contributions to music performance.
Scoring for band- The most important difference between scoring for the two media is that in
writing for band the composer or arranger never knows how many players will be assigned to a
given part.
Band Versus Wind Ensemble- Fennell advocated the idea of an ensemble of winds, brass, and
percussion, with scores stating a specific instrumentation and no doubling of parts-in other
words, an orchestra-like ensemble without strings. Every wind ensemble player would play a
separate part that would not be doubled by any other instrument.
The Percussion Section within the Band or Wind Ensemble- The development of playing
techniques within the orchestral percussion section and the enormous growth in the numbers of
different instruments used owe much to the percussion section's popularity within the marching
band, the concert band, and the wind ensemble.
The Band and Wind Ensemble Score Setup- The basic instrumentation for some of the major
bands is given in the following setups: in those for the marching band and concert band each
instrument that is named may have from two to twenty players.
Marching Band- C piccolo (the D~ piccolo is really not in use anymore), Flutes (some may
double on piccolo), Bb clarinets (usually two parts), Eb alto saxophone, B~ tenor saxophone, Eb
baritone saxophone, B~ comets (usually two parts), B~ trumpets (usually two parts),
E~orFhoms, Baritones or euphoniums, Tubas or sousaphones
Standard Concert Band- Piccolo, Flutes (usually two parts), Oboes (usually two parts which may
include English horn), E~ clarinet, B~ clarinet (usually three parts), E~ alto clarinet, Bb bass
clarinet, (Bassoons), B~ soprano saxophone (used in some bands), E~ alto saxophone,
~tenorsaxophone, baritone saxophone, B~ comet (usually two or three parts), B~ trumpet
(usually two or three parts), F horns (usually four parts: sometimes EJ, horns are still available),
Trombones, Baritone or euphonium (sometimes two parts), Tuba, Timpani, Percussion (usually
four players)
Expanded Concert Band- Flute 1, Flute 2 (piccolo), Oboe, E~clarinet, Solo clarinet and Clarinet
1, Clarinet 2, Clarinet3, Alto clarinet, Bass clarinet, Bassoon, Alto saxophone 1, Alto saxophone
2, Tenor saxophone, Baritone saxophone, Trumpet 1 (Comet 1), Trumpet 2 (Comet 2), Trumpet 3
(Comet 3), Fhoml, Fhom2, Trombonel, Trombone2, Trombone3, Baritone (T.C.), Baritone
(B.C.), Basses (tubas), Double bass, Timpani, Percussion 1: glockenspiel, xylophone,
vibraphone, marimba, Percussion 2: wood block, temple blocks, cymbal in hand, suspended
cymbal, triangle, snare drum, tenor drum, tam-tam, bass drum
Wind Ensemble- The instrumentation of the wind ensemble (one instrument to a part and every
instrument specified) is entirely left to the composer or arranger.
Condensed Scores- Many band conductors prefer such a score to a full score. This custom,
however, is becoming less prominent today, since very sophisticated works for band and wind
ensemble do not lend themselves well to this type of compression.
Transcribing from Orchestra to band or Wind Ensemble
Simulating String techniques on Band Instruments- In transcribing orchestral works for any band
medium, transcribing idiomatic string techniques for band instruments can be a challenge. You
must first identify the band instrument that is most readily able to perform the desired string
effect.
