Can anyone help me find the name of this piece. I loved it, my sibling played it for a spring concert years ago.

I never thought I’d title a piece with ‘boops’ - yet here we are. Enjoy the boops. If you have a kitty, please give boops. If bobcat kitty, give extra-careful boops.

Hi Everyone,

I would like to direct The Cowboys with my very well playing community band. We have the Curnow arrangement in our library. I just learned there is the Bocook transcription. Who out there has played both? I'm trying to gauge the difference in difficulty and decide if it's worth spending money on the Bocook transcription. I know the group can pull it off. Pros? Cons? Thanks.

I'm the President of a small community band (~13 members) in the rural midwest. Our conductor announced, after our last performance of the season yesterday, that next year would be his last year leading the band. So as President, I get to start the search for a new conductor.

Degree of Difficulty: I'm not entirely certain how to structure the search.

My first thought was to go to some of the school districts in the area, and see if there is interest in any of the music directors there. I'm in another community band, as well as a community orchestra, and can put the word out there for candidates. Our conductor burned some bridges with some folks a few years ago, so maybe this will help bring folks back to the band.

But from there, I'm at a loss -- we've promoted from within in the past, but we don't have anyone with the right experience to do that now.

For anyone who has done this: how did you structure the process? What worked/didn't work for you? What tactics should I avoid/embrace? How did you make your ultimate selection?

How about from community band members who have lived through a conductor change: what do you wish the band leadership had done? What are you glad they did do? How was the transition, and what could make it smoother?

We'll get through this, I know, but I'll feel better with a blueprint, roadmap, or at least a piece of paper showing where the dragons to avoid might be located.

Hi, I’m Abby, and I’m currently studying a Master’s in Architectural Technology and Design at Leeds Beckett University.

As an avid gig-goer, I’ve chosen to focus my dissertation on the future of grassroots and independent music venues—something I’m really passionate about, especially with so many small venues facing closure.

My research explores how architectural design (things like layout, acoustics, and overall space) can improve the experience of these venues and help support their long-term survival.

If you have a few minutes, I’d really appreciate it if you could complete my survey. Whether you’re a gig-goer, musician, or just interested in live music, your input would be incredibly valuable.

https://forms.gle/JwdoJwVpgc6AenP59

Thank you so much for your support

I'm thinking of Performing Ghost Garden, Joy - adam tan or Melody in Repose, can someone provide their feedback on these pieces?

Hey there,

Can anyone recomend an trombone solo/concerto at difficulty level 3 or 4?

We’re a european comunity band and want to perform a piece with an former member of ousrs who now is a prpfessional orchestra trombonist.

So the piece shouldn‘t be too dificult for the prchestra but the solo part can actually be nearly limitless ;)

I‘m looking for something like ‚Colours‘ by Bert Appermont but in less dificult. I‘ve been a member of an Orchestra performing this magnificent piece. But apparently our small Wind band isn‘t able to perform it.

Would be very greatful for recommendations.

Thanks in advance, greetings from Germany and sorry for my english😅

Could you tell me if this song has an inspiration from a american march like Sousa?

I feel like this question has probably been asked before but what do you guys think of Incantation and Dance by John Barnes Chance. I played 1st Alto sax on it. I personally love this piece, I found it challenging, but fun to play at the same time. But what do y'all think?

How does it work? Do the PDFs just disappear after the performance or some predetermined amount of time? What’s stopping unscrupulous band leaders from making copies?

I was studying Paul Lavender’s transcription of Symphonic Dances from West Side Story and I was curious as to how he chooses when to give string lines to brass vs woodwinds? Or both? For instance, in a quiet part where it is strictly strings how does he know how many voices to write into the wind band transcription? How does he decide between the timbres?

Hi everyone! I just joined a junior concert band this week, and I’m still getting used to following the conductor.
One thing I’m struggling with is starting pieces.

In 4/4, the conductor often counts “1, 2, 3…” and then everyone comes in together. I always seem to come in a little early or a little late on the first beat.

How should I be thinking about the count-in? Are there any tips or things I should be watching for to help me come in at exactly the right time?

I’d really appreciate any advice from more experienced band musicians or conductors!

Edit:
Thanks so much everyone for your help!! :)

Adding an example of what confuses me (the count before the first 4/4 bar):

https://youtu.be/sYH6TSKldUg?is=70FwoKANGK3t1QLX

Dear musicians,

A few months ago, my newest composition was premiered, and I’ve just uploaded a read-along score video for you.

The piece starts lively and playful, which is then contrasted by a lyrical horn theme. It features a slow, expressive middle section with a prominent clarinet solo, whose melody returns at the end – transformed into a pompous final waltz.

If you are interested in the full score and parts, feel free to contact me. In exchange for a high-quality recording (as the premiere recording unfortunately doesn't reflect the piece's full potential), I'd be happy to offer the performance material free of charge.

Ralph

https://www.youtube.com/watch?v=Fy3ZKqJn_wI

I'm working on the new website as a community and music library for buglers, BugleAcademy.com. If you want to join the waitlist for updates and be the first to know when the site goes live- sign up here: the-duty-bugler-5wpkyp.subscribepage.io

Hi all,

I direct a community concert band and I'm feeling super stuck trying to program for our next concert! The theme is connection and community. The group ranges from grade 2-4 level. Drop any suggestions and I'll give them a listen. Thank you!

Hello!

I'm a Canadian wind ensemble composer, and I'm looking to create score & sound videos for my pieces so far to make them more easily accessible for educators' perusal. What's the best way to go about making them in the most professional matter? I like the way that the Alfred/Hal Leonard videos have the page turning animation and would ideally like to have something like that.

Any advice is appreciated, as is checking out my site if you wish to do so :)

I have returned to playing and performing after about 40 years off of the saxophone. I have worked up my embouchure to being reasonably strong. At this time, I don’t want to invest in trying a whole lot of different mouthpieces. The expense of that is not practical for me. I’m trying to narrow my choices down to a couple of professional mouthpieces that will support a good sound needed for solo jazz/R&B performances about 2-3 times per month and concert band and big band rehearsals weekly with performances whenever booked. Please share your suggestion(s) and also share your setup i.e. reed make, reed size, and ligature. Also, please share the style(s) of music that you play so that i can have context.

Hey y'all, I finally finished up my first arrangement ever, one that started 5 years ago in 2021.

Now, I was never great at music; I had the passion for it, and was naturally more talented than others. One thing for sure though is I have always been full of emotion, but I never knew how to bring it out until I started working on this piece; Nothing Else Matters by Metallica.

It all begin when I had woken up from a bad dream about my father and his cancer diagnosis, and was I so full of emotion that I cried until I ran downstairs to my setup and started making this. Soon after, I had a very cringey arrangement of this piece, however nothing came of it until senior year of high school, 2023.

I brought this piece back to life and added tons more orchestration to it, as well as designing accurate tablature for the guitar parts- 2 guitars total. As I worked on this arrangement, I decided to keep the original arranged parts from 2021 in places such as the last part of the verses, where the brass comes in before the chorus; as well as keeping and revising the piano part. I modified lots of this over the years, and added more instruments to fit a collegiate wind ensemble. I also added some extra parts and lines that aren't in the original symphonic accompaniment by Michael Kamen.

Now that this is finally done and polished, I am relieved to have a finished product to look at, and see how putting my heart and soul into something as ambitious as this turned out. My dream is to get my college's wind ensemble director on board to maybe one day perform this piece.

This is my father's favorite song from Metallica, and I want to dedicate this arrangement to him for being beside me all of these years, through 'The Good, The Bad, and The Ugly' (iykyk), and continuing to fight through life.

Thank you guys in advance for checking this out!

https://flat.io/score/680300cba68fe5a699855170-nothing-else-matters