recommended by Ken T., Band Education Specialist
Avondale Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
“Avondale Overture” is perfect for younger concert bands. Simple key changes, tempo changes, and one 7/8 measure provide appeal and interest for students and teachers alike. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Castlebrooke Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
Dedicated to William (Bill) Maupin, a friend and fellow music educator of Claude T. Smith, “Castlebrooke Overture” is a perfect piece to introduce younger ensembles to meter changes and a couple measures in 3/8 time. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Concert Variations by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
“Concert Variations” was written for the Lambda Chapter of Phi Beta Mu and originally premiered at the Missouri Music Educators Convention in 1975. This flexible arrangement allows ensembles to perform the work with as few as nine musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Declaration Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
“Declaration Overture” has a five-note motive in an opening slow section, followed by a driving Allegro where the original five-note motive is put through a series of variations. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Emperata Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4
This is the composition that started it all! “Emperata Overture” is a wind band classic for concert and festival alike. The original publication of this work established Claude T. Smith’s use of the 7/8-time meter as his signature rhythmic device for instrumental ensembles. This flexible arrangement allows ensembles to perform the work with as few as 14 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
God of Our Fathers arr. Claude T. Smith/ed. Joseph Benjamin Earp, Grade 4
“God of Our Fathers” is based on the hymn with the same name and is one of the most iconic American Christian hymns dating back to the 19th-century. Claude T. Smith’s concert band arrangement of this hymn has become a staple of band literature. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Dramatic Prelude by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3.5
“Dramatic Prelude” begins with a “dramatic” fanfare, which is followed by an easily accessible melody; a del segno takes you back to the “dramatic” fanfare and an ending as exciting as the beginning. This flexible arrangement allows ensembles to perform the work with as few as 12 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Sonus Ventorum by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
Translated as “Sound of The Winds,” “Sonus Ventorum” begins with a dramatic opening for full band segueing into an energetic allegro section. This flexible arrangement allows ensembles to perform the work with as few as 14 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
Stone Mountain Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
“Stone Mountain Overture” was beautifully written to ensure success with younger ensembles. The composition is wonderfully developed with captivating rhythmic themes and dynamics. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.
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About the Author:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
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