Band for Every High School Student Musician

110 – That’s the number of parts most publishers provide when an individual purchases a band piece or arrangement. That number, covering so many flute and bass clarinet and tuba parts, is what someone experienced in both the printing process and the performing aspect of band literature has determined is what a typical ensemble would need. And for the most part, that number works for the thousands of band directors across the country who purchase new music each year for their programs. And while many or most don’t have that 110 in their rehearsal space, nor even six first flutes or the three tenor saxes that help to make up that quantity, most ensembles fit within that number of total parts and parts by section.

So, what about the ensembles that don’t fit so well? What about the students who play an instrument not listed on the front cover of the score followed by a number indicating how many copies of that part are included? Is the band not for them simply because the publisher (or composer) has determined their instrument is not worthy of inclusion? One would hope that is not true knowing how inclusionary the majority of music educators are, but that inclusion may be limited due to that 110. Turning away a willing student interested in making music should not be based on the number of Clarinet II parts.

Due to copyright guidelines, there is a limit on how many copies of those parts can be made as well as how much arranging can be done. U.S. Copyright’s Fair Use Doctrine allows the copying of up to 10 percent of a performable work, so making another copy of the Trumpet III part is acceptable. But what if the part needs to be modified or arranged so that a student can perform it on a non-traditional instrument. That falls under the Fair Use exceptions as well that support educators, allowing music teachers to edit purchased, printed copies as long as the fundamental character of the work is not distorted. Thus we support our students, regardless of the instrument they carry into class, with a little work using some of those 110 parts.

So, first the obvious: Any non-traditional instrument that is in Concert Pitch on the Treble Clef can read Flute or Oboe parts. Thus, a violin or viola player can add either a line not being performed (Oboe II) or a special timbre to one that is being covered. As well, the special characteristics of a string instrument (continuous sound - pizzicato - tremolo - glissando) can be used to enhance the piece. Similarly, a cello or string bass player can perform a bassoon, trombone, euphonium or tuba part as is (or with slight modification) and add not only those special characteristics to that section but depth to the sound of that section as well.

If a piano player crosses your threshold, thanks to the transposing capabilities of most modern electronic keyboards and the skill set of the student, any band part can be performed. Your keyboard may also include sounds more aligned with the parts being covered. For keyboardists who have the ability, a copy of your score, a pair of scissors and some tape can create a four-hand part that covers a missing clarinet section, trumpet section, brass section or the like. Or they can enhance the percussion section by easily learning the basics of playing mallets or playing that part on their keyboard.

Adding a harmony instrument to the band takes a bit more work, but guitarists and accordionists are welcome as well. They can find homes in your ensemble with a bit of work on your part using a copy of the bass part to then add a set of chord symbols as appropriate based on your analysis of the score. And again, the special characteristics of those instruments (arpeggios – solo lines – chord structure) as well as their unique timbre, can be used to make more of your program. And a guitarist (or two) can help you expand your ensemble’s repertoire by opening up band arrangements where a guitar part (provided by the arranger or not) is essential to a proper performance.

Those 110 parts can also be used when you have too much of a good thing by having more of one instrument than you should for the parts provided or your ensemble’s balance. Similarly pitched instruments can read other parts. Flutes can read oboe parts, clarinets can read trumpet parts, tenor saxes can read baritone TC parts, euphoniums can read trombone parts, for example, and add a voice that is not being played or help bring one out that is not being heard.

If the publication is old enough, it may have Eb french horn parts that the alto saxes can read. And with a change of clef and key (and a few modifications of naturals, sharps and flats), Eb instruments can read bass clef and vice-versa. This is a great way to have the tuba line played when you have no tuba but have additional bari saxes (or one that can cover both parts).

Not having the perfect fit for those 110 parts provided by the publisher does not preclude an exciting performance of the purchased piece. Including any musician who comes ready to participate by finding a part for them to play will not only enhance the piece at hand, but your ensemble and all of its members. Being open to having an instrumentation that is not considered standard allows more students to consider adding band to their schedule and increasing the music in their life.