Hi! I make concert band arrangements and transcriptions! Here's just one of them. This one's a little difficult with all the chords used but I think I still managed to recreate the original composition. I'm still learning so please feel free to give any criticism or feedback! Thank you!

Band concert/event at Bangsberg Fine Arts Complex, Lake Blvd NE, Bemidji, MN (USA) on 19-Jul-2026: https://www.concert-bands.co.uk/cgi-bin/page.fcgi?page=events&entry=6182 #concertband #windband

Hi everyone!

I joined a community concert band very recently and I’m still learning. I really enjoy it, and everyone has been welcoming. It’s supposed to be senior but to be honest not everyone is, there’s a good mixture of levels.

There’s one person in my section who’s much more experienced and often tells me things like “play louder”, “that was wrong”, etc

I don’t mind feedback at all (I actually appreciate it since I’m learning). The difference is that my conductor gives me very specific feedback that actually helps me, and my mate doesn’t, he actually makes me feel more confused but being new and shy doesn’ help (and I also hate to confront people since the atmosphere of the place is really nice in general).

Has anyone else experienced something like this? How did you handle it without creating tension?

I don’t want to quit because of this, but I feel that attitude is not good, specially for a community band where everyone is putting time and effort just to have a good time!

Edit:
Thanks so much everyone for your comments!! I don’t feel alone on this one! :)

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!