A concert band , also called wind band , symphonic band , symphonic winds , wind orchestra , wind symphony , or wind ensemble , is a performing ensemble consisting of several members of the woodwind instrument family, brass instrument family and percussion instrument family. Its various repertoire include original wind compositions, arranged classical items, light music, and popular tunes. Though the instrumentation is similar, it is distinguished from the marching band in that its primary function is as a concert ensemble. The repertoire for a concert band may, however, contain marches .

Terminology

In the 18th century, these military ensembles were doing double duty as entertainment at the royal courts, either alone or combined with orchestral strings. Composers such as Mozart were writing chamber music for these groups, called Harmonie bands, which evolved to a standard instrumentation of two oboes, two clarinets, two horns, and two bassoons. In addition to original compositions, these groups also played transcriptions of opera music.

Contact with the music of the Turkish Janissaries contributed to the expansion of the Western European wind band. The splendor and dramatic effect of their percussion prompted the adoption of bass drum , cymbals , and triangle, as well as piccolo to balance the increased weight of the percussion section. More clarinets were gradually added and brass instruments were further developed. By 1810 the wind band had reached its current size, though the instrumentation differed in various countries.

During the 19th century large ensembles of wind and percussion instruments in the English and American traditions existed mainly in the form of the Military band for ceremonial and festive occasions, and the works performed consisted mostly of marches . The only time wind bands were used in a concert setting comparable to that of a symphony orchestra was when transcriptions of orchestral or operatic pieces were arranged and performed, as there were comparatively few original concert works for a large wind ensemble. The first notable and influential original symphonic work for band was Gustav Holst 's First Suite in E-Flat , written in 1909 . To this day the piece is considered the classic work of symphonic band, and beginning with Holst a variety of British , American , and Australian composers wrote for the medium, including notably Percy Grainger and Ralph Vaughan-Williams .

The works of the British band masters, in conjunction with the aspirations of college band directors, lead to the belief that the wind band could complement the symphony orchestra as a vehicle of artistic expression at the highest level. This led to the formation of the College Band Directors' National Association, and spawned the commissioning of works from a wide variety of composers.

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Development of the Wind Ensemble in the context of music in American universities

The modern wind ensemble was established by Frederick Fennell at Eastman School of Music as the Eastman Wind Ensemble in 1952 after the model of the orchestra : a pool of players from which a composer can select in order to create different sonorities. The wind ensemble is generally modeled on the wind section of a "Wagner" orchestra. While many people consider the wind ensemble to be one player on a part, this is only practical in true chamber music. Full band pieces usually require doubling or tripling of the clarinet parts, and six trumpeters is typical in a wind ensemble. According to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. However, the concept was in stark contrast to the large collegiate symphony bands of the time, particularly the 100-member band of the University of Michigan, conducted by William Revelli.

H. Robert Reynolds and others of his school of thought extended the Eastman model for wind ensembles, declaring that the wind ensemble should play only original wind ensemble works — no transcriptions, and no band pieces such as the Sousa marches or concert music intended for larger symphonic winds. This music should be of a serious and worthwhile nature, or the highest quality. Time and practicality have moderated this position, and today even Reynolds has produced quality arrangements for the modern wind band.

Contemporary composers found that wind bands offered a welcome opportunity to perform new music, in contrast to the conservative stance maintained by many symphony orchestras.

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Instrumentation

Instrumentation for the wind band is not standardized; composers will frequently add or omit parts. Instruments and parts in parentheses are less common but still often used.

Woodwinds

Piccolo

Flutes 1, 2 (, 3)

( Alto Flute )

Oboes 1, 2

Cor Anglais

Bassoons 1, 2

( Contrabassoon )

Eb Clarinet

Bb Clarinets in 1, 2, 3 (, 4)

( Alto Clarinet )

Bass Clarinet

(Eb Contra-alto Clarinet )

(BBb Contrabass Clarinet )

( Soprano Saxophone )

Alto Saxophones 1, 2

Tenor Saxophone

Baritone Saxophone

( Bass Saxophone )

Brass

Trumpets / Cornets 1, 2, 3 (, 4) ¹

( Flugelhorn )

Horns 1, 2, 3, 4

Trombones 1, 2, 3

( Bass Trombone )

Baritone / Euphonium 1 (, 2) ²

Tuba

Percussion

Timpani (3+ drums)

Non-pitched (Battery) percussion may include: Snare Drum , Bass Drum , Cymbals , Tambourine , Triangle , Tam-tam , Wood Blocks , Tom-toms , etc.

Pitched (Mallet) percussion may include: Glockenspiel , Xylophone , Marimba , Crotales , Vibraphone , Chimes , etc.

Keyboards and Strings

( Piano )

( Celesta )

( Harp )

String Bass

¹Trumpet and cornet parts are sometimes interchangeable and sometimes separated into 3 or 4 cornet parts and two trumpet parts, but usually only on older or transcribed works.
²The baritone/euphonium part is usually provided in both bass clef (concert pitch) and treble clef (in B?, sounding a major 9th below written).

It should be noted that instrumentation differs depending on the type of ensemble. Middle and high school bands frequently have more limited instrumentation and fewer parts (for example, no contrabassoons, or only two horn parts instead of four). This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the less common instruments.

The standard concert band will have several players on each part, depending on available personnel and the preference of the conductor . The wind ensemble, on the other hand, will have very little doubling, if any; commonly, clarinets or flutes may be doubled, especially to handle any divisi passages, and others will have one player per part, as dictated by the requirements of a specific composition. Also, it is common to see two tubas playing the same part.

Contemporary compositions often call on players to use unusual instruments or effects. For example, several pieces call on the use of a siren while others will ask players to play recorders , a glass harmonica , or to sing. The wind band's diverse instrumentation and large number of players makes it a very flexible ensemble, capable of producing a variety of sonic effects.

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Repertoire

Development of a Repertoire

Until early in the 20th century, there was little music written specifically for the wind band, which led to an extensive repertoire of pieces transcribed from orchestral works, or arranged from other sources. However, as the wind band moved out of the sole domain of the military marching ensemble and into the concert hall, it has gained favor with composers, and now many works are being written specifically for the concert band and the wind ensemble. While today there are composers who write exclusively for band, it is worth noting that many composers famous for their work in other genres have given their talents to composition for wind bands as well.