Girish Mahajan (Editor)

Concert band

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Concert band

A concert band, also called wind ensemble, symphonic band, wind symphony, wind orchestra, wind band, symphonic winds, symphony band, or symphonic wind ensemble, is a performing ensemble consisting of members of the woodwind, brass, and percussion families of instruments, along with the double bass or bass guitar. On rare occasions, additional non traditional instruments may be added to such ensembles such as piano, harp, synthesizer, or electric guitar.


A concert band's repertoire includes original wind compositions, transcriptions/arrangements of orchestral compositions, light music, and popular tunes. Though the instrumentation is similar, a concert band is distinguished from the marching band in that its primary function is as a concert ensemble. The standard repertoire for the concert band does, however, contain concert marches.


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. One notable and influential original symphonic work for band was Gustav Holst's First Suite in E-Flat, written in 1909, considered to this day the classic work of symphonic band. Following Holst, a variety of British, American, Canadian and Australian composers wrote for the medium, including Percy Grainger, James Swearingen and Ralph Vaughan Williams.

Development of the wind ensemble

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 could be said to be modeled on the wind section of a "Wagner" orchestra, an important difference being the addition of saxophones and baritone/euphonium. (The American Wind Symphony Orchestra, which uses neither of these, adheres more strictly to the "expanded orchestral wind section" model.) 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.

Professional bands

Professional concert bands not associated with the military are rare, and most do not offer full-time positions. Examples of professional non-military concert bands include:

  • Dallas Wind Symphony, led by Jerry Junkin
  • Tokyo Kosei Wind Orchestra, led for many years by Frederick Fennell, and as of 2006 conducted by Sir Douglas Bostock
  • Osaka Municipal Symphonic Band
  • Royal Hawaiian Band, created by royal decree in 1836 by King Kamehameha III
  • Community bands

    Notable community bands currently include:


  • The American Band, Providence, Rhode Island, conducted by Brian Cardany
  • Brooklyn Wind Symphony, Brooklyn, NY, conducted by Jeff W. Ball
  • San Francisco Lesbian/Gay Freedom Band, San Francisco, California, conducted by Pete Nowlen.
  • Lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins
  • Municipal Band of Charlottesville, Inc., Charlottesville, Virginia, conducted by Stephen Layman
  • Northshore Concert Band, Evanston, Illinois, conducted by Mallory Thompson
  • Salt Lake Symphonic Winds, Salt Lake City, Utah, conducted by Thomas P. Rohrer
  • The TriBattery Pops, New York, NY, conducted by Tom Goodkind
  • East Winds Symphonic Band, Pittsburgh, PA, conducted by Susan Sands
  • United Kingdom

  • Birmingham Symphonic Winds, conducted by Keith Allen
  • Newark and Sherwood Concert Band, Newark, Nottinghamshire, conducted by Colum J O'Shea
  • North Cheshire Wind Orchestra, Warrington, Cheshire, conducted by Catherine Tackley
  • Nottingham Concert Band, conducted by Robert Parker
  • Canada

  • Pacific Symphonic Wind Ensemble, Vancouver. David Branter, Resident Conductor and Acting Music Director
  • Australia

  • North West Wind Ensemble, Sydney, James Brice, Musical Director
  • Sydney Wind Symphony, John Buckley, Musical Director
  • New Zealand

  • Gisborne Youth Concert Band, conducted by Alex Nyman
  • Norway

  • Dragefjellets Musikkorps (Bergen Symphonic Band)
  • Sandvikens Ungdomskorps, Bergen, conducted by Tormod Flaten and Bjørn Breistein
  • Portugal

  • União Filarmónica do Troviscal, Troviscal—Aveiro, conducted by André Granjo
  • Finland

  • Tikkurilan Soittokunta, Vantaa, conducted by Kimmo Nurmi
  • Competitions

    Throughout much of their history, wind bands have been promoted through regional and national music competitions and festivals. Other large competitions include the World Music Competition, held in the Netherlands; and the Southeast Asia Concert Band Festival, held in Hong Kong.


    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; due to the fact that some bands are missing these instruments, important lines for these instruments are often cued into other parts.

    Instrumentation differs depending on the type of ensemble. Middle and high school bands frequently have more limited instrumentation and fewer parts (for example, no double reeds, 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. A concert band can theoretically have as many as 200 members from a set of only 35 parts. 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 in a wind ensemble.

    Complicated percussion parts are common in concert band pieces, often requiring many percussionists. Many believe this is a major difference between the orchestra—which usually lacks a large battery of percussion—and the concert band. While in older transcriptions and concert works, the timpani were treated as its own section as in the orchestra, today, in bands, the timpani are considered part of the percussion section. Consequently, the timpani player often will double on other percussion instruments.

    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.

    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. This is especially true in Japan, where an enormous market can be found for wind band compositions, which is largely due to commissions by the All-Japan Band Association and leading professional ensembles such as the Tokyo Kosei Wind Orchestra and Osaka Municipal Symphonic Band, as well as the Kappa Kappa Psi and Tau Beta Sigma Commissioning Program, the longest-running commissioning series for wind band in the United States.

    Early to middle 20th century

    Some of the most important names in establishing literature written specifically for concert band in the early and middle 20th century were:

    Late 20th century to the present

    Over the last forty years, many composers have written major new works for wind ensemble. Some of these composers have risen to the forefront as being particularly important in the concert band's development. Among these include:

    Band associations

    Some notable band associations include:

  • American Bandmasters Association
  • British Association of Symphonic Bands and Wind Ensembles
  • All Japan Band Association
  • Association of Concert Bands
  • Lesbian and Gay Band Association
  • National Band Council of Australia
  • References

    Concert band Wikipedia

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