Sheet Music Grading question

ESJohn

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This is a new tune that we will be rehearsing for the Christmas season. It is shown to be a "grade 1.5". I assume that means it is best suited for a student with some limited experience as opposed to a beginner or an intermediate/professional level of skill. It doesn't look very difficult anywhere that I can see. I don't think the band will have much difficulty with it, at least tonally.
What are the standards for rating music? Is that left to the composer/arranger, or does it need to be submitted to someone for rating purposes?
Thanks!

View: https://www.youtube.com/watch?v=rplC1lRM5oQ&list=RDrplC1lRM5oQ&start_radio=1
 
Looks/sounds pretty easy. Depends on the arrangement you're using as you my not have all of the instruments represented in this (you haven't said what the instrumentation of your group is). Glockenspiel, tuba, lots of brass? The level of a group is only as good as it's weakest section/players. Fortunately there are no close harmonies in this as that's where many groups make themselves sound terrible. Getting everybody to play in tune defines how "listenable" a group is. A general rule that's (unfortunately) seldom exercised is to set the tempo at a pace that's slow enough for everybody to be comfortable. Taken at half the pace of this recording will still sound just fine.
 
The ABRSM grading syllabus is available online. Great bed time reading.

Never heard of 1.5 used, usually described as grades 1-2.

I suppose this is where grades have their uses as it sets a standard. I haven't done any exams, but I think even grade 1 requires scales knowledge at a set tempo.

From what I can make of the score, it should be accessible to most, if the band is more advanced a good piece to work on dynamics, and blending, something we don't do a great deal of.
 
The program notes to the piece indicate that the tempo of 144 is "critical". My guess is that we will be working toward that pace. I don't think that there is a great selection, overall, of Christmas and holiday music available for a concert band of our size.
Our band includes a strong woodwinds section, primarily of clarinets (including bass), along with a few oboes and seven saxes. The low brass is represented by tubas and bass and our trumpet section is strong enough with maybe six or so. A few trombones and French horns show up most of the time. Flutes are alo represented well. When combined with the string section that includes most of the voices from violin to cello, we have a decently rounded group.
I was just wondering how tunes are assigned a difficulty level. I guess that I'll be taking a look at the ABRSM syllabus.
We've done more difficult pieces, but there were also times when we had to abandon working on one that proved to be more difficult that our corporate skills could muster at the time. Two attempts have been made at the original Sleigh Ride without a sufficient amount of success for us to take it to market.
 
I think the grading regards the technical difficulty in playing, harder keys, fast moving passages requiring greater dexterity and difficulty in fingering, portions in more difficult to play range of the instruments involved, etc. Graded harder would require someone who is a more proficient (mature) player.

Perhaps not but this piece reminds me of a tonal poem, rich chords with the instrument mix. Looking at the score whilst on-screen didn't see any really hard technical passages. Lot of dynamics going on with the accents, music crecendos, decrecendos. This is what makes the music pleasant to listen to.
 
The program notes to the piece indicate that the tempo of 144 is "critical"
The opinion of whoever said "144 is critical" may either be over-exaggerating or firing a warning shot for the players to be experienced enough to play at that tempo. I can assure you that hearing an orchestra struggle at too fast a tempo is much worse than hearing music that seems just a little slow. You're obviously not the director, so it's not your problem anyway.

Hopefully they aren't like the director I had in school. He was an idiot who always took everything too fast and made us sound much worse than we were.

A piece like this can also be played "Allagrando" Which is broadly, grandly, and at a slower tempo in my opinion.

The music chosen should be fine and hopefully you have all the instruments covered that are critical to this arrangement. I noted you mention a string section, which aren't in this arrangement. There is however a large percussion contingent that are very much featured and you haven't mentioned. So are you doing this arrangement, something else, or is someone writing parts for the strings and giving the percussion a miss?
 
The opinion of whoever said "144 is critical" may either be over-exaggerating or firing a warning shot for the players to be experienced enough to play at that tempo. I can assure you that hearing an orchestra struggle at too fast a tempo is much worse than hearing music that seems just a little slow. You're obviously not the director, so it's not your problem anyway.

Hopefully they aren't like the director I had in school. He was an idiot who always took everything too fast and made us sound much worse than we were.

The music chosen should be fine and hopefully you have all the instruments covered that are critical to this arrangement. I noted you mention a string section, which aren't in this arrangement. There is however a large percussion contingent that are very much featured and you haven't mentioned. So are you doing this arrangement, something else, or is someone writing parts for the strings and giving the percussion a miss?
Keep in mind that 144 is also 2x the standard heart rate of a healthy human, so there is some relevance to it. But I agree, nothing worse than a band trying to keep up with the tempo and struggling in the process.
 
nothing worse than a band trying to keep up with the tempo and struggling in the process.
It is OK for a band to practice that piece up to tempo. Given that it is not technically difficult, I would think with sufficient practice that the band would be capable of playing this up to tempo. If it can't, the piece still would sound fine at a slightly slower tempo, say 132?

144 is not bad if in 4. Think of it as a slow cut time.
 
It is OK for a band to practice that piece up to tempo. Given that it is not technically difficult, I would think with sufficient practice that the band would be capable of playing this up to tempo. If it can't, the piece still would sound fine at a slightly slower tempo, say 132?

144 is not bad if in 4. Think of it as a slow cut time.
These are decisions for whoever is the director... is that you? There's also the question of what the stings are going to play and what happens with the percussion parts. If these things are your responsibility then you've got other things to consider that are far more pressing than what tempo you start out at. Bars 21 and 22 Plus 52 and 53 are bells and percussion. Is your ensemble going to just be silent for each of those those two bar sections? The tympani also plays a big part throughout.

Maybe these aren't your responsibility, however they need to be attended to immediately... otherwise what are your string players practicing? Who covers the missing bars?
 
US sheet music sellers typically reference difficulty as grade 1, 2, 3 etc., but I very much doubt it has anything to do with British ABRSM grades of proficiency. If you're concerned you could call or drop an e-mail to JW Pepper a large US based sheet music retailer.
 
At 0:18 in the video, it is the composer, under the heading of "performance notes", that states the importance of the tempo. I do agree with those that cringe at the thought of inability to keep up that can result in a train wreck. Still, shouldn't a band attempt to fulfill his wishes in regard to the work?
I'm only an alto player, not the director. We do have, at this time, one percussionist but the band has contacts with a professional one that came to our aid at our last concert. For some reason, our own percussionist felt that a trip to Hawaii sounded like a better idea that being in Norton, Ohio. Go figure! Sadly, three others left the band this year for various reasons.
I'm heading to rehearsal this afternoon so maybe I'll have more information in regard to the strings. If this one is chosen for today's efforts, it will be my first attempt at it.
Your comments are most welcome! Thank you! I'll try to keep you updated as things progress.
 
"At 0:18 in the video, it is the composer..."

At 0:18 in the video, it is the arranger...

Perhaps the 144 bpm, is in case the concert is played outdoors in the Winter, and to get the music over quickly, so frostbite does no damage the audience,
OR, they are in a quick march, like the British Light Infantry or the Gurkhas, who like 140 bpm, or thereabouts, and that will keep the audience warm.

If there are ice skaters nearby, they are dressed for the cold, so, about 90-100 bpm, would be better for ice dancing.

Very Allargando works as well. 👍
 
At 0:18 in the video, it is the arranger...
Thanks for the correction!
We rehearsed portions of it today. We kept it at a pretty brisk pace and did just fine, in my opinion. As Ghostler mentioned above, the dynamics are a major part of it. And that will vary depending on how many of each section show up over the next few months. It will all need to be balanced with the right voices being dominant at the right time. Our crew today was a little sparse, but that is normal every other Thursday as many either cannot or don't bother to attend the daytime rehearsals. I guess if the venue isn't in their backyard, they'd rather not participate.
 
At 0:18 in the video, it is the composer, under the heading of "performance notes", that states the importance of the tempo. I do agree with those that cringe at the thought of inability to keep up that can result in a train wreck. Still, shouldn't a band attempt to fulfill his wishes in regard to the work?
There are concerns expressed by others over a "train wreck", I think not so pesimistic. You are very aware of what your band is capable of and not capable of, just as I am aware of our community band. The fact that your director entertained that the band perform the piece is a good indicator he has confidence of the band's potential in doing a satisfactory performance.
I'm only an alto player, not the director. We do have, at this time, one percussionist but the band has contacts with a professional one that came to our aid at our last concert.
Similarly we have those who because of demanding schedules, cannot make every rehearsal, but toward the end make that last couple and the performance. That includes music teachers and Eastern New Mexico University student musicians.
For some reason, our own percussionist felt that a trip to Hawaii sounded like a better idea that being in Norton, Ohio. Go figure!
I know you are being facetious! 😉 We missed a couple rehearsals with a late Winter trip to the Philippines. 🏝️
Sadly, three others left the band this year for various reasons.
We have the exact same problem. Couple years ago, a very proficient trumpeter, doctors in music, just completed and passed her thesis, found music education employment in another state. A few years ago, she and I had a fun challenge at Walmart department store "bell ringing" a capella next to a Christmas donation kettle (used to raise funds for Salvation Army social services). She did the north entrance, I did the south entrance.

We lost our first and second alto saxist during Covid. He was in his 90's and his friend was in his late 80's. Lost a trombonist and his trumpet wife due to declining health. Lost another excellent trombonist, a graduating high school student, now enrolled in college. But we gained a few, a new tenor saxist. A few others were introduced Monday before last, augmenting other sections.

Because employment is sparse in this small community, some stay for a bit then found better paying work elsewhere. The good thing is the area has historically been a good area for its school music programmes.
These are decisions for whoever is the director... is that you?
No, Steve is doing fine job without my help. 😉 Our community band has almost a half dozen mid-school and high school band instructors, we are not short of directors. In the past I have conducted my share of sectionals.
There's also the question of what the strings are going to play and what happens with the percussion parts.
We have one string bass player. She can play anything thrown her way, so she holds her own.

As a symphonic band, at times we play arranged parts from transcribed orchestral pieces. During concerts, it has varied through years, but Spring Concert we had maybe 40 players. So, the "strings" were covered.
If these things are your responsibility then you've got other things to consider that are far more pressing than what tempo you start out at. Bars 21 and 22 Plus 52 and 53 are bells and percussion. Is your ensemble going to just be silent for each of those those two bar sections? The tympani also plays a big part throughout.
We had maybe 5 percussionists at that concert. So, we have parts covered. Tympanies, bells, glockenspiel, xylophone, snares, bass drum, cymbals, percussionist "toys", all important parts were covered. In places, one percussionist used the trap set, which did a couple duties. Sometimes during shortages, another woodwind or brasswind player who has a lot of rests in their part may do double duty with a percussion "toy" (castinettes, tambourine, wood block, triangle, and etc.)
Maybe these aren't your responsibility, however they need to be attended to immediately... otherwise what are your string players practicing? Who covers the missing bars?
Those questions are for @ESJohn . We have enough of our own share of fun to take care of. :banana:
 

Similar threads... or are they? Maybe not but they could be worth reading anyway 😀

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