marching band Arrangements

My writing for marching band is largely premised on the concept of the marching band being an

outdoor symphonic band. I want to hear woodwinds as an integral part of the sound, not just at feature moments. Balance is essential. My arrangements have been performed in Bands of America national finals, Grand Nationals and the earlier Summer Nationals, twenty three times.

The arrangements listed here are all PD or originals. Others are available subject to the securing of right to arrange.

El Amor Brujo, Manuel de Falla.

 A very nice set from this colorful work. The most familiar section, the Ritual Fire Dance, is done in an unfamiliar way, set in five-four. This would actually make two show segments. Grade 4.5, 3:50.

Chopsticks!, Kenneth Snoeck

An unusual full blown production on the piano lick, borrowing from Liszt, Brahms and others along the way. Lighthearted, humorous and fun. Grade 4.5, 2:25.

Czardas, Vittorio Monti

Rhapsodic Gypsy violin tune done as a somewhat seductive production number. Features trumpet soloist. Grade 3.5, 1:35.

La Danza, Gioacchino Rossini

Very active and fun six-eight, used as a production number. This is very much a “happy” tune. Grade 5, 1:40.

La donna e mobile, Giuseppe Verdi

The famous tune, translating to “Women are fickle” at one point. This has tenor vocal solo and a Nessun Dorma ending. Grade 4, 2:00.

Eljen A Magyar!, J. Strauss

A fast, fun, Hungarian dance tune. Used as a closer. Grade 4.5, 1:40.

First Romanian Rhapsody, Georges Enesco

This arrangement keeps all of the essence of the colorful and dramatic original. This would be almost half of a show, but has much variety within. Grade 4.5-5, 3:00.

La Fille aux cheveux de lin (The Girl with the Flaxen Hair), Claude Debussy

Light and floating, a colorful moment of repose and reflection. Grade 4, 1:55.

Flight of the Bumble Bee, Nicholai Rimsky-Korsakov

Features clarinet soloist(s) on Bb and then Eb soprano clarinet. Accompaniment grade 4, 1:21.

The Hounds of Hell, Kenneth Snoeck

Intense, with dissonant impacts, in compound meter. Creates tension and an “evil” moment from which to display “good” in contrast. Grade 4.5, :50.

Hungarian Dance No. 4, Johannes Brahms

Reflective inner movement.

Hungarian Dance No. 6, Johannes Brahms


Hungarian Rhapsody No. 2, Franz Liszt

The drama and the potential humor in this classic make it quite pleasing to both performer and audience (can you hear this piece without thinking of Bugs and Elmer?). This is a substantial undertaking, but great fun. Half a show, but with a lot of variety. Grade 4.5, 4:15.

Morning Scene, from the Peer Gynt Suite, Edvard Grieg

Birdies and butterflies. Starts with a flute solo. Grade 3.5 technically, 1:20.

Neapolitan Dance, Piotr Tchaikovsky

Relies on an extended trumpet solo for the first half. The accelerando is natural audience clap-along leading to the active full ensemble ending. Grade 4.5, 1:50.

New World Symphony, A New Take on the New World, Antonin Dvorak

This is a complete show with material drawn from movements I, II and IV. Some parts are highly arranged with very different stylistic settings. Grade 4.5, 7:30.

Pique Dame (The Queen of Spades), Franz von Suppe

Energetic opener for a classical show. Flute duet in the slow middle contrasting section. Grade 4.5, 2:50.

Polovetzian Dances, from Prince Igor, Alexander Borodin

The colorful dance scene from the opera with the “Strangers in Paradise” melody in the contrasting slower middle section. Grade 4.5, 4:00.

Slavonic Dance No. 1, Op. 46, Antonin Dvorak

All of the great, colorful material from this dance, barred to be easily read and more “marchable”. Grade 4, 1:50.

Slavonic Dance No. 2, Op. 72, Antonin Dvorak

Somewhat mournful. Grade 3 for technique but requires musicianship, 1:30.

Slavonic Dance No. 7, Antonin Dvorak

Starts somewhat playfully, becomes heavy and dramatic. Grade 4, 2:05.

Slavonic Dance No. 8, Antonin Dvorak

Barred to read well, this dance shifts back and forth from minor to major and from simple to compound meter. This includes part of Dance No. 5 and is structured as a closer. Grade 4.5, 2:00.

El Sombrero de Tres Picos (The Three Cornered Hat), Manuel de Falla, and El Corpus

en Sevilla, from Iberia, Issac Albinez

Excerpts and dramatically Spanish. Used as a closer. Grade 4.5, 2:25.

The Sorcerer’s Apprentice, Paul Dukas

This is a major program segment, a full half or more of a show. It is difficult not only for its musical demands, but its requirement for consistent articulation of eights in up-tempo compound meter. Used as an opener. Grade 5+, 5:20.

Symphony No. 4, Finale, Piotr Tchaikovsky

Used as an opener. All of the technical demand remains. Once the students really learn the key of F minor/Ab major, it doesn’t seem quite as daunting. Grade 5, 2:55.

Symphony No. 4, Finale Conclusion, Piotr Tchaikovsky

Used as show closer. Grade 5, 1:30.

Symphony No. 6, First Mvt., Piotr Tchaikovsky

Used as an interior segment. Grade 4, 2:55.

Three Blind Mice, Kenneth Snoeck

Fun! A set of variations on the most familiar of tunes. Used as a production number. Grade 4.

Toccata in D Minor, J.S. Bach.

The first half of the Bach Toccata and Fugue in Dm. Great drama and strength. Used as an opener.  Grade 4, 2:40.

Twinkle, Twinkle Little Star, Kenneth Snoeck

A set of variations on this children’s tune. Even Mozart did this one! Used as a production number. Grade 4, 3:35.

Vesti la giubba, from I Paggliacci, Ruggiero Leoncavallo

A baritone solo is the crying clown. Also has a trumpet solo. Used as a dramatic opener to set the mood for an opera show. Technically grade 3 but requires musicianship, 2:10.

La vida breve, excerpts, Manuel de Falla. PD

Used as an opening in a Spanish theme show. Very colorful music. Grade 5, 3:40.

The Witches’ Sabbath, from Symphony Fantastique, Hector Berlioz. PD

Used as a closer. Grade 4.5, 4:00.

Zampa Overture, Ferdinand Herold.

The great concert overture cast as a show opener. Grade 4.