Beach Spring: Concert Band Conductor Score & Parts
By Benjamin F. White / arr. Michael Story
Grade: 1.5
Item: 00-PK-0008912
$55.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Beach Spring: Score | $10.00 | |
| Beach Spring: Flute | $3.00 | |
| Beach Spring: Oboe | $3.00 | |
| Beach Spring: 1st B-flat Clarinet | $3.00 | |
| Beach Spring: B-flat Bass Clarinet | $3.00 | |
| Beach Spring: E-flat Alto Saxophone | $3.00 | |
| Beach Spring: B-flat Tenor Saxophone | $3.00 | |
| Beach Spring: E-flat Baritone Saxophone | $3.00 | |
| Beach Spring: 1st B-flat Trumpet | $3.00 | |
| Beach Spring: 1st F Horn | $3.00 | |
| Beach Spring: 1st Trombone | $3.00 | |
| Beach Spring: Baritone T.C. | $3.00 | |
| Beach Spring: Tuba | $3.00 | |
| Beach Spring: Mallets | $3.00 | |
| Beach Spring: 1st Percussion | $3.00 | |
| Beach Spring: 2nd Percussion | $3.00 | |
| Beach Spring: Timpani | $3.00 |
Parts Added to Cart!
Description
Originating from The Sacred Harp songbook, the folk-like pentatonic melody of Beach Spring has inspired numerous hymns since 1844. Now expertly arranged for beginning band, this setting captures the song's timeless spirit. It is the perfect vehicle for students to gain experience performing beautiful music in 3/4 meter, with varied musical textures, dynamics, and articulations. (2:00)
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Beach Spring: Concert Band Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Belwin Beginning Band
Publisher:
Alfred Music
SKU:
00-PK-0008912
More about this title
About the Composer: Benjamin F. White
Benjamin F. White (1800-1879) was a shape-note music publisher and composer who shaped American sacred music in the 19th century. As editor of The Sacred Harp, one of the most influential shape-note hymnals, White preserved and promoted folk hymn traditions that might otherwise have been lost. His work documented the spiritual music of rural America and established practices that continue to define shape-note singing communities today.
Why we love this
Michael Story's arrangement respects the austere beauty of the original while making it genuinely accessible for beginning band students. The 3/4 meter and straightforward harmonic language give ensemble members room to focus on tone production and phrase shape without wrestling with complex rhythms, yet the varied textures and dynamic contrast prevent the piece from feeling simplistic.
What to expect
Understated and reverent, the piece carries the quiet dignity of American hymn tradition. The pentatonic melody has a folk-song simplicity that feels both ancient and immediate, and the 3/4 meter gives the music a gentle, almost lilting character despite its solemn roots.
Who it's for
Beginning concert bands looking for Grade 1.5 repertoire that combines historical significance with immediate musicality. The piece works equally well for middle school ensembles building their chops and for community bands seeking repertoire that sounds more advanced than it plays.
How to get the most out of it
- Shape the pentatonic melody with long, singing lines rather than separating phrases. Young players often default to square phrasing; this hymn asks for breath at natural text points, not every measure.
- Balance the harmonies so the melody voice emerges clearly. In hymn writing, voices support rather than compete, so ensure support parts sit underneath the primary line.
- Give the 3/4 meter a gentle, song-like quality. Avoid a waltz bounce; let the triple meter feel natural and conversational.
How to use it
Use this as a concert opener or closer to frame a program with substance and depth. It pairs naturally with other Grade 1-2 concert band pieces and works especially well on festivals where adjudicators value musicianship and control over technical display.
Skills your students will build
- Singing through 3/4 meter with natural phrasing
- Balancing harmonic voices and supporting a melody line
- Producing warm, singing tone at varying dynamic levels
- Responding to articulation and texture changes within a simple harmonic framework