Celtic Air Dance No. 3: Concert Band Conductor Score & Parts
Arranged by Michael Sweeney
Grade: 1.5
Item: 35-PK00179175
$55.00
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Description
Continuing with Michael's popular series of "Celtic Air and Dance" arrangements, the third installment opens with "Red is the Rose" (or "Loch Lomond") in a flowing ballad treatment. The lively "Bill Sullivan's Polka" follows and features various sections of the band. The flutes start things off followed by the rest of the woodwinds, trumpets, percussion, low brass and finally the entire ensemble in an energetic finish. Dur: 3:10
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00179175
More about this title
About the Arranger: Michael Sweeney
Michael Sweeney has spent decades crafting accessible arrangements that respect both the integrity of source material and the realities of student ensembles. His work across concert band, jazz, and musical theater demonstrates a keen ear for orchestration and an instinct for what makes music sing at every level.
Why we love this
Sweeney understands the appeal of Celtic repertoire without oversimplifying it. The two-part structure gives you genuine musical contrast: a reflective ballad that lets your ensemble breathe, followed by a polka with sectional writing that keeps students engaged and gives everyone a moment in the spotlight. At grade 1.5, it sits at exactly the right difficulty for building confidence without sacrificing musicality.
What to expect
The arc moves from introspection to joy. You begin in a gentle, lyrical space where the melody breathes over warm harmonies, then shift into driving rhythmic energy as the polka takes hold. By the final tutti, the ensemble has traveled somewhere real together.
Who it's for
Concert bands working with developing ensembles who want repertoire with personality and cultural substance. This also works well for programs looking to program short, high-impact festival selections without extensive rehearsal demands.
How to get the most out of it
- Shape the opening ballad with long, connected phrases rather than letting sections feel segmented. Encourage wind players to think in terms of speech rhythm, not just note reading.
- Balance the polka's sectional entries carefully. The woodwind solos need clarity, but the ensemble finish demands full commitment. A quick rehearsal focus on dynamics between A and B sections pays dividends.
- Treat the percussion parts as structural support, not decoration. Even at this level, clean articulation in the rhythm section elevates the entire performance.
How to use it
Pair this with one substantial concert work and a march for a balanced festival or concert set. Its compact 3:10 duration makes it ideal for spring festivals or as a palate cleanser between longer works. The Irish character also makes it natural programming for cultural celebrations or heritage events.
Skills your students will build
- Sustaining lyrical lines with consistent air support and dynamic shape
- Executing articulated polka rhythms with rhythmic precision across sections
- Responding to sectional writing cues and entrance timing
- Balancing solo and ensemble textures in concert settings