Christmas from the '50s Cover Image

Christmas from the '50s: Concert Band Conductor Score & Parts

$87.00 USD
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Christmas from the '50s Cover Image

Christmas from the '50s: Concert Band Conductor Score & Parts

Featuring: Jingle Bell Rock / Frosty the Snowman / The Christmas Waltz / (There's No Place Like) Home for the Holidays (For Band and Solo Voice, Trumpet, or Alto Sax)

Arr. Douglas E. Wagner

Grade: 4 (Medium)

Item: 00-32542

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Description

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Christmas from the '50s: 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: Pop Symphonic Band
Publisher: Alfred Music
Page Count: 228
UPC: 038081375571
SKU: 00-32542

More about this title

About the Arranger: Douglas E. Wagner

Douglas E. Wagner

Douglas E. Wagner grew up in Chicago and earned both undergraduate and graduate degrees in music from Butler University. He spent three decades as a high school music director and administrator before committing fully to composition and arranging in the mid-1980s.

Since 1973, Wagner has published over 3,500 works across virtually every school music ensemble type: band, orchestra, choir, handbells, organ, and voice. His prolific output has sold well over seventeen million copies worldwide and appears regularly in concert halls, broadcasts, and festival programs across the United States and internationally. He currently lives in Indianapolis with his wife, Sandy.

Why we love this

Wagner's nostalgia arrangements capture the harmonic warmth and melodic generosity of 1950s popular music while respecting the capabilities of mid-level band programs. The solo and ensemble features give your best players moments to shine without overshadowing the full ensemble sound. This is the kind of holiday programming that audiences genuinely connect with and that your students will remember playing years after graduation.

What to expect

Warm, accessible, and genuinely joyful. The '50s sensibility brings a gentle nostalgia without sentimentality, and the arrangements honor the original melodies while adding sophisticated harmonic color and texture. It's the sound of Christmas as many people remember it: bright, unironic, and richly arranged for full ensemble.

Who it's for

Band directors programming winter concerts who want holiday music that engages both players and audiences with familiar, beloved material. This collection works well for programs ranging from community concerts to festival performances, and the solo features make it engaging for students at the upper end of a mid-level ensemble.

How to get the most out of it

  • Balance the solo voice carefully against the ensemble; the accompaniment should support rather than compete, which may mean pulling back slightly on tutti sections when the soloist enters.
  • Attend to the harmonic fullness typical of 1950s arrangements. Ensure all parts (even low brass and woodwind accompaniment figures) sustain their lines cleanly so the rich chords don't sound thin.
  • Shape phrases with the gentleness of period swing and jazz phrasing rather than a straight classical approach; these melodies benefit from subtle rubato and breath points that feel conversational.
  • Use the full score to identify spots where you might bring out inner voices or countermelodies that add texture without overwhelming the primary melodic line.

How to use it

This works beautifully as the centerpiece of a holiday concert, either as a suite or interspersed with other seasonal selections. The solo and ensemble features allow you to spotlight student leaders while maintaining cohesion across the program, making it ideal for concerts that blend classical holiday tradition with popular appeal.

Skills your students will build

  • Balancing solo lines against ensemble accompaniment
  • Executing swing-influenced phrasing and rhythmic style
  • Reading and sustaining harmonic progressions with independence
  • Controlling dynamic contrast across full ensemble textures
  • Interpreting period-specific musical idioms (1950s jazz and popular harmonic language)

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