Deep Water Bay: Concert Band Conductor Score & Parts

This opener gives every section real work to do from the downbeat. The brass statement is bold enough to command attention, while the woodwind writing and percussion drive create the kind of energy that sets a confident tone for a full concert. At Grade 3, Levowitz has managed to write something that sounds accomplished without demanding virtuosity.

A confident, sunlit opening that combines majesty with rhythmic drive. The piece moves between moments of lyrical reflection and energetic forward motion, building a sense of arrival without feeling rushed. There's a geographical grace to it, a sense of place that elevates what might otherwise be purely functional concert music.

Conductors leading concert bands at the Grade 3 level who want an opening that delivers personality and musicianship without overextending their players. This works equally well for groups with strong brass sections or those developing their woodwind and percussion voices. The solo options make it flexible for bands with different instrumental strengths.

• Balance the initial brass chorale carefully so the woodwind countermelody registers clearly beneath it. A touch more space in the brass allows that upper woodwind line to breathe and prevents muddiness in the opening statement.
• The bass clarinet solo benefits from a warm, resonant tone and steady air support. Resist the urge to rush; let the melodic line unfold with confidence even if the technical passage feels exposed.
• Commit fully to the rhythmic woodwind figures in the early sections. Precision here drives the energy forward and makes transitions to the lyrical horn or alto saxophone solo land with real impact.
• The extended lyrical solo (horn or alto saxophone) is the emotional heart of the piece. Ensure your section leader understands the full arc of the melody and has adequate rehearsal time to shape it independently.

Program this as your opening concert selection when you want to set a strong, confident tone. Its six-minute length makes it substantial enough to anchor the first half of a concert program while remaining concise enough to allow room for larger works. The variety of solos and section writing also makes it an excellent vehicle for spotlighting individual players early in the season.

• Sustaining long lyrical phrases in solo and section contexts
• Balancing countermelody against primary melodic material
• Executing rhythmic precision in woodwind and percussion parts
• Building dynamic shape across extended harmonic passages
• Executing bass clarinet and horn (or alto saxophone) solo technique with musicality