Excelsior! (Concert March): Bassoon

Owens writes marches that actually sound like marches: they move forward with purpose and personality without relying on exhausted clichés. The drum and bugle call is a smart structural moment that gives your rhythm section and percussion something distinctive to anchor, and the shift to woodwind-led melody with euphonium countermelody creates a real textural conversation rather than simple unison doubling. For a Grade 2 piece, this has the kind of compositional clarity that keeps rehearsals focused and performances confident.

From the first measure, Excelsior! radiates optimism and straightforward purpose. The full-band opening statement feels ceremonial and grounded, then the drum and bugle call injects a moment of playful military character before the piece turns toward the warmth of woodwind melody. By the final pages, the full ensemble is marching together with unmistakable conviction and joy.

This march is ideal for Grade 2 concert bands looking for a piece with genuine orchestration and forward momentum. It works equally well for young ensembles preparing for contests and festivals or for programs seeking strong concert-opener material that builds confidence without overwhelming instrumentation or technical demands.

• Shape the opening theme statement with a gentle forward motion in the tempo; resist the urge to rush the march rhythm, which will help the subsequent drum and bugle call land with sharper impact.
• Balance the woodwind melody against the euphonium countermelody by having your euphonium player (or small section) match the woodwind dynamic and phrasing rather than doubling underneath; this keeps both lines audible.
• Tighten the transition into the full band conclusion with a clear conductor preparation; the energy shift from the sectional writing to tutti voicing needs intentional ensemble unity to land with the "rousing" character the piece asks for.

Open a concert with this to establish energy and set an upbeat tone without requiring technical difficulty from your ensemble. It pairs well with slower works or more contemporary pieces later in the program, and it is equally effective as a festival selection where judges appreciate solid fundamentals and clear musical structure in young band writing.

• Executing march rhythm with articulation clarity and consistent ensemble pulse
• Balancing sectional countermelodies and avoiding unintentional doublings
• Responding to structural transitions and dynamic shifts across the full ensemble
• Sustaining forward momentum through repeated phrases and sectional variations