Ghosts in the Graveyard: Concert Band Conductor Score & Parts

Watson's Halloween novelty stands out because it treats young musicians as real players, not beginners playing "beginner music." The low brass and woodwinds get genuine melodic interest rather than filler parts, the percussion writing shows genuine craftsmanship with unconventional colors, and the flute section scream at 3:00 is the kind of moment students remember and love to rehearse. It's sophisticated enough to feel rewarding but accessible enough that a 1.5-level band can execute it with character.

The piece captures the playful, theatrical spirit of the childhood game it's named after, conjuring images of haunted houses and midnight mischief through clever orchestration and unexpected percussion colors. Spooky without being dark, it bounces along with character and keeps audiences delighted from start to finish.

Young concert bands at the 1.5 grade level who want a performance piece that celebrates Halloween without condescension. This works equally well for groups learning how to balance ensemble tone and phrase musical lines with intention.

• Shape the low brass and woodwind melodies with dynamic contour and phrasing; these aren't accompaniment lines, so encourage your players to voice them as if they were the main event.
• Experiment with the novel percussion parts during sectional rehearsals to find the right tone colors and balance; the percussion writing is intentionally creative, so you have interpretive choices here.
• Build anticipation toward that flute section scream moment at 3:00 by keeping the texture lean and the dynamic restraint clear in the measures leading up to it, then let it land with impact.

Program this in a fall concert to anchor a Halloween-themed set, or hold it for a winter or spring concert when the novelty and levity will feel especially welcome. It pairs well with other light seasonal selections and serves as an ideal centerpiece when you want to showcase your ensemble's personality and musicality without programming a serious standard.

• Phrasing and dynamic shaping in melodic lines within accessible ranges
• Ensemble balance when woodwinds and low brass share primary material
• Interpreting and executing unconventional percussion writing
• Ensemble coordination across contrasting sections and textures
• Musical storytelling through characterization and theatrical expression