Legend of the Alhambra Cover Image

Legend of the Alhambra: Concert Band Conductor Score & Parts

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Legend of the Alhambra Cover Image

Legend of the Alhambra: Concert Band Conductor Score & Parts

By Mark Williams

Grade: 1 (Very Easy)

Item: 00-20522

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Description
This easy, yet powerful work is a great choice for your spring concert. Featuring fun syncopations and modal harmonies, Legend of the Alhambra will have your students begging to play it over and over again! Correlated with Accent on Achievement, Book 1, page 32. This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Legend of the Alhambra: 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: Accent on Achievement
Publisher: Alfred Music
Page Count: 126
UPC: 038081197050
SKU: 00-20522

More about this title

About the Composer: Mark Williams

Mark Williams

Mark Williams brought decades of experience in school music to his compositional work, with over 200 published pieces for band, orchestra, and choir. A native of Chicago who spent his formative years in Spokane, Washington, he taught elementary band in Washington public schools while earning his Bachelor of Arts in Education and Master of Education from Eastern Washington University. His credentials as a clinician and guest conductor took him across 34 states, five Canadian provinces, and Australia, establishing him as a trusted voice in music education.

As co-author of the Accent on Achievement Band Method, Williams shaped how generations of young musicians learned fundamental skills. His compositional voice earned recognition through the Western International Band Clinic's Gralia Competition and multiple ASCAP Special Awards. Beyond the page, he remained an active bassoon performer and served as conductor and artistic director for the Spokane British Brass Band, keeping his own musicianship sharp throughout his career.

Why we love this

Williams writes music that genuinely excites first-year band students. The syncopations and modal harmonies here feel fresh and contemporary without overwhelming beginning players, and the alignment with Accent on Achievement, Book 1 means you're reinforcing concepts students already know. This is the kind of piece that builds momentum in rehearsal and gets real enthusiasm for spring concert preparation.

What to expect

Spirited and approachable, with enough rhythmic character to keep energy high throughout. The modal colors create a slightly exotic flavor that feels more sophisticated than typical beginner fare, while the syncopations give the whole ensemble something to dig into and feel proud of.

Who it's for

First-year concert band students ready to engage with accessible concert repertoire that still demands musicality and ensemble awareness. Directors seeking a spring concert selection that connects directly to what students have already learned in their method book while offering genuine musical satisfaction.

How to get the most out of it

  • Anchor the syncopated figures in the lower reeds and brass; students often rush syncopations, so lock the rhythm section's groove before layering melodic material on top.
  • Shape the modal harmonies with dynamic contrast rather than aggressive articulation. Subtle swells between sections make the harmonic shifts audible without sounding harsh.
  • Balance the upper woodwinds carefully if they carry the main theme; at this level, it's easy for clarinets to cover flutes unintentionally.

How to use it

Position this early in your spring concert to establish momentum and audience engagement. It works well alongside other accessible concert pieces and builds student confidence before tackling longer or more complex selections later in the program.

Skills your students will build

  • Reading and maintaining syncopated rhythms in ensemble context
  • Responding to modal harmonic movement through dynamic shaping
  • Balancing melodic and harmonic material within a full band texture
  • Connecting method book exercises to concert-quality repertoire

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