March of the Two Left Feet (band version) Cover Image

March of the Two Left Feet (band version)

$10.00 USD
$10.00 USD
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March of the Two Left Feet (band version) Cover Image
March of the Two Left Feet (band version)

March of the Two Left Feet (band version)

By Leroy Anderson / arr. John Boyd

Item: 36-M915601
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Description
Leroy Anderson first mentioned The March of the Two Left Feet in a letter he wrote in 1947. However, he didn't actually finish the work for orchestra until 1969. This wacky, fast polka was premiered in 1970 and is based on Anderson's reading of the P.G. Wodehouse book, The Man With Two Left Feet. Anderson never completed a band arrangement of this work, even though he usually did band arrangements of his own orchestral compositions. Dr. John Boyd made this band arrangement after careful study and comparison with Anderson's own band works.

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Additional Details
Series: Master Band Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-57-134427-6
ISBN13: 978-1-57-134427-4
UPC: 660355069024
SKU: 36-M915601
Instrumentation: Concert Band

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908-1975) became one of America's most performed composers by writing accessible, imaginative light orchestral works that appealed equally to concert audiences and radio listeners. His gift was transforming everyday observations into charming musical narratives, a quality that made him a natural fit for film scores and ballet arrangements. Anderson's meticulous orchestrations served as models for arrangers across generations, and his decision to arrange most of his own works for band ensured these pieces reached school musicians nationwide.

Anderson's output spanned from the 1930s through the 1970s, a period when the line between "serious" and "popular" concert music was far more porous. He worked deliberately and slowly, sometimes taking decades to finish a piece once the idea took hold. The March of the Two Left Feet exemplifies this patience: conceived in 1947 and realized in 1969, it captures his mature compositional voice, witty, rhythmically sharp, and orchestrated with crystalline clarity.

Why we love this

Anderson's orchestral writing translated beautifully to band, and Dr. Boyd's arrangement honors both the composer's voice and the ensemble's capabilities. This piece gives bands a genuine showstopper with real comedic timing, the kind of selection that reminds audiences why they love band concerts. The polka energy feels fresh against most festival fare, and the technical demands keep your sections engaged without overwhelming intermediate players.

What to expect

A delightfully off-kilter waltz that stumbles forward with infectious energy and knowing charm. The orchestration sparkles with clever detail, and the polka rhythm drives relentlessly forward, generating momentum and lightness in equal measure.

Who it's for

Intermediate to advanced high school bands and college-level community ensembles will find the technical and musical sweet spot here. The piece works well for groups confident in their rhythmic precision and ensemble balance, particularly those looking to build audience connection through humor.

How to get the most out of it

  • Keep the tempo brisk and the articulation crisp; Anderson's humor depends on rhythmic precision and clean attack. A sluggish polka loses its wink.
  • Balance the melody line clearly, especially when it migrates between sections. The narrative quality of this piece comes through only if the audience can follow the musical conversation.
  • Use the staccato markings as your guide to character. Where Anderson writes short notes, he means them short; this propels the piece forward and reinforces the comedic effect.

How to use it

Slot this into spring or pops concerts where you want to shift the mood and remind listeners that bands can be playful. Its brevity makes it an excellent opener or closer, and pairing it with another Anderson selection (if available in your library) creates a mini-retrospective of his wit.

Skills your students will build

  • Executing staccato articulation with rhythmic precision and consistency
  • Maintaining tempo in fast polka meter (3/4)
  • Balancing melody clarity against accompaniment figures
  • Responding to compositional humor through ensemble interpretation
  • Sustaining energy and coordination through rapid section-to-section material shifts

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