Marching Down Broadway: Concert Band Conductor Score & Parts
Arranged by John Moss
Grade: 3
Item: 35-PK01173249
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Description
Over the years, Broadway has provided us with some of the best-known marches ever written. John Moss adds his special orchestrational touch and clever juxtapositions in this sparkling medley that includes "Hey, Look Me Over," "Consider Yourself" and "Seventy Six Trombones." Dur: 3:00
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01173249
More about this title
About the Arranger: John Moss
John Moss is an arranger known for his work in concert band and wind ensemble literature, with a particular gift for reimagining familiar melodies through fresh orchestrational concepts. His arrangements balance accessibility with musicality, making him a reliable choice for directors seeking repertoire that engages audiences while remaining technically manageable for student musicians.
Why we love this
Moss constructs this medley around three iconic Broadway marches, but what sets it apart is his willingness to juxtapose them in unexpected ways rather than simply string them together. The result feels contemporary and playful without losing the charm that made these tunes audience favorites in the first place.
What to expect
Bright, sophisticated, and effortlessly entertaining. The piece moves with the confidence of a seasoned Broadway number, layering familiar melodies in ways that feel both surprising and inevitable. There's a wink-and-a-nudge quality that keeps listeners engaged without ever feeling cynical.
Who it's for
Grade 3 concert bands ready to program something with immediate appeal to audiences and music lovers. Directors seeking a spirited opener or closer that doesn't demand extensive rehearsal time while still offering genuine musical substance.
How to get the most out of it
- Keep the tempo steady throughout transitions between the three melodies; resist the urge to slow down as material changes, since the medley structure depends on forward momentum to feel cohesive.
- Balance the melodic statements between sections carefully. When a melody passes from trumpets to clarinets to trombones, each section needs to project with equal confidence so no hand-off feels like a drop.
- Lean into the brilliance of the orchestration. Moss's arranging decisions about who plays what are deliberate, so honor the inner voices and countermelodies rather than treating them as accompaniment.
- Bring attention to the clever moments where two themes overlap or appear in unexpected harmonic contexts. These are where the audience will remember this isn't just a nostalgia piece.
How to use it
Program this as an energetic first piece on a concert featuring a mix of styles, or use it to bookend a set of classic repertoire. Its three-minute runtime and crowd-pleasing character make it ideal for pops concerts, graduation ceremonies, or community band performances where you want to establish immediate rapport with the audience.
Skills your students will build
- Tracking melodic material as it moves between sections
- Maintaining ensemble cohesion during rapid instrumental exchanges
- Balancing inner voice clarity with primary melodic lines
- Executing clean transitions between thematic sections
- Understanding orchestration choices and their effect on musical phrasing