New Horizons: Concert Band Conductor Score & Parts

Owens has a gift for delivering genuine concert moments at Grade 2.5, where the bar for writing something both satisfying and playable can feel impossibly high. The march form gives you a natural arc, the scoring provides real substance without drowning young players, and the spirited character translates immediately to an audience. This is the kind of piece that reminds everyone why concert band exists.

A march that swaggers. The energy never flags, but it's never breathless either; there's room for the players to shape phrases and let Owens's harmonic colors ring out. The shifting melodic styles keep the piece from feeling routine, offering moments of genuine personality within a firmly traditional structure.

Concert bands at the upper Grade 2 or low Grade 3 level looking for a complete march that demands musicality without overwhelming players. Directors preparing for festival or contest calendars will find this sits perfectly in a mixed program of varied styles.

• Keep the march tempo steady and declarative; the driving rhythms need a conductor who commits to the pulse without rushing through transitions between sections.
• Balance the melodic lines carefully across the sections. Since Owens uses varying styles and colors, clarity of voice becomes your tool for showcasing the compositional variety.
• Build dynamic contrast between the primary theme and its surroundings. Grade 2.5 players respond well to clear direction about which moments matter most.
• Let the harmonic foundation breathe. The robust harmony Owens writes deserves room in the mix, so avoid the common trap of drowning low brass and woodwinds in the upper parts.

Open a concert with this to set a tone of confidence and polish. The march format works beautifully as a palate cleanser between weightier selections, and its accessibility makes it ideal for early-season performances when your ensemble is still finding its ensemble sound.

• Marching meter fundamentals and consistent pulse maintenance
• Dynamic control within a traditional march form
• Sectional balance and voice independence in four-part harmony
• Musical phrasing across multiple melodic styles within a single work