Poem Romantic No. 1 (in G Minor) Sheet Music Preview

Poem Romantic No. 1 (in G Minor): Concert Band Conductor Score & Parts

By Richard L. Saucedo

Grade: 1

Item: 35-PK00307204

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Description
This lyric work provides an opportunity for your band to experience the musical style of Chopin in an effective setting for second year players. Featuring legato phrases, darker sonorities, and an engaging harmonic progression, "Poem Romantic No. 1" offers musical rewards for the young level. Dur: 2:40

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00307204

More about this title

About the Composer: Richard L. Saucedo

Richard L. Saucedo

Richard L. Saucedo spent 31 years as Director of Bands and Chairman of the Performing Arts Department at Carmel High School in Indiana, transforming the program into a nationally recognized powerhouse. His ensembles earned state, regional, and national titles across concert, jazz, and marching categories; Carmel's Wind Symphony I performed at the Music for All National Concert Band Festival three times and claimed the Indiana State Championship in 2013, while the Marching Greyhounds secured BOA National Championships in 2005 and 2012 after 17 consecutive top-ten finishes.

Saucedo's contributions to music education and the activity earned him Indiana's Bandmaster of the Year award (1998-99), induction into both the Music for All Hall of Fame (2015) and Drum Corps International Hall of Fame (2022), and membership in the American Bandmasters Association. Beyond his administrative and competitive work, he has composed and arranged extensively for marching bands, concert bands, choral ensembles, and orchestras. He served as Brass Arranger/Composer for the Cavaliers Drum and Bugle Corps, helping secure five DCI world championships, and currently coordinates music ensembles for the Blue Devils and serves as Senior Educational Consultant for Music for All and Bands of America.

Why we love this

Saucedo captures the essence of Romantic lyricism without overwhelming second-year players with excessive technical demands. The work sits perfectly between accessibility and genuine musicality, allowing your band to inhabit a darker, more introspective sound world while building confidence in legato playing and harmonic awareness. A piece this tasteful at Grade 1 is uncommon; most young-level concert work prioritizes rhythmic clarity over emotional depth.

What to expect

Introspective and elegantly spare. The piece inhabits the quieter corners of the Romantic era, where minor harmonies and sustained melodic lines create an atmosphere of quiet reflection. Your band will feel the weight of longer phrases and the color of G minor sonorities.

Who it's for

Second-year concert bands seeking repertoire that builds musicianship beyond fundamental technique. Students ready to experience a different emotional palette than typical Grade 1 material will find genuine substance here without confronting overwhelming complexity.

How to get the most out of it

  • Shape the legato phrases with long-line breathing. Encourage your players to think in multi-measure phrases rather than note-to-note articulation, which is essential for capturing the Romantic character.
  • Balance the darker sonorities carefully across sections. The G minor tonality and lower register writing can quickly cloud the texture if your middle voices aren't projecting with clarity beneath the melody.
  • Let the harmonic progression breathe. This piece rewards slight flexibility in tempo at cadences and phrase turns, so rehearse transitions deliberately rather than driving through them.

How to use it

Program this as a concert opener or early set piece when you want to establish a more sophisticated mood before moving to lighter fare. Its 2:40 duration makes it an ideal festival selection that won't crowd your program while still demonstrating artistic growth in your young ensemble.

Skills your students will build

  • Sustained legato phrasing across multiple measures
  • Blend and balance in darker harmonic contexts
  • Understanding minor key tonality and color
  • Sensitivity to harmonic progression and functional harmony
  • Long-line musical thinking beyond measure-level articulation

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