Quintero: Concert Band Conductor Score & Parts

Hodges writes with a conductor's ear for balance and a teacher's sense of pacing. The architecture here is clean: the chorale intro draws students in, the low brass statement establishes presence, and the contrasting themes give every section something memorable to play. At Grade 2, this sits in that sweet spot where the writing is genuinely musical without becoming fussy, making it rewarding for both developing ensembles and experienced groups looking for a polished festival piece.

Quintero moves with purpose and energy. It opens quietly and thoughtfully, then builds into something driven and celebratory, with the percussion section pushing the full ensemble toward a satisfying, powerful finish. The jazzy interlude offers a welcome shift in color before the final push, keeping the listener engaged throughout.

This piece works beautifully for Grade 2 bands preparing for festival or contest. It's equally valuable for programs looking to showcase ensemble growth; the variety of textures and themes lets students at different skill levels find moments where they contribute meaningfully.

• Shape the chorale introduction with long, connected phrasing in the woodwinds and brass. This opening sets the emotional tone, so resist the urge to move too quickly through it.
• Let the low brass statement breathe and land with authority. This is the ensemble's chance to commit to a bold moment before the busier material begins.
• Bring out the woodwind secondary theme by having those players sit forward in the mix. The contrast with the legato main theme and driving percussion is what makes the arrangement sing.
• In the jazz-inflected woodwind section, encourage rhythmic precision and a lighter articulation. The playfulness here should feel intentional, not loose.

Program this as a mid-concert piece where it can build momentum, or use it as a contest selection that demonstrates the ensemble's range from lyrical playing to full-voiced power. The moderate length and clear structure make it accessible for festival judges while remaining genuinely engaging for an audience.

• Balancing melodic and accompaniment roles across the ensemble
• Controlling dynamics in legato phrases and in dramatic contrasts
• Reading and performing jazz-inflected rhythmic figures in woodwinds
• Ensemble precision when multiple textural layers occur simultaneously
• Low brass independence and projection in exposed statements