Scenes from Grand Lake Cover Image

Scenes from Grand Lake: Concert Band Conductor Score

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Scenes from Grand Lake: Concert Band Conductor Score

By Barry E. Kopetz

Grade: 3.5

Item: 98-B1074S

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Description
An ideal festival or concert winner, this exciting single-movement work is divided into five main sections. Very programmatic in nature, this piece features lively, energetic themes and swift changes of mood and style throughout. A slow, lyrical section is included with contrasting material. The intensity builds into a powerful coda which brings the entire work to a dramatic and fitting finale. (6:30)

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Additional Details
Series: FJH Concert Band
Publisher: The FJH Music Company, Inc.
UPC: 241444458938
SKU: 98-B1074S

More about this title

About the Composer: Barry E. Kopetz

Barry E. Kopetz

Barry E. Kopetz directs bands at Capital University in Columbus, Ohio, leading the Wind Symphony and Chamber Winds while teaching conducting, rehearsal techniques, and arranging. He holds degrees from Ohio State University (bachelor's and master's) and Indiana University (doctorate with distinction), and has taught at the University of Utah, University of Minnesota, and Bowling Green State University in addition to public school positions across Ohio and South Carolina.

Kopetz studied conducting with the legendary Frederick Fennell in Tokyo and has worked with conducting mentors including Frederick Ebbs, Ray Cramer, and Donald McGinnis. His catalog includes more than 50 published compositions and arrangements. Active as a guest conductor and adjudicator throughout the United States and Australia, he contributes analytical articles to Instrumentalist magazine and has recently worked on orchestrations for television and film. He was elected to membership in the American Bandmasters Association in 1998.

Why we love this

Kopetz understands what contest judges and festival audiences respond to: strong melodic writing, clear structural drama, and genuine contrast that keeps the ensemble (and listeners) engaged from start to finish. The five-section design gives conductors natural pacing and rehearsal breaks while maintaining forward momentum, and the programmatic approach invites students to think beyond the notes and connect emotionally to the music they're performing.

What to expect

The piece opens with energy and movement, painting vivid scenes across five distinct musical landscapes. A reflective, lyrical center offers respite and beauty before the momentum returns, driving toward a powerful finish that feels earned and inevitable.

Who it's for

Concert bands at the Grade 3.5 level seeking a piece with real substance for festival or concert programming. Directors want music that challenges students' musicality and control while remaining accessible; this work delivers both.

How to get the most out of it

  • Shape the lyrical section with genuine breath and legato phrasing; let the ensemble experience the tonal contrast before returning to the energy of surrounding sections.
  • Balance the lively, energetic themes so individual sections remain clear; excessive volume in early sections will leave nowhere to build toward the coda.
  • Mark the mood and style shifts clearly in rehearsal so players understand when to reset their approach; these transitions are central to the piece's character and require intentional ensemble awareness.
  • Build the coda gradually rather than all at once; reserve the full intensity for the final moments so the dramatic ending lands with impact.

How to use it

This works beautifully as a closing piece on a concert or festival program where you need something that showcases the ensemble's range and leaves the audience energized. The single-movement design and 6:30 duration fit cleanly into most concert formats, and the programmatic nature makes it an engaging centerpiece if you're building a thematic concert around American landscapes or concert band literature.

Skills your students will build

  • Sustaining lyrical phrasing across longer melodic lines
  • Responding to rapid style and mood shifts within a single work
  • Building dynamic intensity and managing crescendo through multiple sections
  • Ensemble balance and blend when playing contrasting material simultaneously
  • Interpreting programmatic intent and translating it into musical choices

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