Tale of the Sword: Concert Band Conductor Score & Parts

Grant's gift for programmatic storytelling combined with deliberate compositional choices makes this an ideal vehicle for teaching 6/8 time. The ostinato-driven approach keeps rhythmic focus sharp while the cinematic narrative holds student engagement, and the included rhythm and melody sheets transform what could be rote drill into purposeful learning. That the Atlanta Wind Symphony recording captures both the epic scope and the careful detail means your students hear exactly what they're working toward.

Relentless and cinematic. Driving ostinatos create forward momentum while the minimal motivic material builds focus rather than complexity. The sound world shifts between the raw power of massed band and the subtlety of wave textures, placing listeners inside a Viking narrative that feels both timeless and immediate.

Grade 2 concert bands looking to tackle compound meter with purpose and urgency. This works equally well for groups making their first real acquaintance with 6/8 time and for ensembles consolidating their understanding through engaging repertoire.

• Build the ocean wave sounds gradually across the ensemble; start with just one or two voices establishing the ostinato, then layer additional parts so students hear how texture creates the sense of motion.
• Lock into the 6/8 pulse early in rehearsals by conducting the dotted-quarter feel rather than fighting against it; this clarifies where the weight of the meter actually falls.
• Use the recorded accompaniment during sectional work so rhythm section players develop independence while maintaining the propulsive energy that drives the piece forward.
• Reserve full ensemble run-throughs for when students have internalized their parts; premature massed playing muddies the dramatic architecture and obscures the Viking narrative.

Schedule this for a concert exploring rhythm and meter as structural foundations; pair it with contrasting repertoire in duple meters to highlight what 6/8 uniquely offers. It also works beautifully as a festival or contest selection, where the three-minute duration and clear dramatic arc make a strong impression.

• Reading and internalizing 6/8 meter with emphasis on the dotted-quarter pulse
• Maintaining ostinato patterns as rhythmic and textural foundation
• Shaping phrasing within repetitive material to avoid rhythmic stagnation
• Blending individual lines into ensemble texture while preserving rhythmic clarity
• Responding to programmatic intent through dynamic and articulation choices