The Challenger: Concert Band Conductor Score & Parts

Kinyon writes marches that actually sound like marches without asking for technical wizardry. The interplay between the clarinet-saxophone melody and the floating flute countermelody in the trio gives young players a real sense of musical independence while keeping the overall writing accessible, making this piece genuinely rewarding to conduct and perform.

The Challenger delivers exactly what a good Grade 1 march should: spirited energy balanced with musical clarity. The traditional march structure grounds the piece in something familiar, while the trio's textural interplay offers a moment of genuine musical sophistication that feels achieved rather than handed over.

Young concert bands at the Grade 1 level benefit most from this march, whether preparing for a concert, contest, or festival performance. It suits bands with players relatively new to ensemble playing who still need straightforward, well-constructed repertoire that teaches musicianship without excessive technical demands.

• Balance the trio section carefully; the flute countermelody should float above the primary melody without overwhelming it. Work the sections separately first, then layer them during rehearsal.
• Shape the march with clear phrasing at phrase endings, even in the louder passages. Young bands often fall into metronomic playing, so mark breath points and dynamic arrivals in the parts.
• Establish a confident tempo that allows the ensemble to maintain precision through the traditional march figures without rushing the rhythmic figures.

Program this as an opener or closer for a concert where you want to establish energy and confidence without requiring the band to spend weeks on technical preparation. It also works well as a contest selection for young bands, since the straightforward demands allow you to focus rehearsal time on musicality, balance, and form rather than fundamental technique.

• March form recognition and phrasing at Grade 1 technical level
• Ensemble balance in multi-part textures (melody, countermelody, accompaniment)
• Sectional independence in the trio section (clarinets, saxophones, flutes)
• Articulation consistency in traditional march rhythmic figures