The Monster Under the Bed: Baritone B.C.
By Robert Sheldon
Grade: 2 (Medium Easy)
Item: 00-PC-0000640_BBC1
$3.00
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Description
What child hasn't imagined frightening creatures lurking in their rooms at bedtime? This imaginative and delightful composition helps to put a more comical and friendly face on this monster, employing a jaunty melody, whole-tone harmonies, and the use of sound-tubes that produce an eerie and "monstrous" sound when whirled over the head. This is sure to be a hit with players and audience alike. The perfect novelty for any concert, and even more so if your concert is in late October! (2:15)
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Additional Details
Series:
Challenger Band Series
Publisher:
Alfred Music
Page Count:
124
SKU:
00-PC-0000640_BBC1
More about this title
About the Composer: Robert Sheldon
Robert Sheldon stands among the most frequently programmed composers in wind band repertoire, with works performed in concert halls and competitions worldwide. His compositions have earned recognition from the American School Band Directors Association, Phi Beta Mu, and ASCAP, and he has guest conducted All-State and Regional Honor Bands across the United States and internationally in Japan, Canada, Italy, Germany, Australia, and China. His music has premiered and performed at Carnegie Hall, Orchestra Hall in Chicago, Boston Symphony Hall, the Sydney Opera House, and the Kennedy Center.
Beyond composition, Sheldon served as lead author of Sound Innovations for Concert Band and maintains an active schedule as a clinician and educator, presenting at universities and state music education conferences. In 2020, VanderCook College of Music awarded him an honorary doctorate in recognition of his contributions to music education and wind band literature.
Why we love this
Sheldon delivers exactly what a Grade 2 band needs in a novelty piece: genuine humor without condescension, accessible instrumentation with no exposed soloists, and a musical idea strong enough that it doesn't rely on gimmicks alone. The sound tubes are pure theater, but the jaunty melody and whole-tone harmonies create a compositionally satisfying arrangement that players can take seriously while audiences enjoy the playful concept.
What to expect
Picture a monster that's more silly than scary, moving through the darkness with a cheerful bounce. The whole-tone harmonies create an offbeat, slightly unsettling backdrop, but the melody skips merrily over top, and when those sound tubes whirl overhead, the effect shifts from spooky to spectacle.
Who it's for
This is ideal for Grade 2 concert bands looking for a crowd-pleasing novelty that sits comfortably in the medium-easy range. The piece works equally well for middle school and early high school ensembles seeking something fun and engaging without sacrificing musicianship.
How to get the most out of it
- Balance the whole-tone harmonies so they sound intentional and eerie rather than muddled; clarity in the low reeds and low brass prevents the harmony from becoming wash.
- Establish a steady, bouncy tempo that lets the melody skip along naturally; resist the urge to drag, which will flatten the jaunty character.
- Coordinate the sound-tube sections carefully in sectional rehearsals so the timing and dynamic of the whirling effect doesn't overshadow the ensemble playing.
- Record a brief video of the sound-tube technique during rehearsal and share it with the band; players unfamiliar with the instrument benefit from seeing how it's handled safely and musically.
How to use it
Schedule this in the second half of a fall concert to shift the energy and get an audience laughing before intermission. It pairs well with a serious opening work and works beautifully as the final piece of a Halloween-themed concert, where the novelty factor can anchor an entire evening's concept.
Skills your students will build
- Balance and blend in whole-tone chord structures
- Maintaining rhythmic precision against a playful, syncopated melody
- Dynamic control in accompaniment figures that support rather than overwhelm the line
- Coordination and ensemble communication when non-pitched percussion (sound tubes) are part of the texture