The Old Boatman (arr. Dana Perna): Concert Band Conductor Score & Parts
By Florence Price / Arranged by Dana Perna
Grade: 3
Item: 35-PK01468753
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About the Composer: Florence Price
Florence Price (1887-1953) was the first African American woman to have a symphony performed by a major American orchestra. A prolific composer across multiple genres, she drew deeply from spirituals, folk melodies, and the classical traditions she mastered as a trained pianist and organist. Her chamber and orchestral works balance romantic lyricism with the distinctly American voices of her heritage, making her catalog essential for any ensemble seeking to expand its musical perspective.
Price's arrangements and original compositions for band and orchestra have gained renewed recognition in recent decades. Her gift for melody and harmonic color made her work instantly appealing to performers, and her attention to instrumental voice leading reveals a composer who understood ensemble writing with real sophistication. She remains a vital figure in American concert music and music education.
Why we love this
This arrangement captures the intimate, introspective quality that defines Price's lyric writing while remaining fresh within the concert band medium. The modest length and elegant modulation from E-flat to F major give you a piece that demands real maturity from your ensemble without wearing out an audience; it fits naturally into programs where you want to highlight refinement over spectacle. The oboe and euphonium solos offer personality and individual voice without requiring virtuosic technical display.
What to expect
Quiet dignity and longing. The piece evokes open water and distant reflection, with the folk-tinged melodies suggesting stories carried across time. Grieg's influence is palpable in the harmonic warmth and the way simple melodic gestures unfold with surprising emotional depth.
Who it's for
Concert band directors programming repertoire that celebrates American composers and offers their ensemble practice in sustained, song-like playing. Grade 3 ensembles with secure fundamentals and the patience to work on tone production, intonation, and phrasing over technical flash.
How to get the most out of it
- Shape each phrase with subtle rubato; the piece breathes like a vocal line, so allow slight tempo flexibility at phrase endings and where dynamics recede.
- Balance the solo voices forward but not prominently; the oboe and euphonium emerge from the texture, not over it.
- Ensure your ensemble commits to controlled vibrato at a mature amplitude, especially in the lyric passages where intonation becomes the foundation of beauty.
- Treat the modulation to F major as a gentle recoloring rather than a dramatic shift. The harmonic movement should feel inevitable, not jarring.
How to use it
Place this as a moment of repose in a mixed concert, perhaps following a more energetic opener. It pairs well with other American or Scandinavian-inspired repertoire and serves equally as an encore or as the centerpiece of a program devoted to Price's music. Consider programming it during winter or spring concerts when audiences appreciate reflective, lyrical work.
Skills your students will build
- Sustained tone production with mature vibrato control
- Intonation adjustment in harmonic progressions and chromatic voice leading
- Rubato and phrase shaping in romantic-style melodies
- Balance and blend when featured soloists emerge from ensemble texture
- Modulation perception and harmonic color shifts (E-flat major to F major)