The Vikings: Concert Band Conductor Score & Parts

Boysen respects the march form enough to work inside it, then subverts expectations with dark orchestration and an unsettling character that transforms what could be a standard programming choice into a genuinely memorable concert moment. The piccolo solo over the trio adds a layer of quirk without losing the weight that makes this piece feel consequential. Grade 4 bands rarely get marches this sophisticated.

Dark and deliberate, with an undercurrent of menace that never quite settles into comfort. The piece moves with the structural inevitability of a traditional march but carries the weight and attitude of something far more modern, creating an unsettling blend of familiar and foreign.

Grade 4 concert bands ready for a march that respects their musicianship while offering something unexpected. This works for ensembles seeking contest or concert repertoire that breaks from conventional march idioms without abandoning the form entirely.

• Build the intensity of the low brass and woodwind foundation in the opening section; the piece depends on a solid, ominous bass layer to establish its darker character before the main themes emerge.
• Balance the piccolo solo in the trio carefully so it cuts through but doesn't feel shrill; this solo is the pivot point between traditional march language and Boysen's unconventional voice.
• Shape the key changes as architectural moments, not just harmonic shifts. Each modulation should feel intentional and should build momentum toward the conclusion.
• Attend to dynamic contrast between sections; the piece's power comes from variety, so avoid letting any one section drift into autopilot during rehearsal.

Program this as a concert or festival piece when you want to demonstrate your band's range and control. It works especially well in a set that includes lighter or more traditional selections, where its darker personality provides dramatic contrast and showcases the ensemble's ability to command different moods.

• Executing articulation and dynamic contrast in the low brass foundation
• Balancing a prominent solo line (piccolo) within full band texture
• Navigating key changes while maintaining ensemble cohesion and forward motion
• Developing control in moderate-tempo march tempos where precision matters as much as energy
• Creating and sustaining an ensemble sound that conveys character and mood, not just technical accuracy