Vikings Victorious Concert March Cover Image

Vikings Victorious Concert March: Concert Band Conductor Score & Parts

$70.00 USD
$70.00 USD
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Vikings Victorious Concert March Cover Image
Vikings Victorious Concert March: Concert Band Conductor Score & Parts

Vikings Victorious Concert March: Concert Band Conductor Score & Parts

By Chris Sharp

Grade: 1.5

Item: 98-B1245

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Description
A concert march in the classic tradition, this piece is ideal for your festival program. Written in the key of Eb, the difficult key change at the trio is avoided by a modulation to Bb, instead of the traditional Ab. The D.S. al fine helps this piece come together with minimum rehearsal time and maximum result. Consider even using the opening section as a school fight song!

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Additional Details
Series: FJH Developing Band
Publisher: The FJH Music Company, Inc.
UPC: 674398216345
SKU: 98-B1245

More about this title

About the Composer: Chris Sharp

Chris Sharp

Chris Sharp brings three decades of professional music experience to his compositions and arrangements, having spent eleven years as a performing trombonist and bandleader at Walt Disney World while simultaneously orchestrating music for Disney parks worldwide. His education at the University of Florida and University of Miami shaped a career that spans multiple roles: he has arranged for major entertainment companies including Universal Studios and Ringling Brothers, worked with ensembles from the Boston Pops to the USAF Airmen of Note, and maintained active involvement in music education at the middle school, high school, and college levels.

Currently Director of Bands at Polk State College, Dr. Sharp teaches theory, technology, and arranging alongside his composition work. His pieces appear regularly at the Midwest Clinic and have earned multiple ASCAP Plus awards, reflecting both the breadth of his professional network and the quality of writing that teachers and performers consistently choose.

Why we love this

Sharp understands what makes a march teachable. The key change from Eb to Bb sidesteps an awkward modulation that would demand extra rehearsal time, and the D.S. al fine structure lets you build this piece quickly without sacrificing the satisfying arrival at the trio. The opening works brilliantly as an optional school fight song, giving you versatile programming options from a single score.

What to expect

A straightforward, energetic march with a lyrical trio that balances tradition with smart compositional choices. The piece captures the forward momentum and clear orchestration of classic march form while keeping technical demands reasonable.

Who it's for

Directors working with developing concert bands who need a musically satisfying march without extensive preparation time. This works equally well as a festival program opener or as an alternative school spirit piece with dual purpose.

How to get the most out of it

  • Isolate the brass section on the opening statement so the characteristic march melody cuts through clearly in the first performance.
  • Let the transition into the trio breathe slightly. This modulation sits more comfortably for younger players when you allow a moment for ears to reset before the new key locks in.
  • Use the D.S. al fine structure to your advantage in rehearsal by returning to the opening as a unit checkpoint, building ensemble cohesion across the entire form without running the full piece multiple times.
  • If using the opening as a fight song, mark a clear cutoff point in your score so students know exactly where the concert march begins.

How to use it

Open a concert or festival performance with this march to establish a confident tone, or program it mid-set when you need a refreshing change of pace that still feels substantial. Its accessibility makes it ideal for early-season concerts when you're still building ensemble security.

Skills your students will build

  • Playing characteristic march articulation and phrasing
  • Managing a key modulation from Eb major to Bb major
  • Reading and executing repeat structures (D.S. al fine)
  • Balancing melody and accompaniment in a multi-section form
  • Responding to sectional cues across brass and woodwind parts

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