Wind Dancer: 1st Trombone
By Frank Erickson
Grade: 4 (Medium Difficult)
Item: 00-PC-0000017_TN1
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Description
This stunning original composition will really show off the maturity of your concert band. Written in ABAB form, the "A" theme is a lilting dancelike melody that alternates between 3/4 and 6/8 time signatures with the eighth note remaining constant. The contrasting "B" theme is written in a more straightforward alla breve rhythm and features lush chords, smooth lines and soaring horn countermelodies. Another top notch performance work from Frank Erickson.
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Wind Dancer: 1st Trombone comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Alfred Concert Band
Publisher:
Alfred Music
Page Count:
2
SKU:
00-PC-0000017_TN1
More about this title
About the Composer: Frank Erickson
Frank Erickson (1923-1996) composed and arranged extensively for concert and marching bands, establishing himself as a trusted voice for educators seeking repertoire that balances musical substance with accessibility. His works became staples in band programs across North America, known for their clear orchestration, singable melodies, and attention to ensemble balance. Erickson understood what concert bands needed: pieces that challenged students without overwhelming them, and that sounded polished in performance.
Why we love this
Erickson's command of form shines here. The ABAB structure gives your students a clear roadmap, while the rhythmic shift between the lilting A section and the alla breve B section keeps the piece engaging without feeling disjointed. The horn writing in particular gives your melodic voices something genuinely beautiful to play, and the overall sophistication will satisfy both your musicians and your audience.
What to expect
Wind Dancer captures the elegance of ballroom movement paired with concert band idiom. The opening A section floats with a gentle lilt, its rhythm suggesting movement across a floor; the B section settles into warm, sustained harmony that feels like a moment of pause. Together they create a piece that is both refined and accessible, polished enough for a formal concert yet energetic enough to hold an audience's attention.
Who it's for
This piece belongs in the hands of a concert band that has solid fundamentals in place and is ready to tackle mixed meters with confidence. Your students should have enough maturity to understand form and shape a phrase, and your section leaders should be capable of balancing parts independently.
How to get the most out of it
- Keep the constant eighth-note pulse steady between the 3/4 and 6/8 sections of the A theme. Your rhythm section should lock into this pulse early in sectional rehearsal so the meter shift feels natural rather than disorienting.
- Balance the horn countermelodies in the B section so they complement rather than overshadow the primary melody. This requires careful voicing work with your woodwinds and brass.
- Shape the lush chords in the B theme with slight dynamic swell and release to bring out the harmonic richness without sacrificing clarity.
- Use the contrast between sections to guide your interpretation. The dancelike quality of the A theme should feel lighter and more buoyant than the sustained, chorale-like B theme.
How to use it
Program this as a centerpiece work on a concert devoted to American concert band literature, or pair it with other Erickson arrangements to showcase your band's range and maturity. Its two-page format and Grade 4 difficulty make it ideal for a mid-season concert performance, giving you time to prepare it thoroughly without it dominating your rehearsal calendar.
Skills your students will build
- Reading and performing mixed meters (3/4 and 6/8) with a constant eighth-note pulse
- Understanding and executing binary form (ABAB) with contrasting musical characters
- Balance and blend within full band texture, particularly in sustained harmonic passages
- Phrasing and dynamic shaping in lyrical melodic lines
- Part independence in multi-voice textures, especially horn countermelodies