Gramata (2015) - Benefits of Chamber Music Participation

Running
Head: BENEFITS OF CHAMBER MUSIC PARTICIPATION

The Benefits of Chamber Music Participation on the High School Instrumental Students’
Overall Musicianship
By
Matthew S. Gramata
SUPERVISORY COMMITTEE:
Dr. Matthew D. Thibeault, Chair
Dr. William I. Bauer, Member
A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF MUSIC
UNIVERSITY OF FLORIDA
2015

BENEFITS OF CHAMBER MUSIC PARTICIPATION 2

Abstract
This project looks at the possibilities for chamber music as a complement to large ensemble
programs through a literature review and a proposed instructional sequence. The literature
review examines the benefits of chamber music participation on a high school instrumental
student’s overall musicianship, technical ability, interpersonal relationships, leadership skills,
and creativity. The paper outlines various benefits to overall musical development, student
teaching strategies, and the development of non-musical skills beneficial to character
development. To compliment the synthesis of scholarly literature, an instructional sequence is
provided as a resource for educators to put into action the goals outlined in the review. This
sequence is envisioned to offer one way to delineate pedagogical activities associated with the
specific goals extracted from the review. Along with an annotated bibliography of chamber
music works for varied instrumentation, this project provides music educators with support, both
scholarly and pedagogical, to implement chamber music into the curriculum as a supplement to
current instrumental music learning experiences.


The Benefits of Chamber Music Participation on the High School Instrumental Student’s Overall
Musicianship
Many instrumental music programs in public schools focus on the large performing
ensemble for curricular goals. But large ensembles have come under recent criticism. According
to Kratus (2007), large ensembles are autocratic models of teaching that restrict students from
having influence on musical decisions and hold no parallel to any other school subject. In
addition, Williams (2011) questions whether the large ensemble model for music education is a
significant reason why so few students enroll in school music classes. One avenue to remedy
some of these criticisms would be to implement a chamber music program as part of the
instrumental music program and provide more diverse learning experiences outside of the large
ensemble. The inclusion of chamber music participation within an instrumental music program
may complement the overall success of the large ensemble. Participation in chamber music
provides unique experiences for students that may not be found in the large ensemble setting.
These experiences are aimed at developing overall musicianship, aural awareness, and
communication (verbal and non-verbal), while also providing students with opportunities to
engage in student driven practices that enhance skills relating to leadership, decision-making,
compromise, creativity, personal responsibility, and pedagogical delivery.
The skills experienced in chamber music participation complement what some believe to
be the mission of music educators to provide students with a comprehensive music education that
supports individualism, collaboration, and creativity. This paper reviews advocacy for the
inclusion of chamber music in school musical curriculums for many reasons and over many
decades. The review describes potential benefits of chamber music participation in high school
instrumental music programs, providing a review of essential information and resources needed


to understand these benefits. The review also discusses why skills obtained through chamber
music participation may ultimately enhance the large ensemble experience through support for
individual musicianship, creativity, decision-making, and the cultivation of musicians who are
self-sufficient.
The review begins by analyzing the effect chamber music participation has on the
enhancement of musical skill. Student extraction from the large ensemble places students into
independent musical roles where demanding material is utilized to increase performance habits
and musical skill. The review also presents research on the non-musical benefits to chamber
music study. These ideas aim to develop an understanding within the field of music education of
the many potential interpersonal, behavioral, and social skills obtained and fostered through
chamber music participation. Character building and collaboration, both socially and
professionally, suggest the understanding of skills obtained through small group ensemble
practice that can be carried outside of the music classroom. Finally, the review discusses the
ways chamber music participation cultivates the maturation of positive student educators and
role models. Through the development of student educators, a cycle is created that enables
students to contribute to the advancement of the music community through the transfer of
knowledge to other student musicians. An analysis of this literature provides guidance for
pursuing some of the most important goals of chamber music study, and also provides support as
to the benefits and value of such a program.


The Development of Musical and Large Ensemble Skills
One area where chamber music can supplement large ensemble experiences is in
conjunction with the NAfME Standards for Music Education. Chamber music participation does
not only satisfy the 1994 version of the national standards, specifically Content Standard #2:
Performing on instruments, alone and with others, a varied repertoire of music, but directly
satisfies the 2014 revision of the standards. The Core Music Standards developed by the
National Coalition for Core Arts Standards present five performance specific strands based on
musical selection, analysis, interpretation, rehearsal coupled with evaluating and refining, and
presentation. An example of how chamber music practice connects with the performance strands
of 2014 The Core Music Standards can be found in strand MU:Cr6.1.E.IIIa:
Demonstrate an understanding and mastery of the technical demands and expressive
qualities of the music through prepared and improvised performances of a varied
repertoire representing diverse cultures, styles, genres, and historical periods in multiple
types of ensembles.
Technical mastery and performance through a variety of ensemble orientations are two elements
of this strand that directly relate to common chamber music practices. The student driven
learning environment and independent nature of chamber music participation supports the
performance based artistic processes outlined in the revised set of standards.
The musical independence developed in the small ensemble setting allows for increased
personal responsibility and heightened awareness of both obvious and subtle musical elements.
Due to the demanding musical material and the individualized aspect of small ensemble
performing, students develop a higher standard for individual musical excellence through
technical mastery of one’s instrument. Students should not only witness a dramatic increase in


performance ability, but an increased attitude towards music making as a result of small group
musical participation.
According to Latten (2001):
All instrumental students should be provided with regularly scheduled small-ensemble or
chamber music opportunities as a basic part of their annual school music experience…an
elementary or secondary instrumental music curriculum consisting primarily of full-
ensemble experiences and in-school lessons or sectionals may provide admirable results
and make a community proud, but could short-change the students’ musical development
and education. (p. 45)
Latten analyzes the benefits of chamber music participation that support the National Standards
for Music Education. When referring to Content Standard 2 of the 1994 standards, Latten
proposes that chamber music participation provides students with the sudden task of listening to
an increasing number of contrasting voices for blend, balance, intonation, and rhythmic and
stylistic agreement (Latten, 2001). The inherent characteristic of chamber music aims at placing
the onus on individual student performance.
Increasing individual musical ability through musical independence is achieved by
placing the student in a soloist role without the assistance of reinforcement from other students
on the same musical part. By extracting the student from a section in a large ensemble consisting
of multiple students performing the same music, the individual gains an immediate sense of
personal responsibility to increase their musical skills as a solo performer. According to Stubbs
(1983), the idea of several players on a part can mask an individual’s mediocrity to an amazing
degree, although this is not so in chamber music. Sandra Dackow (1981) supported this claim by
suggesting the player must prepare to a greater degree than they would for a band performance as


the chamber musician requires the player to function as an individual, while at the same time
contributing to a complex group sonority. Chamber music ensembles generally contain one part
for each player, placing a heightened emphasis on individual practice and teaching musical
independence. Educators can create the sense of personal accountability regarding musical
performance by developing more independent musicians through chamber music participation.
The development of musicianship and attention to musical details such as intonation and
tempo are achieved through exposure to a more focused set of musical voices. According to
Schoenbach (1963) who argued for the inclusion of chamber music specifically in secondary
schools, immediate beneficial results might come in the areas of intonation, musical awareness,
and alertness, which could be reflected in the large ensemble setting. The more focused setting
of the small ensemble allows students to actively listen to their peers for pitch in order to readily
make adjustments, gain a sense of alertness by feeling the internal meter and rhythm from within
the individual, and to become aware of the total musical picture by promoting the importance of
balance and relationships between individual voices (Schoenbach, 1963). It is within this
smaller setting that teachers can train their students to focus these musical aspects that may not
be as easily discernable in the larger ensemble.
Developing skills that are directly transferable to the large ensemble setting serves as an
integral part of the chamber music benefit on individual musical skill. According to Deibel,
Loeffert, Goddard Loeffert, and Nichol (2014), chamber music serves as a vehicle for musical
excellence that directly transfers to the large ensemble. Chamber music practice demands
specific attention to intonation, blending tone within the ensemble, maintaining internal rhythm,
and requiring students to match style and articulation. These musical skills are directly
transferable to the large ensemble setting, as sections within the large group are required to


execute these principles at an advanced level. Chamber music serves as a microcosm for large
ensembles, developing intuitive musicians who hone their skills in a more concentrated setting
through the development of musical objectives aimed at establishing musical independence
(Beibel, Loeffert, Goddard Loeffert & Nichol, 2014). Educators can enhance the large ensemble
experience through musical activities that aim to foster the development of musical skill.
Stronger individual players should emerge from these experiences, which in turn can result in an
increase in the abilities of the large ensemble.
Chamber music participation has the ability to increase the attitudes of musicians towards
music making in cohesion with increased performance abilities. Zorn (1973) details a thirty-two
week study on the effectiveness of the chamber music ensemble experience on performance
abilities and overall attitude changes toward music and musical participation. Results showed a
strong correlation between chamber music participation and favorable attitudes towards music.
Although the results of the study showed increases in performance abilities of students
participating in chamber music ensembles, they did not yield a significant increase over the
control groups who participated in sectional rehearsal groups working on band parts. Despite the
claims of increased performance ability, the existing literature does not include a carefully
controlled study that would show performance gains, with Zorn’s study representative of
conclusions. Perhaps, given a longer time period or a different measure of performance ability,
the chamber music ensemble experience might reveal significant gains in performing ability.
This section of the literature review presented various ways chamber music participation
benefits the development of musical skill within the individual musician and the large ensemble.
By extracting students from sections of the large ensemble and placing them in an environment
conducive to independent preparation and performance, students are required to meet the


individual demands of the music as a soloist would. The increase of musical awareness and
technical execution is attributed to the small ensemble environment. Developing internal pulse,
listening abilities, adjusting intonation, ensemble balance, and rhythmic cohesion are only a few
of the skills that are more easily cultivated in the smaller group setting than in the large
ensemble. The goal is to develop mature musicians that can bring the performance skills and
musical awareness nurtured in the small ensemble setting back into the large ensemble. In order
to ensure these skills transfer, teachers need to remind students that these skills need to become
inherent techniques they bring into each large ensemble performance. By isolating smaller
sections and instrumentation during large ensemble rehearsals, students can gain the sense of
small group playing within the structure of a large ensemble. By placing musicians in a more
concentrated environment conducive to individual development, students acquire valuable solo
and ensemble skills, learn to acclimate those skills in an ensemble setting, and increase their
individual competency on their respective instrument due to limited reliance on peer assistance
and increased personal responsibility to master one’s part. The development of these musical
skills also coincides with the maturation of non-musical characteristics fostered through the
chamber music application.
The Development of Non-Musical Skills
Educators should take full advantage of the opportunity to harness and cultivate the many
non-musical skills and characteristics available for cultivation through chamber music
participation. As students in small ensembles develop roles within the group, teachers are
primed to use the ensemble environment as an outlet to foster leadership skills with their
students. This section also discusses interpersonal skills gained through group collaboration,
personality management, decision-making, and goal setting. The social aspect of chamber music


allows students to develop personal and working relationships with students that contribute to the
overall community within the music program. While developing a positive rapport within the
ensemble, nonverbal communication is another element of chamber performing that needs to be
established and enhanced with the absence of a true conductor. The opportunity to facilitate
composition, improvisation, and creative thought through the chamber music application will
also be detailed in this section of non-musical benefits. Educators have the opportunity to not
only increase the musical ability of their students through this application, but also foster and
encourage the development of intrinsic characteristics essential in student maturation towards
future social and professional expectations.
Chamber music ensembles are unique vehicles for students to experience personal growth
in non-musical areas that are considered more intrinsic in nature. Celentano (1966) stated that
chamber music participation demands flexible degrees of self-subordination, cooperation,
leadership, and discipline for the sake of the ensemble’s overall success. Although the music
educator is presented with a challenge to influence and direct the interest of and participation of
chamber music, the chamber music coach has the opportunity to provide experiences to
musicians vital to their growth as an individual and as a musician.
Without the presence of an educator, students in chamber ensembles tend to take on
leadership roles to fill the void left by the absence of the instructor. Leadership is one of the most
common character traits observed in the chamber music setting and is detailed in the works by
Leshnower (2008), Murninghan & Conlon (1991), Davidson & Ford (2003), and King (2006).
Leshnower’s (2008) article on teaching leadership focuses on the leadership behaviors of the
Cassatt String Quartet. Due to the small-group structure of the quartet, all members of the


ensemble exhibit leadership qualities and have to work together to solve problems and increase
learning in order to produce a high quality musical product.
Leadership is fostered through establishing a vision, communicating with ensemble
members, and understanding their particular role at any given time, leader or not. Creative
thinking serves as a key ingredient to developing leadership, and establishing an environment for
new ideas will influence change. Leshnower discusses the creative process as individuals
thinking imaginatively towards an original idea that is purposeful and contains value towards
reaching their desired goal. The article details the leadership behaviors and activities that occur
within the chamber ensemble setting while also presenting multiple exercises aimed to develop
leadership skills in the classroom setting. Leadership is ultimately a fundamental aspect of
character education and as seen through the lens of a chamber music ensemble, leadership
training should be integrated into any gifted school curriculum (Leshnower, 2008). Leadership
training through small ensemble work can have lasting benefits that transfer directly to other
ensembles within the music program.
It is understood that within small ensemble performance members of the group may take
on leadership roles, but should that role be assigned to a specific individual within the ensemble?
Another study by Murnighan & Conlon (1991) focused on the relationship between the internal
dynamics and success of British string quartets. There is a preconceived notion in chamber
music that the lead player primarily serves as the “leader” of the ensemble due to the fact that
they are primarily playing lead, solo, or melodic material. Unlike larger ensembles where
members are bound by the decisions of the conductor, chamber music allows all members to
contribute to musical decision-making. The study analyzed interview responses of 20 string
quartets (80 professional string-quartet musicians) and two additional members (one current and


one retired first-violinist) regarding musical decisions, leadership, personal feelings and
behaviors, musical motivations, and demographics. The results of the study elicited a paradox in
responses, where although most members associated the word “leader” with the first violinist and
recognized that their ensembles required someone with leadership, responses also acknowledged
democratic leadership amongst the ensemble and dismissed the philosophy that the first violinist
was viewed as the leader (Murnighan & Conlon, 1991). As it can be seen in this study, there is
no clear answer to the question posed at the beginning of this section. Although many ensembles
assign the leadership role to the lead player as a result of the melodic material found in their part,
others may assign the leadership role to more senior members with more experience, or even
adopt a democratic approach.
Containing a democratic approach to leadership roles and decision-making allows for all
members of the ensemble to have a voice regardless of their role in the ensemble. An analysis
into the roles of musicians in chamber ensembles supports the need for leadership, open
communication, and democratic decision-making amongst members. Studies by Ford &
Davidson (2003) and King (2006) investigate the interactions between ensemble members, the
roles they play within the ensemble, and the benefits that yield from these interactions. The
article by Ford and Davidson builds upon the findings by Murnighan and Conlon though a
questionnaire administered to 55 respondents representing 20 wind quintets. Results of the study
found that an overwhelming majority (63 percent) of the participants viewed their ensembles as
being without an appointed leader and participate in democratic decision-making. Educators
should aim to establish an environment where all members of the ensemble can experience a
leadership role and where contributions from all participants are welcomed and respected.


As ensemble members become comfortable participating in musical decisions, they
develop the confidence to bring their strengths and ideas to the table while learning to respect the
thoughts of others. Although the primary goal of the small ensemble is to achieve excellence in
performance, conflicting personalities and group interaction can affect group dynamics. The
view that positive interpersonal dynamics are vital in order for chamber ensembles to function
properly is a shared relationship between wind quintets and string quartets. King (2006)
analyzed the roles of musicians in a saxophone quartet, wind quartet, and string quartet
comprised of differing levels of experience together as an ensemble, age, and gender. Through
rehearsal observations and post rehearsal interviews with ensemble members, the findings
exposed similar feelings towards cooperative learning, leadership, and ensemble goals, while the
main differences between ensembles turned out to be social difficulties experienced in learning
how to collaborate effectively in rehearsal and make decisions to improve musical performance.
A review of literature by Luce (2001) on collaborative learning in music education detailed the
pedagogical process as a benefit to music education and a means for students to work
democratically to achieve musical goals. As a result of limited resources specific to
collaborative learning and music education, Luce suggested the need for a community of peers to
emphasize and discuss this topic. As a collaborative vehicle, chamber music provides educators
with an outlet to emphasize collaborative learning in the field of music education. Due to its
student driven nature, chamber ensembles provide students with opportunities to gain valuable
experience in group collaboration, team building, and managing personalities in a work related
environment. Adolescent students will naturally experience disagreement amongst their peers,
but educators can utilize these opportunities to foster conflict resolution skills in efforts for


students to eventually come to conclusions on issues independently, respectfully, and
democratically.
Chamber music participation is not just all work and no play. The social benefits of
chamber music participation not only allow for student collaboration amongst peers, but places
students in social situations that require cooperation and universal cohesion amongst members to
work through questions that may arise, both musically and socially. In an article supporting
chamber music in musical education, Sugal (1955) describes the greatest enjoyment of chamber
musicians comes from the social enjoyment and development of human values together with the
many satisfactions which music offers. Following an explanation of his relationships performing
the works of various chamber music composers and the behaviors of the chamber ensemble,
Wechsberg (1963) stated in his article regarding chamber music performance:
Suddenly everybody plays all the notes in the score and each player can hear his fellow
players as well as himself…the room is filled with harmony and with subtle rapport
achieved by four people who are emotionally and melodiously in tune. It is in moments
like this that you understand why chamber music has always been called ‘the music of
friends’. (p. 36)
Participation in chamber ensembles builds social skills and rapport amongst peers through the
cooperative engagement in musical activity. The opportunity to develop lasting relationships
through musical interaction is beneficial to the school community and specifically the student.
These relationships are established through proper communication in order to determine
ensemble goals and especially musical cohesion in the midst of performance.
But how do members of the ensemble ensure musical cohesion in the midst of
performance? Nonverbal communication is essential for chamber musicians to internalize


because it serves as the single action that initiates musical performance, maintains internal pulse
between the members of the ensemble, describes the dynamic and stylistic execution desired, and
ultimately serves as the vehicle to relay musical messages between musicians. Group members
are required to interpret signals and messages through the use of body language such as eye
contact and upper body movement in order to maintain ultimate structure and consistency
(Leshnower, 2008). According to Silveira (2014), timing in music, musical ideas, and
interpretation are often connected with whole-body, representing a physical manifestation of the
music and providing an added visual component to the music. His study on the effect of body
movement on listeners’ perceptions of musicality in trombone quartet performance concluded
that listener ratings of the performances increased as the group utilized more body movement in
their performance. The quartet of professional trombonists performed the same musical material
three times, first without body movement, then only using head and facial movements, and
finally full body movement. Not only does the use of nonverbal communication serve as a
communication apparatus between members, but allows the individual to express musicality in a
visual venue while also effects the perceptions of audience members observing the performance.
Nonverbal communication is used in large ensemble performance through the baton of
the conductor, but what happens when the conductor is absent from the performance? The
responsibility of the conductor is dispersed amongst the members of the chamber ensemble and
the experience becomes unique causing challenges regarding overall cohesion. Although often
discouraged in the large ensemble setting with the exception of the conductor, the chamber
music arena welcomes the use of expressive bodily movement during performance from all
performers. Ultimately, movement within the ensemble maintains internal pulse and solidifies
music phrasing, while cueing and breathing together aides members in matching tempo,


dynamics, style, attacks, and releases (Beibel, Loeffert, Goddard Loeffert & Nichol, 2014). The
benefits of developing individual and group communication skills are directly transferable to
section playing within large ensemble playing and any other chamber ensemble regardless of
instrumentation. By having the element of nonverbal communication as the backbone of
chamber music performance, an added awareness and responsibility is placed on each member of
the ensemble to ensure proper cohesive execution of musical elements and ultimate organization
amongst members.
Confidence, both interpersonally and musically, is an intrinsic characteristic developed
through chamber music participation. As participation in chamber music ensembles improves
student awareness of the other members through nonverbal cues and active listening,
participation also builds individual performing confidence in the individual. Stubbs (1983)
details the value chamber music participation has on cultivating the confidence of the individual
musician. He credits the ultimate motivation of a musician to exposure and the soloist projects
his own ego or vanity the most when their playing is exposed in a solo setting. This allows for
the performer to gain acceptance and praise through the projection of a positive musical image
the performer wishes to portray. According to Stubbs, any performing arena in which the
individual is more exposed has the potential to offer an even greater degree of reward and
chamber music is that outlet. Due to the virtuosic demands on the performer and the degree of
individual exposure, each individual within the chamber music ensemble has responsibilities
similar to a soloist and requires a high level of musical and technical mastery (Stubbs, 1983).
Other benefits previously discussed such as increasing musical maturity through the lack of a
conductor, independence and freedom gained through extraction from the large ensemble, and a
heightened sense of musical attentiveness through collaboration with other performers are also


addressed by Stubbs in the discussion of building individual confidence through chamber music
participation. One of the concluding arguments presented by this article suggests that through
the development of the individual musician gaining performing confidence, the artistic levels of
both small and large ensembles within any music program will rise. As a result of these
findings, it can be said that participation in chamber music produces more confident students,
musicians, and soloists who will directly impact the musical capabilities of the large ensemble.
Accompanying the many other benefits to chamber music is the opportunity for students
to exert their creativity through a variety of musical outlets within the ensemble. But why is the
chamber ensemble a more feasible arena for creative thinking and creative experiences? The
chamber ensemble serves as a platform for students to improvise, compose, arrange, and
reinterpret music. Due to the concentrated instrumentation of a chamber ensemble, beginning
composers and improvisers are more inclined to experiment in these creative outlets than they
would in a large ensemble setting. As musicians strive to make musical decisions when
interpreting pieces, opportunities arise for members of the group to offer unique perspectives to
musical performance through the manipulation of style, dynamics, articulations, and phrasing to
name a few of the many music elements available. More and more contemporary chamber
ensemble literature contains sections that require the performer to improvise freely to a set of
given chord progressions, as one would do in a jazz ensemble. Some examples of chamber
works that include improvisatory sections are Diffusion for Saxophone Quartet by Gordon
Goodwin, Seven Sparks for Clarinet Choir by Alexis Ciesla, Ulla in Africa for
Clarinet/Saxophone quartet by Heiner Wiberny, and The Easter Islander for flute/saxophone
quartet by Mike Mower.


Musicians are also encouraged to compose or arrange music for their small ensembles,
which is a more reasonable challenge for students beginning to compose music where they only
have a select number of voices to write for rather than a large ensemble. Hopkins (2015)
observed collaborative composing within high school chamber music ensembles and found that
balance of collaboration amongst members, task-directed musical communication, and gender
grouping contributed positively to the overall outcome of the collaborative composition.
Hopkins introduces the study and its significance through the use of the 1994 version of the
National Standards for Arts Education, especially Standard 4 that states all students should have
experience composing or arranging music within specified guidelines. In this statement,
Hopkins outlines the importance of the study and its relevance to chamber music. After citing
various sources detailing the many ways music educators seem to omit composition experiences
from their curriculums, he explains that more music educators would be more willing to
incorporate compositional experiences into their classes if they had a greater understanding of
how to actually implement composition successfully into an ensemble context (Hopkins, 2015).
Creativity is a characteristic directly associated with the subject of music and through chamber
music participation, the opportunity to access and generate creative ideas is constantly promoted.
There are ample opportunities for students to take part in creative activities through chamber
music participation. Educators can introduce students to improvisation through the use of
specific repertoire and provide opportunities for students to compose or arrange for their own
ensemble. Both of these activities offer the educator an avenue to reinforce music theory
concepts, as an understanding of theoretical elements is essential when improvising or
composing.


When discussing the non-musical benefits to chamber music participation, it can be said
that students participating in this musical activity engage in experiences that activate and
enhance behavioral, social, and creative processes. Through constant interaction with members
of the ensemble, students learn how to manage personalities, develop leadership skills, build
individual performance confidence, communicate through nonverbal cues, and build both social
and working relationships with people who are all pursuing the same musical objectives. The
opportunity to easily utilize composition and improvisation as tools to access student creativity is
an advantage of chamber music inclusion in the instrumental music curriculum. Although these
qualities may or may not be feasibly nurtured in a large ensemble setting, the literature supports
the notion that chamber ensembles actively allow participants to engage in collaborative
experiences. These experiences enable students to develop innate characteristics that support
their maturation into established musicians, creative thinkers, professional communicators, and
mature young adults.
The Development of Teaching Skills
Student musicians in instrumental music programs are familiar with and find solace in
working under the baton of a band director, but what happens when the music teacher is removed
from the ensemble? One of the unique characteristics of chamber ensemble participation is that
it takes students out of the large ensemble setting where they watch, follow, and learn from the
conductor, and places them into the role of conductor. This section will analyze the ways
chamber music participation facilitates student development of teaching skills. The focus will
then turn to how chamber music develops students into self-sufficient learners who understand
how to not only teach themselves, but how to teach the ensemble as well. In a cooperative
learning environment where students are working with other students, this section will also


discuss the positive teaching relationships students develop with one another and how skills are
transferred. Pedagogical approaches aimed at music teachers acting as chamber music coaches
are discussed before lasting benefits regarding teaching is detailed in relation to future
professional experiences. As a result of student musicians working cohesively in an educational
setting, they gain a sense of ownership of the product they created, establish a standard for
performance excellence that members are accountable for upholding, and obtain teaching
strategies through observing other group members or a chamber coach.
One of the primary goals of chamber music programs is to develop students into student
educators. Deibel, Loeffert, Goodard-Loeffert, & Nichol (2014) discuss chamber music
participation as a vehicle for developing teaching skills. Five levels of teaching are outlined to
show the progression students go through to ultimately develop what the authors call a
community of scholars. The first level is where teachers teach students, showing them the
necessary steps to achieve musical goals through the reinforcement of concepts by the instructor
to increase retention. Students then begin teaching other students where direct interaction
between students drives the learning process. This provides them with an opportunity to learn
from their peers and although the presence of an instructor is not present, learning continues to
take place. The third level sees students teaching teachers where students are able to
intellectually stimulate their teachers through their work and ability to provide specific feedback,
execute musical tasks, and discuss musical decisions to create a reciprocating relationship.
Students then begin to teach themselves in the fourth level of this process. In this stage, students
can provide consistent feedback on their performance, resulting in self-guided learning. Finally,
students enter into a community of scholars where the previous relationships developed become
a mentorship and example of peer learning where they benefit from a network of learning at all


level (Beibel, Loeffert, Goddard Loeffert & Nichol, 2014). This sequence provides educators
with a step-by-step process to use chamber music as a mechanism for teaching. The transfer of
knowledge emanates from the music educator and passes to the students who then effect the
advancement of the music department as a whole.
Another point the authors bring up regarding student driven teaching is that although
teachers work to facilitate group learning, students relate more closely to other students than
teachers do. Strong relationships amongst students benefit the collaborative process where
students model desired techniques, less experienced students emulate the work habits of more
experienced students, and students collaborate to reach desired goals (Beibel, Loeffert, Goddard
Loeffert & Nichol, 2014). Through the avenue of chamber music, students need to be able to
form their own thoughts, make their own decisions, and think independently. This collaborative
process relies on the individuals in the ensemble more so than interaction with the instructor.
Educators should utilize the relationship students have with other students to facilitate the
transfer of knowledge amongst each other to create a community of learners.
Educators are required to have an extensive knowledge of pedagogical techniques and
methods they can instill in their student educators. Although the majority of the instruction and
learning done in chamber ensembles is found within the group itself, the instructor plays an
important role in promoting these strategies and modeling techniques students can use in their
rehearsals. Berg (2008) offers strategies to the educator to help chamber music students become
more independent while providing rationale for chamber music inclusion. According to Berg,
chamber music provides a plethora of opportunities for students to develop the ability to think
like professional musicians while working in a collaborative setting where they can learn from
their peers. Through modeling, giving guided practice and immediate feedback, scaffolding or


structuring practice and giving periodic suggestions, and fading are four strategies to teach
students to become more independent learners through chamber music participation. The main
focus of the article is to engage students in “minds-on” learning where they are thinking and
making decisions independently, rather than a “hands-on” approach that is dominated by teacher
instruction. One of the strategies discussed suggests a “listen-play-discuss-decide” approach
where members listen to a suggested idea, the thought is then performed before a discussion of
whether the idea was successful or not takes place and a decision is ultimately rendered (Berg,
2008). Educators need to provide students with methods and techniques to use during rehearsals
to make musical decisions and run efficient rehearsals. Methods such as the listen-play-discuss-
decide approach is easy to comprehend and can be adapted to any professional working
environment.
How can these teaching techniques and skills be used in future to cultivate lifelong
learners? The thinking regarding objectives for education is to prepare students for the next level
of education, or for a specific career path. Through chamber music participation, students are
learning how to take responsibility for their own musical product, while gaining experience
teaching not only themselves, but also their peers. Collaboration in a working environment is an
environment all students will experience in any level of work, thus an importance is placed on
this specific type of musical practice where students obtain benefits that extend past those that
are considered music-specific, but are character building and life changing.
Conclusion
Participation in chamber music ensembles as part of a high school instrumental program
enhances individual musicianship, social collaboration, creative thinking, communication skills,
and develops the student to grow into a self-sufficient learner. Literature suggests that


participation in small ensembles will enhance the large ensemble experience as the musician
increases performance confidence and musicianship through the increased technical demands
naturally imposed by the individual nature of chamber music. Through peer interaction, students
naturally develop non-musical skills associated with music making. Working in a small
ensemble places students in an environment where the development of skills in leadership,
interpersonal relationships, decision-making, and nonverbal communication are nurtured. The
opportunity to use chamber music as a forum for creative thinking establishes a setting for
members to compose, arrange, and improvise. Finally, participation in chamber ensembles
provides students with the opportunity to develop a learning community and become self-
sufficient learners through peer teaching and the development of personal pedagogical strategies.
Participation in chamber music ensemble provides unique experiences and learning opportunities
that may not be present or as easily accessible to large ensemble participation. The inclusion of
chamber music in school curriculums, including those dominated by large ensemble performance
has been a topic of discussion for many years and as a result, exploration into literature spanning
several decades is appropriate for this review. Although experiences in large ensembles and
other musical activities may provide similar benefits to student instrumental musicians, the
literature suggests that chamber music experiences provide a more substantial outlet for these
benefits to be cultivated.
The material presented in this literature review can be utilized to support development of
a successful chamber music program that increases skills directly transferable to the large
ensemble setting. By emphasizing the independence of each performer as a soloist with the
demanding technical aspect of chamber music literature places an additional responsibility on the
students to increase their personal practice. By understanding the ideas presented in the review


regarding the development of musical skill, educators can raise student standards of musical
excellence by equipping them with efficient practice and rehearsal habits, realistic musical goals,
challenging musical material, the freedom to work independently, and the ability to develop
intrinsic motivators. Showcasing the hard work and effort of chamber musicians in a formal
concert setting serves as an extrinsic motivator and a venue to display student work on a more
individual focus, contrary to the large group exposure students are accustomed to through large
ensemble performances that dominate public school performances. These skills obtained
through chamber music practice must be reinforced by the educator in order for them to transfer
into the large ensemble setting.
While chamber music participation intends to yield more skilled musicians, the non-
musical benefits outlined in this review should be a primary focus of the educator who holds the
intention to build student leaders, foster teamwork, and cultivate creative thinkers. A successful
chamber music program should incorporate leadership training and promote a democratic
learning environment. Student placement in ensembles based on characteristics such as age or
musical ability can facilitate the placement of students in leadership roles within the ensemble.
The ensemble coach or music teacher should demonstrate successful democratic relationships
where all roles within the ensemble contribute meaningfully. Due to the inexperience of students
in these independent roles, teachers should monitor the progress of these ensembles, especially in
the beginning stages of collaboration. Educators can facilitate student creativity by introducing
composition tasks with varying levels of restrictions for their respective ensemble groups. These
assignments can be elaborated to include more advanced musical elements and less
compositional restrictions to increase the challenges for students eager to advance their
composition practices. The wealth of material for chamber ensemble that incorporates


improvisational opportunities can serve as an excellent resource for music teachers to use with
their students. Improvisation may seem like a daunting task for young musicians, but
participation in a chamber ensemble consisting of only a few members creates a more
comfortable environment for students to experiment with improvisation. There are many
benefits unrelated to the production of music that chamber music participation has to offer if the
environment for music making is supported by the director and respected by the students
involved.
Teaching is another component of chamber music participation that provides students
with valuable skills and experiences. In order to teach students to become competent teachers
themselves, educators should model positive behaviors and skills while working with students to
implement pedagogical approaches in their respective chamber groups. Students should
understand in order to teach the music to their ensembles, they need to know how to play all
parts within the ensemble to demonstrate a complete understanding of the music and how it is
connected. In order to foster student comprehension of positive teaching strategies, the music
educator should introduce effective pedagogical methods to students prior to beginning a
chamber ensemble. Techniques such as the “listen-play-discuss-decide” method previously
discussed in this review would be an ideal example of a basic pedagogical technique to discuss
with students prior to the first rehearsals. In addition to prior discussions with students, proper
modeling and observations of early rehearsals are essential to providing students with
constructive feedback as students begin to build on their teaching skills. The skills acquired in
this environment can reciprocate back into the instrumental program, benefiting the music
community as a whole.


Although the research presented presents positive ideas to support chamber music
practices, future research into the relationship between chamber music participation and
individual performance statistics could strengthen the argument for small ensemble practice
supplementing the large ensemble experience. More research yielding statistical results could
strengthen any proposal for the inclusion of chamber music in an instrumental music program.
Ultimately, chamber music provides students with a unique experience not found in the large
ensemble setting and develops students into mature musicians, peer leaders, team players,
creative thinkers, music educators, and self-sufficient learners.
Chamber Music Sequence for Music Educators
To implement the ideas presented in the literature review, an educational sequence is provided to
detail one possible way to add a chamber music program to a large ensemble (summarized in
Appendix A). The purpose of this sequence is to provide teachers implementing chamber music
study in their programs with a way to interpret the ideas presented in the review to be directly
applied in an educational setting. In the review, the development of musical skills, non-musical
skills, and teaching skills are outlined with many ideas presented under the umbrella of each
topic heading. The provided sequence extracts five of the primary benefits to chamber music
participation. For each of the five concepts provided, a detailed sequence of educational
activities is outlined to illustrate desired pedagogical steps to take in order to achieve the specific
skill.
While there are many different pedagogical approaches to achieving certain musical and
non-musical outcomes, this sequence provides one such way for educators to apply the concepts
presented in the review directly into their classroom activities. The concepts featured in this
sequence are the development of musical independence, the teaching of blend, balance, and


intonation, the opportunity to foster creative thinking in relationship to composition, the
development and support of student teaching, and the opportunity to foster student leadership
within a chamber ensemble. These concepts are integral components to overall skill building
and character development that can be directly applied to the large ensemble setting and other
personal and professional experiences.
The series of activities provided for each concept discussed in the literature review
follows a similar format. The ultimate goal in each of these scenarios is for each student to be
able to execute each action independent of educator assistance. Although the educator will
eventually act as a chamber music coach regarding musical performance, the educator is instilled
with the responsibility to teach the students how to act independently and teach one another in an
effort to create a community of learning. Each of these educational sequences begins with a
large amount of instruction and participation by the teacher in order to instill student confidence,
model appropriate techniques, and establish a solid foundation of the concept in which to build
upon. Throughout the remainder of each pedagogical series, the educator’s involvement in
instructional activity becomes exponentially less, placing a heavy emphasis on student driven
instruction. The addition or subtraction of small instructional elements to each activity allow for
progressive skill building and for teachers to formatively assess students and identify specific
areas where more detailed or student specific instruction is required. Provided is an educational
sequence for teaching independence, intonation and balance, creative thinking through
composition, pedagogical skills to students, and leadership. Additionally, an annotated
bibliography of chamber music works for various instrument groups is provided (summarized in
Appendix B) to assist educators with repertoire selection based on the variables of difficulty and
instrumentation.


The Development of Musical Independence
One of the key elements to chamber music participation is for each student to develop
independence as a performer within the ensemble. When thinking of backwards design with the
end product in focus, the result of the sequence will lead students to a setting where they can
confidently and accurately perform individual parts of an ensemble without reinforcement of
additional players or unison rhythms from other voices. Stubbs (1983) supports the idea that
several players on a part can mask an individual’s mediocrity to an amazing degree. The aim is
to build musical independence and confidence by exponentially lessening musical reinforcement.
To begin the process of building musical independence, teachers should introduce students to
simple duets that contain unison rhythms between parts. In order to instill confidence with
students, teachers may initially play the same line as the student. Once the student is confident
with their part and performing it accurately with the teacher’s assistance, the teacher should play
the second part, while the student or students perform the first part. This should still be done
with unison rhythms at first before more complex rhythmic patterns and contrapuntal writing is
introduced. After this step is repeated with students on the second part, the teacher should step
away from the music and have the students perform the duet by themselves, again with unison
rhythms. Each student should learn to perform both parts of the duet as each part presents
unique musical characteristics that students may not experience only playing one of the two
parts.
Once students become confident playing duets with unison rhythms, teachers may then
introduce duets that contain contrasting rhythms, pitches, and melodies. If students find it
difficult to line up contrasting parts, the teacher may wish to step in and play with the students,
thus repeating the first two steps of this sequence to reinforce individual confidence and


accuracy. Once students have developed the ability to perform contrasting duets with rhythmic
and technical accuracy, the instructor can then build upon the two-part duet by adding an
additional voice part with homogeneous instrumentation to begin trio practice. The addition of a
third voice part creates an increased importance on musical independence and relates to Latten’s
proposal that chamber music presents students with the task of listening to an increasing number
of contrasting voices for blend, balance, intonation, and rhythmic and stylistic agreement (Latten,
2001). These steps may be repeated in the beginning stages of learning new material, but as
students begin developing confidence in their reading and technical abilities, the learning process
should begin without the influence of the educator. Additional voices can be introduced, either
in the same instrument family or in heterogeneous instrument families to create mixed
ensembles. The sequence is cyclical as it may repeat following the introduction of an added
musical part, but through experience, skill development, and reinforcement, the student
musicians will be able to develop the ability to perform contrasting parts confidently within an
ensemble setting.
The Development of Blend, Balance, and Intonation
The ability for students to develop an awareness of musical concepts such as ensemble
blend, balance, and intonation are not only skills that are important in a chamber ensemble, but
skills that can be directly translated to the large ensemble setting. Each student should be taught
to correctly tune their instrument and understand the pitch tendencies of their specific instrument.
According to Schoenbach, The more focused setting of the small ensemble allows students to
actively listen to their peers for pitch in order to readily make adjustments and to become aware
of the total musical picture by promoting the importance of balance and relationships between
individual voices (Schoenbach, 1963). The instructor should begin by emphasizing the


importance of intonation, which directly impacts the tone quality and overall blend of the
ensemble. Ensembles should tune from the lowest voice. This reinforces proper fundamentals
of blend and balance by emphasizing the bass voice within the group. Teachers should inform
students how to adjust and match pitch by accentuating the importance of listening rather than
developing a reliance on a tuner.
Supplemental exercises for intonation building and core sound development are essential
to an ensemble’s repertoire and routine. During their presentation at the Midwest Clinic, Beibel,
Loeffert, Goddard Loeffert & Nichol discussed various exercises to use in order to build group
intonation and blend. Performing scales in octaves and fifths help tune perfect intervals. Tuning
chords by first tuning the octave, then adding the fifth, and finally the third allows instructors to
focus on the pitch tendency of the third within a chord. Remington long tone exercises and
tuning through the use of the chromatic scale are also excellent ways to improve overall
ensemble pitch. Trombonist and music educator Emory Remington developed a long tone
exercise where a primary note is established before progressing through an ascending/descending
chromatic scale that returns to the primary note before the next note of the chromatic scale is
executed. One of the best ways to teach blend and balance is through the performance of
chorales. Emphasizing proper principles of balance, listening down to the bottom voice, and
adjusting dynamically to the melodic figures will ultimately instill a standard for ensemble
performance (Beibel, Loeffert, Goddard Loeffert & Nichol, 2014).
Fostering Creative Thinking Through Composition
One of the many non-musical elements promoted through chamber music participation is
the development and implementation of creative thought. Composition becomes a realistic outlet
for students involved in small group performance to cultivate their compositional skills, perform


student works, and collaborate with peers to shape their musical ideals. Students should begin to
compose with restrictions in order to focus student ideas and creativity. Teachers can add
musical elements to composition tasks in order to create more focused compositions. Elements
such as time signature, key signatures, chord progressions, bass lines, and specific rhythms are
only a few of the many restrictions that can be applied. After students become familiar with
compositional strategies and basic techniques, the focus for creative composing can now turn to
the chamber ensemble. By providing them with the restrictions of number of voices and for
what instruments to compose for, students can now start composing for specific chamber
ensembles. To create more interesting and unique pieces, students can elaborate rhythms and
melodic movement through passing and non-chord tones and smaller rhythmic units.
The next step is to foster creative collaboration through composition. Hopkins (2015)
found that balance of collaboration amongst members, task-directed musical communication, and
gender grouping contributed positively to the overall outcome of collaborative composition.
Members of the ensemble will dictate the parameters of the composition, where collaboration
and student performance technique will drive creative decisions. Each player has a direct
influence on the outcome of the composition, which can be played in rehearsals throughout the
process to impact musical decisions. As the development of student composing continues,
teachers should begin to add restrictions to compositional tasks in order to bring focus to musical
ideas and steer their thoughts towards specific compositional goals. Chamber music provides an
outlet for students to experiment with composition and even collaborate with members of the
ensemble to develop unique compositions specific to their chamber ensemble.
Developing Teaching Skills in Student Musicians
One of the most important aspects of chamber music that differs from large ensemble


participation is the transfer of teaching responsibilities from the teacher to the students.
Educators should follow the steps presented by Deibel, Loeffert, Goodard-Loeffert, & Nichol
(2014): teachers teach students, students teach students, students teach teachers, students teach
themselves, and the establishment of a community of scholars. Teaching occurs through
modeling and direct interaction with students, emphasizing pedagogical concepts and ways to
foster musical growth. Just as it is with the performance sequences, the influence of the music
teacher is essential at the beginning of the process and decreases as time goes on. Teaching
requires students to master their own music and intently study the other parts within the
ensemble.
Educators should impress upon future student teachers the establishment of positive
musical intentions and goals prior to each rehearsal and be able to model these intentions. Once
the student has set positive musical goals and done prior study, the student will then teach
students through direct interaction. Certain students tend to take a leadership role in this phase,
but all members contribute positively to ensemble growth. This allows students to learn from
one another and obtain various viewpoints and conceptions of the music from different sources.
Educators should monitor student progress and how transfer of knowledge is occurring, making
adjustments and suggestions where needed. Student’s ability to provide feedback on personal
performance provides learning opportunities for educators through chamber coaching where the
instructor meets with ensemble occasionally to listen, critique, and discuss musical choices and
direction. At this point, students are able to teach themselves through self-critique and the
interaction with the instructor becomes limited at most. Students then take knowledge from their
personal chamber ensemble experience and work with younger students and ensembles to
continue the transfer of knowledge and create a community of learners.


Fostering Leadership Skills in Student Musicians
The opportunity to teach and foster leadership skills within student musicians is an
integral component of chamber music participation and the goal of student driven learning. In an
ensemble setting where the students are responsible for many of the creative decisions that occur
during music making, students will step into leadership roles and assert themselves amongst their
group members. Initial leadership development should be fostered by the teacher or chamber
coach through direct student interaction and modeling. One of the main tasks is to have the
students develop their own vision or goal for the chamber ensemble, thinking about the end
product they wish to achieve. Leshnower discusses the creative process as individuals thinking
imaginatively towards an original idea that is purposeful and contains value towards reaching
their desired goal. This can be organized into either a personal mission statement that the
director can use when mentoring the students, or one that is established by the entire ensemble.
These statements make students accountable for not following through with their desired goals
for the ensemble.
The teacher should establish an environment within the ensemble where students can
share their ideas through positive dialog without diminishing the viewpoints of others. One way
to delegate communication within the ensemble is to teach students to use the “listen-play-
discuss-decide” approach presented by Berg (2008). With the system, students listen to the
suggestions of an ensemble member, play through the music with the aforementioned suggestion,
discuss the change, and then decide whether to implement it in the music or not. Students taking
leadership roles within the group need to facilitate this discussion and ultimately navigate
comments towards a positive outcome. Another leadership function of a chamber ensemble
group is to convey nonverbal cues to the rest of the ensemble. Movement within the ensemble


maintains internal pulse while cueing and breathing together aides in matching tempo, dynamics,
style, attacks, and releases (Beibel, Loeffert, Goddard Loeffert & Nichol, 2014). The teacher
should demonstrate basic cuing such as prep beats, down beats, cut offs, and dynamics for
students to implement in their performances. Cues can be divided up amongst students or left in
the hands of one individual. While enlisting one student as the leader of the ensemble can be
beneficial in some aspects, teachers should rotate leadership roles amongst members to allow
equal opportunity for student to experience leadership roles while others assume the role of the
follower/contributor. This could be done by use of a schedule, by repertoire, or as a result of
certain musical moments. Ultimately, students should be able to assume leadership roles,
communicate nonverbally, delegate responsibility within the group, analyze the parts of the other
members, and establish a vision to portray to the ensemble.


References
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Pendragon Press.
Berg, M. H. (2008). Promoting “minds-on” chamber music rehearsals. Music Educators Journal,
95(2), 48-55.
Celentano, J. P. (1966). Chamber music: challenge and opportunity. Music Educators Journal,
53(2),103-105 + 107.
Condon, O. C., Dillon, R., Martin, P. & Skidmore, D. (2009, December 21). Selected Works for
Grade School Percussion Ensemble. Retrieved from
https://drive.google.com/a/wmtps.org/file/d/0B66UjIGMUscGY2NhMzk2Y2QtMDM2Z
S00YzdiLTljNmItOGFkYjk0MTg5NWIz/view
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Deibel, G., Loeffert, J., Loeffert, K., & Nichol, J. (2014). Developing Large Ensemble Skills
Through Chamber Music. Retrieved from Midwest Clinic:
http://www.midwestclinic.org/2014_clinician_Jeffrey_Loeffert.html
Hopkin, M. T. (2015). Collaborative composing in high school string chamber music ensembles.
Journal of Research in Music Education, 62(4), 405-424.


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Appendix A
Chamber Music Sequence for Music Educators
To Build Independence Amongst Players
• Play duets with students to reinforce confidence, play same line as students at first
• Play duets with students, students play one line while teacher plays the other, unison
rhythms, different pitches
• Have students play duet together without teacher assistance, unison rhythms, different
pitches
• Make sure students play both parts of each duet
• Introduce duets with different rhythms and pitches
• Repeat first two steps if students struggle with performance
• Have students play duet together without teacher influence, different rhythms/pitches
• Introduce additional voice part (trio music) with homogeneous instrument
• Continue to add parts either in same instrument family or others to create mixed
ensemble.
To Teach Balance, Blend, and Intonation (re-apply to large ensemble)
• Begin by emphasizing importance of intonation, which relates to ensemble tone quality

and blend
• Tune from lowest voice, which reinforces proper fundamentals of blend and balance
• Inform students how to adjust and match pitch by listening rather than developing
reliance of a tuner
• Each student should have basic understanding of specific intonation tendencies of their
instrument
• Chamber music teacher should teach students tuning exercises to improve pitch and
establish a core sound before musical performance
• Performing scales in octaves and fifths, tuning chords by first tuning the octave, then
adding the fifth, and finally the third (explain intonation tendency of the third in a triad),
Remington exercises, and tuning through use of the chromatic scale
• -Supply ensemble with a number of chorales to emphasize balance and cross listening


To Foster Creative Thinking (composition)
• Begin composition assignments with restrictions to focus student ideas.

a. -Add time signature
b. -Add key signature
c. -Add chord progressions
d. -Add bass line/ostinato
e. -Elaborate rhythmic material of melodies
f. -Begin to remove restrictions to challenge students to make musical decisions
regarding their compositions
• Begin with 2-4+ part writing using unison rhythms and chord tones
a. -Elaborate rhythms to create more interest in parts
b. -Introduce melodic movement through passing tones and non-chord tones
• Group composition
a. -Group decides on parameters prior to initiating composition
b. -Collaboration and student performance technique drives the composition
c. -Each player has direct influence on outcome of the composition and can be
played throughout the process to impact musical decisions.
To Develop and Support Student Teaching (community of scholars)
• Teacher follows the steps outlined in the review (teachers teach students, students teach
students, students teach teachers, students teach themselves, community of scholars)
• Teaching occurs through modeling and direct interaction with students, emphasizing
pedagogical concepts and ways to foster musical growth.
• Teaching requires students to master their own music and intently study the other parts
within the ensemble. Student teacher must have positive musical intentions and goals in
mind and be able to model these intentions.
• Students then teach students through direct interaction. Certain students tend to take a
leadership role in this phase, but all members contribute positively to ensemble
growth. This allows students to learn from one another and obtain various viewpoints
and conceptions of the music from different sources.
• Teachers should monitor student progress and how transfer of knowledge is
occurring. Adjustments and suggestions can be made at this time to the group or
individual students taking primary role as teacher.
• Student learning and ability to provide feedback on personal performance provides
learning opportunities for educators through chamber coaching. Instructor meets with
ensemble occasionally to listen, critique, and discuss musical choices and direction.
• Students are able to teach themselves through self critique and interaction with instructor
becomes limited at most.
• Students take knowledge from chamber ensembles and work with younger students and
ensembles to create a community of learners.


To Teach and Foster Leadership
• Leadership development will be fostered by teacher/chamber coach interaction and

modeling
• Have students develop their own vision/goal for the chamber ensemble
• Instructor to establish environment for open communication and respect.
• Students to share ideas through positive dialog without diminishing conflicting views.
• Introduce students to “listen-play-discuss-decide” approach and have students implement
approach to performance examples.
• Teacher/chamber coach to model nonverbal cues for students to use in leadership roles.
• Leadership role rotates amongst members to allow equal opportunity for students to
experience leadership roles while others assume the role of a follower/contributor.


Appendix B
Annotated Bibliography of Selected Works for Chamber Music Ensemble
Matthew S. Gramata
Graded on a scale of 1-5:
1) Beginning players. Requires basic music reading skills. Many unison rhythms and basic
rhythmic patterns.
2) Second-fourth year players in middle school or early high school students. Requires basic
music reading skills. Independent parts begin to appear as well as unison rhythms. Increase in
technical difficulty.
3) Intermediate players at high school level. Requires intermediate level reading skills and
ensemble skills. More independent rhythms, time/key signature changes, smaller rhythmic
values.
4) Upper intermediate-advanced high school students. Music contains mixed meters, technical
passages that include skips and leaps, accidentals, and key changes. Must be able to perform
independently.
5) Advanced high school/college players. Requires advanced reading and technical skills.
Requires advanced proficiency on instrument as this music is very demanding on the player.
Key
Chamber Music Type Grade Publisher

Instrumentation
Composer Last, Composer First Title of Piece


FLUTE ENSEMBLES
Flute Duet 3 Peters

2 Flutes
Amram, David Flute Duet
This is an easy flute duet that shows off the lyrical ability of an emerging flautist in a
high school program. The second part is mostly accompaniment and contains simple rhythms of
whole, half, and quarter notes. The lead solo part contains more rhythmic movement, many
accidentals, ranges that extend to low C, and vibrato use is highly recommended.
Flute Duet 5 Kalmus

2 Flutes
Kuhlau, Friedrich Three Duets Op. 80
Three advanced duets for the advanced high school/college student. Both parts are
rhythmically complex with the second part containing more of the accompanying parts. In
regards to range, the first flute reaches a high A only twice, making the ranges not as extensive
as it may seem when looking at the plethora of sixteenth and thirty-second notes on the page.
Duets are in three movements following a fast-slow-fast format with changes in key occurring at
the start of most movements. Requires a lot of technical facility on the flute, but these classical
duets are fantastic for recitals or to challenge your lead players.
Flute Duet 4 G. Schirmer Inc.

2 Flutes
Quantz / Wittgenstein Quantz Six Duets for Two Flutes Op. 2
These concert duets contain three movements each in a fast-slow-fast format. A
combination of time signatures and key signatures add intrigue to each movement of the duets.
Rhythmically challenging, these duets are more suited for advanced high school students and
college musicians. Students need to understand how to perform Baroque style grace notes (i.e.
Mozart), turns, trills, and navigate through a variety of accidentals and sixteenth note passages.
Flute Duet 4 Universal Edition

2 Flutes
Rae, James Jazzy Duets for 2 Flutes
This book contains five jazz style duets for upper intermediate flute players. The parts
are independent from one another, containing rhythms that are not primarily unison, but the
accented beats often times will line up together. Musicians playing this book need to be able to
have good sense of time and ability to play independently. Ranges are not extensive, but
counting, extensive use accidentals in chromatic passages, and rhythmic independence make
these duets challenging.


Flute Duet 2-3, 3-4 Rubank

2 Flutes
Voxman, Himie Selected Duets for Flute Vol. 1, 2
The Voxman collection for flute is a compilation of duets for the intermediate flautist.
The levels of difficulty found in this collection of duets are accessible to young students through
more experienced high school players. The collection contains a variety of duets in styles
relating to Baroque and Classical era writing. Rhythms contain some syncopation and sixteenth
notes, but overall very standard for high school students. Many unison rhythms allow for ease of
organization between players. Great for beginning duets and sight-reading for advanced players.
Flute Trio 2-3 Alfred

3 Flutes
Cacavas, John 30 Plus Trios for Flute
The collection by Cacavas contains easy arrangements of classical works and traditional
songs for younger musicians. The book uses a variety of time signatures including cut time, 6/8,
4/4 and 3/4 time. Key signatures are comfortable for flute players and at least two of the three
parts contain unison rhythmic patterns. Great for middle school and intermediate high school
students.
Flute Trio 3 Boosey & Hawkes

3 Flutes (w/ piano)
Grundman, Clare Flutation
An appropriate concert trio for high school flute players accompanied by piano. The
piece changes from lyrical rubato playing to short articulated accents. Rhythms are unison
throughout and the piano provides the contrast to the flute trio. Ranges do not extend to the
extremes of the instrument, making it suitable for intermediate players. Not a difficult piece, but
sounds beautiful when put together.
Flute Trio 5 Kalmus

3 Flutes
Kuhlau, Friedrich Three Grand Trios Op. 86 (Vol. III E-Flat Major)
The grand trios are slightly more challenging than the Kuhlau duets previously
mentioned. The top two parts share the workload in terms of technical difficulty with scalar
runs, rapid arpeggios, and nuances such as turns and grace notes. The third part plays mostly in
the lower register and is easier in terms of technical complexity and execution. There are no
rehearsal markings or measure numbers, so students must agree on spots to place rehearsal
numbers. A challenging work for advanced flautists in the key of E flat major.


Flute Trio 4 Wolking Music
3 Flutes
Wolking, Henry Air Petite for Three Flutes
A trio for more advanced high school students, the Air Petite requires three performers
who can maintain steady tempo and play independently due to the construction of the parts.
Rhythms and chords are performed by the three flutes a sixteenth note apart that requires
precision. A technical challenge for flutes in terms of rhythm with the inclusion of syncopation.
Melody parts weave between the three flutes.
Flute Quartet 3-4 International

3 C flutes, Alto flute
Bach / Renzi Bach Three Quartets
This collection contains three arrangements of Bach works for flute quartet. The bottom
two parts (flute 3/alto flute) serve primarily as accompany parts with the top two flutes contain
more melodic material and are rhythmically challenging in comparison to the bottom parts.
Recommended for high school quartets, more advanced players should play the upper two flute
parts.
Flute Quartet 3-4 Zimmerman

4 Flutes
Bonisch, Josef Modern Suite
Modern Suite contains 5 different quartets containing different styles such as jazz, pop,
and classical influences. Many of the pieces contain key changes within each quartet and the
rhythmic difficulty is moderate, although attention should be paid to counting and attention to
upbeats. The ranges of the five quartets are moderate and feasible for intermediate players.
Although the range and technical difficulty of this work is moderate, some rhythms and key
centers can make this a grade 4.
Flute Quartet 3 Alry

3 C Flutes, Alto Flute/4 C flutes
Louke, Phyllis Suite Butterfly
A three movement work with butterfly themed titles, this quartet can be performed by
intermediate players and up. The third movement (butterfly) is the most difficult and transitions
to a compound meter. This quartet does not pose many challenges regarding rhythm and range,
but the focus should be on intonation and evoking the title of each movement.
Flute Quartet 5 Itchy Fingers Publications

3 C flutes, Alto/2 C flutes, Alto, Bass
Mower, Mike Here We Go Again
A contemporary jazz ballad feel makes this quartet unique in style and sound. Jazz
harmonies will prove difficult to tune and balance amongst members. A double time swing
section in the middle contains some standard swing phrasing and some technical challenges
regarding rhythm and counting. Some extended techniques such as flutter tonguing found
towards the end of the piece. A challenging but rewarding work for more advanced students.


Flute Choir 5 Alry
2 Piccolos, 4 C flutes, 2 Alto Flutes, Bass, Contrabass
Ink, Lawrence Three Pieces for Flute Choir
The three pieces by Ink are challenging for all players from the piccolos to the
contrabass flute. The first piece (allegro) contains difficult rhythms including quintuplets and
other extended one beat patterns in all parts. The waltz piece can be challenging because the feel
is in one and beat displacement occurs that can be difficult. The third movement is very fast and
requires advanced technique from all players. This piece is aimed at more advanced players on
all parts.
Flute Choir 3 Alry

4 Piccolos, 4 C Flutes, 3 Alto flutes, Bass
Mancini / Rice-YoungBaby Elephant Walk
An arrangement of the classic Mancini piece, this work is suitable for intermediate flute
choirs. Ostinato bass lines can be geared towards younger players due to the repetitions. The
flute/piccolos carry the melodic material, which contains some triplets and accidentals.


CLARINET ENSEMBLES
Clarinet Duet 4 Emerson

2 Clarinets
Ball, Christopher Music for Youth
A four-movement duet collection for two B flat clarinets with each movement having its
own unique style. Movement I, titled syncopations, is exactly that, full of syncopations with a
jazz flair. The second movement is counted in one and contains some fast runs in the second
part while the top part plays the melody. Movement three is slow and lyrical to show off tone
and balance amongst the two clarinets. This movement is the easiest amongst the four. The
finals movement is in a compound meter and contains many difficult rhythmic passages. Great
for advanced high school students
Clarinet Duet 3-4 International Opus

2 Clarinets
Cervantes / D’Rivera Two Cuban Dances
These two Cuban dances arranged my Paquito D’Rivera are fun and accessible to upper
intermediate ability levels. The dances are short in length and contain some stylistic
considerations such as grace note placement. The first dance “Los Tres Golpes” contains some
syncopation, which will be the most difficult aspect of the piece to put together. Short and
bouncy articulations will help evoke the lighthearted style of the movement. The second dance
“Invitacion,” takes some expressive liberties with the tempos, which will require good
communication between players.
Clarinet Duet 5 Chester

2 Clarinets
Poulenc, Francis Sonata for Two Clarinets
This is an advanced concert duet for advanced high school/college students in three
movements. The first movement (presto), contains dissonant harmonies, rapid articulations, and
extensive rhythmic challenges. Movement two has the top player needing to control high
register melodies at a very soft dynamic. Movement three (vif) contains some unison rhythms
and simple melody and accompaniment, but there are some very fast arpeggiations and technical
runs that make this piece a grade five. Certainly a challenge for your advanced clarinet students.
Clarinet Duet 3 Universal Edition

2 Clarinets
Rae, James Easy Blue Clarinet Duets
This is a great book for intermediate players to experience and work on swing rhythms
and jazz articulations. Clarinet players are not common to the jazz big band, so this gives them
an outlet to experience that music. These are easy duets to put together as many of them contain
unison rhythms. The use of accidentals and syncopation place it at a grade three, more suitable
for your high school clarinet student. Tempos and styles vary from swing and rock, to ballad and
blues.


Clarinet Duet 2-3 Kendor
2 Clarinets
Strommen, Carl 30 Melodious Duets
This is a collection of duets compiled by Carl Strommen for the young clarinet player in
middle school or early high school. Strommen has adapted music from composers such as
Mozart, Corelli, and Haydn to make it accessible for young clarinet students. Rhythms and
ranges are on the easier side of the spectrum. Great book to begin students with chamber music.
Clarinet Duet 2-3, 3-4 Rubank

2 Clarinets
Voxman, Himie Selected Duets for Clarinet Vol. 1, 2
The Voxman collection for clarinet is a compilation of duets for the intermediate to
advancing clarinetist. The levels of difficulty found in this collection of duets are accessible to
young students through more experienced high school players. The collection contains a variety
of duets in styles relating to Baroque and Classical era writing. Rhythms contain some
syncopation and sixteenth notes, but overall very standard for high school students. Many
unison rhythms allow for ease of organization between players. Great for beginning duets and
sight-reading for advanced players.
Clarinet Trio 2 Carl Fischer

3 Clarinets
Brandenburg, Arthur The Ash Grove
For intermediate clarinet players, this piece is extremely accessible in terms of technical
ease and range. Rhythmically, the piece does not go faster than eighth notes and although there
are moving lines heard throughout the trio, many unison rhythms help make this piece feasible
for younger students.
Clarinet Trio 3 Almitra/Kendor

2 Clarinets & Bass Clarinet
Bach / Contorno Three Bach Pieces
These Bach arrangements for clarinet trio are great for developing essential ensemble
skills. Suitable for intermediate players as rhythmic difficulty is moderate and range is suitable
for high school players. Bass clarinet player must have good technique to be able to execute
consecutive measures of eighth notes. A perfect piece for high school concerts or recitals.
Clarinet Trio 4 International Opus

Eb Clarinet, Bb Clarinet, Bass Clarinet
D’Rivera, Paquito Habanera from Aires Tropicales
This piece requires three clarinet players who are capable of performing independently,
as the parts are very contrapuntal and unison rhythms are limited. Solo passages throughout
require strong individual players. A few technical passages utilizing sixteenth note runs will
demand some work from the individuals. In a Latin/Classical style and suitable for more
advanced clarinet players.


Clarinet Trio 4 Simrock
3 Clarinets
Hummel, Joseph F. Trio for Clarinets
A classical era concert piece for clarinet trio geared towards upper intermediate clarinet
players. Requires a strong first clarinet player who can carry the melodic figures throughout the
work. There are scalar runs that pass from one player to another, a round section that requires
each player to enter on the right beat, and many contrasting dynamic sections. The unison
rhythms highlight big ensemble moments. Contains some technical challenges, as it is more
suited for advancing high school clarinet players.
Clarinet Quartet 3 Kendor

4 Clarinets
Conley, Lloyd Celtic Memories
This arrangement of classic Irish folk songs is a fun piece for high school students to play
at a recital or concert. Students need to watch changing meters, as much Irish music uses
compound meters. Ranges are suitable for intermediate students and parts follow the
soloist/accompaniment format. Great for the high school clarinet quartet.
Clarinet Quartet 4-5 Alphonse Leduc

4 Clarinets
Dubois, Pierre Max Quatuor
A four-movement concert work for the advanced clarinet quartet. The first movement
poses some technical challenges, while movement two contains many arpeggios placed in a fast
compound meter. Many tempo changes add to the difficulty of this ensemble. The third
movement is very lyrical and places the top clarinet part as the solo voices and contains rich
harmonies. The fourth movement is also in a compound meter though it is more legato than the
second movement. Range challenges for the lead player in this quartet. Great piece for the
advanced high school group.
Clarinet Quartet 3 Boosey & Hawkes

4 Clarinets
Grundman, Clare Caprice for Clarinets
A piece for four clarinets, but alto and bass clarinets can be interchangeable with the B
flat clarinets. An easy concert work for clarinet quartet or ensemble that contains a few tempo
changes. The caprice is very rhythmic in nature and contains unison upper parts at the primary
theme. There are a few ritardandos and an accelerando that leads into the restatement of the
principle theme towards the end of the piece. Intermediate level.


Clarinet Quartet 5 Editions Henry Lemoine
3 Clarinets, Bass Clarinet
Piazzolla / Voirpy Four For Tango
An extremely difficult piece for three clarinets and bass clarinet. The bass clarinet part is
very technical and contains many running sixteenth notes. Besides having a skilled bass
clarinetist, the other three B flat clarinet parts require advanced skill. Ranges extend very high
for all parts and extended techniques such as portamento glisses occur often in this piece up to
the altissimo register. For the highly advanced high school group but probably more appropriate
for college students.
Clarinet Quartet 2-3 Rubank

4 Clarinets
Voxman, Himie Ensemble Classics for Clarinet Quartet Book 1, 2
This collection of classical arrangements for clarinet quartet is great for introducing
younger students to ensemble playing. Music from Bach, Mozart, Haydn, and Mendelssohn are
arranged to fit the ability levels of the middle school/early high school student. Ranges and
rhythms are not challenging, though you may see some consecutive eighth notes and sixteenth
notes here and there. Great for younger players.
Clarinet Quintet 3-4 Edition Darok

Albeniz / Kovacs Tango & Chant d’Amour
This arrangement for clarinet quintet combines two pieces from Albeniz. Both of these
works are accessible to high school players due to technical ease. Some liberties are added to
create dramatic musical effect, but nothing out of the ordinary. The Chant d’Amour contains
some weaving of parts but most of the time contains unison rhythmic accompaniment. The
tango is the more difficult movement of the two, but shouldn’t be out of the range of a good high
school ensemble.
Clarinet Quintet 3-4 Edition Darok

Hidas / Dittrich Hungarian Folk Song Suite No. 2
This collection of Hungarian folk songs contain many tempo changes that almost
resemble movements. The bass clarinet player has some exposed solo parts in the upper register,
otherwise playing accompaniment parts. The first clarinet has some upper register work in the
slower movements, but overall technical difficulty of this piece is suited for high school clarinet
groups.
Clarinet Quintet 5 Advance Music

Kuhn, Rolf The Clarinet Connection
An advanced piece for the very experienced clarinet quintet. Heavy jazz influence in this
work that includes improvised solos in the top two clarinet parts. This piece may be too difficult
for most advanced high school students, but worth a try, especially if you are only going to focus
on one of the three movements.


Clarinet Quintet 3 Sempre Music
4 Clarinets, Bass Clarinets
Thorne, Melanie Made in the Spirit
Made in the Spirit is an arrangement of spirituals in a Dixieland jazz style. The bass
clarinet plays the bass line throughout, especially in the first and third songs. The four clarinets
are either playing melodies in unison rhythms or accompaniment in unison rhythms. Like many
jazz influenced pieces, syncopation found throughout. Great for younger players in middle
school or early high school.
Clarinet Choir 4 Edizioni Eufonia

E flat Cl., 3 B flat Cl., Alto Cl., Bass Cl., Contra Alto Cl., Contra Bass Cl.
Abreu / Lucchetta Tico Tico
A fast samba for clarinet choir. There are challenging technical passages for all
instruments due to the tempo and cut time marking. Clarinet players need to be able to execute
technical passages containing arpeggiation in different keys. A fun and exciting piece suitable
for advancing high school clarinetists. Technical skills needed to play at ideal tempo.
Clarinet Choir 4 Sempre Music

E flat Cl., 4 B flat Cl., Alto, Bass
Bizet / Thorne Suite from Carmen
A crowd pleaser that involves many clarinet players with the option for parts to be
doubled. This is a compilation of songs from Carmen that takes the listen through the entire
opera by way of clarinet choir. Changes in time signature and key signature are synonymous
with compilation pieces but are also challenging for younger students. An upper intermediate
level work that is most appropriate very for good high school sections.
Clarinet choir 5 Advance

5 B flat Clarinets, Bass Cl., Bass Drum Set
Cisela, Alexis Seven Sparks
A demanding and challenging work for clarinet choir featuring bass and drum set. A
challenging time signature to deal with of 7/8 requires intent focus and counting of subdivisions.
Improvised solos in Klezmer style begin the piece over a groove set by the bottom voices. Some
extended techniques, trills, falls, and bends in the solo voice. Technical skill required to handle
to rhythmic patterns in this time signature, but the harmonies are extremely interesting as the
piece grooves to the end. For advanced clarinets in any high school program.
Clarinet Choir 3 Boosey & Hawkes

6 Clarinets, Alto Clarinet, Bass Clarinet
Grundman, Clare Caprice for Clarinets
A piece for clarinet quartet that can also be adapted for clarinet choir using the following
instrumentation. Same as the quartet piece, but just a great all around work for intermediate
players.


SAXOPHONE ENSEMBLES
Saxophone Duet 2-3 Carl Fischer

2 Saxophones
Clark, Larry Compatible Duets for Winds
These duets are great for beginning to intermediate players. Key signatures extend to
only three sharps/flats and rhythmic movement between the two parts are in unison for the
majority of the songs.
Saxophone Duet 3 Western International

Sop. Sax, Alto Sax, Piano
Delibes / Davis Flower Duet "Sous le dôme épais" from Lakmé
A transcription of an Opera duet, this piece is very lyrical and weaves melodic passages
performed in both parts. Concert C and changes from simple to compound meters. Beautiful
concert duet for upper intermediate players at high school level but can be played by more
mature players as well.
Saxophone Duet 4 Alfred

2 Saxophones (can also play as alto/tenor)
Eskovitz & Watts Jazz Duets for Saxophones
More advanced duets for the aspiring jazz saxophonist. The book breaks down into
chapters to teach elements such as 8th notes, syncopation, unusual rests, etc. Contains short
practice duets with many unison rhythms before in traducing longer duets with more independent
parts. Comes with CD for students to play by themselves if no duet partner.
Saxophone Duet 4 Leduc

2 Saxophones
Leclair / Londiex Sonata en Re
A Baroque style concert duet adapted for any two like saxophones. The top part extends
to an altissimo F sharp which can be a struggle for some younger players. Multi movement work
with many stylistic trills that would need to be addressed. Good for advanced high
school/college students.
Saxophone Duet 5-6 Zen-On Music

2 Alto Saxophones, Piano
Nagao, Jun Paganini Lost
Concert duet for advanced saxophonists. Parts are independent from one another for
most of the piece. Rhythms require subdivision of the eighth note and ranges extend to altissimo
register. Part I extends to altissimo B and part II to altissimo G sharp. Lyrical middle section
allows soloists to display tone and control.


Saxophone Duet 2-3 Universal

2 Saxophones (2 altos, 2 tenors, or alto/tenor)
Rae, James Blue Saxophone Duets
Great introductory duets for new jazz players. Many duets in common time for counting
ease, but can used to introduce cut time feel. Syncopation throughout although majority of
rhythms in unison. Ranges suitable for high school students. All articulations written in the
parts and are not implied.
Saxophone Duet 2-3 Kendor

2 Saxophones
Strommen, Carl 30 Melodious Duets
A collection of arrangements and original compositions using various styles. Given the
grade level, the key signatures and rhythmic difficulty is accessible for younger students.
Contains duets with unison rhythms and contrapuntal motion.
Saxophone Duet 2-3, 3-4 Rubank

2 Saxophones
Voxman, Himie Selected Duets for Saxophone Vol. 1, 2
The levels of difficulty found in this collection of duets are accessible to young students
through high school saxophonists. The collection contains a variety of duets in styles relating to
Baroque and Classical era writing. Rhythms contain some syncopation and sixteenth notes, but
overall very standard for high school students. Great for beginning duets and sight-reading for
advanced players.
Saxophone Trio 2-3 Carl Fischer

3 like Saxophones
Clark, Larry Compatible Trios for Winds
These trios are similar to the duet version for winds and are great for beginning to
intermediate players. Key signatures extend to only three sharps/flats and rhythmic movement
between the three parts are in unison for the majority of the songs.
Saxophone Trio 4 Associated Music Publishers

Soprano, Alto, Bari
Harbison, John Trio Sonata
Multiple movements containing meter changes, both simple and compound. Meter
changes are rapid, sometimes happening measure to measure. Parts are independent with
rhythmic syncopation and accidentals throughout. Suitable for more advanced high
school/college students. A good challenge for the aspiring young trio.


Saxophone Trio 3 Wingert Jones

3 Altos or 2 Alto, Tenor
Matthews, Donald Cameos
This piece contains many stylistic changes, meter changes, and tempo changes that will
need to be attended to. Sixteenth notes with accidentals will be a challenge towards the end of
the piece. Great for differentiating articulations and to teach students to utilize non-verbal
communication.
Saxophone Trio 3 Almitra/Kendor

2 Alto, Tenor
Meacham / Contorno American Patrol
Cut time march. Top two parts (alto saxophones) play unison rhythms throughout most
of the piece, with the tenor saxophone providing bass line figures. There are always two parts
containing unison rhythms providing reinforcement of parts/confidence for young players. Some
triplets and accidentals, but suitable for high school trios.
Saxophone Trio 3 Musicians Publications

2 Alto, Tenor
Traditional / Holcombe Amazing Grace
Nice arrangement of Amazing grace for three saxophones. Melody moves between parts
and contains some triplets. Players need to focus on balance as there are many moving lines that
need to be heard. Ranges are moderate as this is suitable for high school trios.
Saxophone Trio 2 Rubank

3 Like Saxophones
Voxman, Himie Chamber Music for Three Saxophones
These trios are suitable for beginning students as well as middle school/early high school
students. Arrangements of classical and baroque works from the likes of Mozart and Beethoven
contain simple rhythms that will engage young players.
Saxophone Quartet 4 Musicians Publications

SATB/AATB
Bach / Holcombe Sleepers, Wake
This is a great piece for working on building solo voices within the ensemble and
adjusting balance to support the featured voice. The baritone part is simple, acting as a string
bass with quartet and eighth notes. The top two parts carry most of the melodic material
consisting of eighth, sixteenth, and some thirty-second notes. This piece is scaled as a 4 due to
the grace notes and stylistic nuances that add to the difficulty of the piece. Good for high school
quartets.


Saxophone Quartet 3 Kendor
AATB
Conley, Lloyd The Emerald Isle
An arrangement of four Irish folk songs with tempos and time signatures that change
throughout. The opening song is in a compound triple meter synonymous with the Irish folk
tradition. Melodies are passed around the ensemble for all players to shine. Ranges and rhythms
are appropriate for intermediate students. Cueing will be important to initiate all tempo and time
changes.
Saxophone Quartet 3 Peer Music Classical

2 Alto, Tenor, Bari
Cowell, Henry Sailor’s Hornpipe
Great piece for the high school saxophone quartet, especially one without a soprano
saxophonist. Felt in cut time, the structure is in an ABA form with both alto and tenor
saxophone taking lead roles. 8th notes present throughout the piece can seem challenging in cut
time. Dynamic swells add to the sea/sailing theme of the piece.
Saxophone Quartet 5 Belwin Jazz

SATB
Goodwin, Gordon Diffusion for Saxophone Quartet
A four-movement work for more experienced high school/college students. Combines a
variety of styles from classical to jazz. The Allegro conveys a classical approach with short
articulations and is probably the easiest movement. The waltz is felt in one and contains some
difficult triplet unison runs. The swing movement incorporates jazz articulations and a variety of
key signatures. The hip-hop movement contains an open improvised solo section for any
instrument. The section after the open solos is the most difficult section, containing contrapuntal
writing that pairs the top two voices and bottom two voices together.
Saxophone Quartet 3 Hirsch Music

SATB/AATB
Hirsch, Rick Silent Night
Great arrangement of a traditional carol for intermediate saxophonists. There is an
optional improvised solo for soprano saxophone where chord symbols are provided. The piece
begins in concert F and modulates to concert D, which can be a challenge for some players.
Complex rhythms during the interlude section at the key change creates a groove that layers one
player on top of another and ultimately builds to the melody in the new key. Ranges are
appropriate for high school level players and the lyrical nature can highlight ensemble blend and
balance.


Saxophone Quartet 5 Henry Lemoine
SATB
Piazzolla / Voirpy Histoire du Tango
A four-movement concert piece for an advanced saxophone quartet. This transcription
poses many challenges regarding style, articulation, balance, and technique. The first movement,
Bordel 1900 has very exposed soloistic sections for all voices. The Café 1930 movement is
lyrical and requires attention to balance amongst ensemble members. The final movement is the
most technically challenging and contains many accidentals and syncopated patterns with
contemporary melodic lines. A quartet standard for more experienced students to strive for.
Movements can be performed by themselves in recital settings to establish a more focused
approach for students learning the music.
Saxophone Quartet 3 Carl Fischer

SATB/AATB
Singelee / Lefebre Allegro de Concert
A slow introduction sets up the allegro tempo felt throughout the rest of the piece. The
top two parts carry the majority of the technical challenges with the top part (alto/soprano)
seeing most of the melody. Rhythms are very active at the end, which can pose technical
challenges, but appropriate for high school ensembles.
Saxophone Quartet 3 Rubank

AATB
Voxman, Himie Quartet Repertoire for Saxophones
A collection of quartet arrangements of classical composers appropriate for high school
quartets without soprano. Pieces are arranged without many weaving lines but include cut time
meters and a variety of articulation based works. Sinfonia No. 3 is the longest and most
challenging arrangement in this collection.
Saxophone Quartet 4 Advance Music

SATB
Wiberny, Heiner Ulla in Africa
A fun and exciting Latin groove for more advanced high school/early college students.
The challenge here is the rhythmic accompaniment and syncopated melodies in all parts.
Counting and subdividing will cause performers to practice slow at first before feeling rhythms
in this groove style. There are improvised solo spaces for soprano and tenor saxophone with
chord symbols, but written out solos are provided. If rhythms can be performed accurately, this
can be a real fun piece for students looking for a challenge.


Saxophone Quintet 5 Alfred Jazz

SATTB
Goodwin, Gordon Cannonball Run
This is piece for more experienced plays who have a solid jazz background. Similar to
his other works for big band, this piece is technically challenge for all saxophones even though
rhythms are mostly unison. Harmonies are complex and the fast tempo (240 bpm) causes even
more challenges regarding timing. This piece requires a jazz rhythm section with optional
percussionist to handle Latin percussion instruments. Extremely fun and exciting, but
technically difficult for younger musicians.
Saxophone Quintet 3-4 Advance Music

SATTB
Holst / Loritz Jig from St. Paul’s Suite Op. 29
Irish jig style arrangement for five saxophones. Soprano saxophone sees most of the
melodic figures, although melodic motifs are passed around the section. Difficulty here is
switching between compound duple and compound triple meters. High school level piece that
reinforces compound metered playing.
Saxophone Quintet 3 Advance Music

AAATB
Tutzer, Hans Jump for Joy
This is a fun and groovy piece suitable for upper intermediate saxophonists. Rhythms
and style are important here as accurate execution of background figures is essential. The alto
saxophones have solo figures that are exposed and are rhythmically challenging while the
baritone sax sets the foundation for the tempo. In the key of concert B flat.
Saxophone Quintet 4 Advance Music

AATTB
Zalba, Javier El Bororo
A Latin mambo composition for saxophone quintet. Slightly higher in difficulty level
due to the cut time syncopated Latin-style rhythms. There is an open improvised solo section for
any saxophone. This piece contains percussion accompaniment to support and establish the
mambo feel. Very fun and exciting for experienced high school students.
Saxophone Octet 3 Sempre Music

SSAATTBB
Gershwin / Thorne Summertime
This is an arrangement of a classic George Gershwin tune for saxophone octet. Students
need to be able to emphasize the triplet feel over a slow simple metered tempo. The beginning
key signature of concert C can pose some challenges for younger players. Not technically
challenging, but can really offer teaching opportunities regarding swing eighth notes, jazz
phrasing, and balance.


WOODWIND QUINTETS
Woodwind Quintet 3 Theodore Presser

Flute, Oboe, Clarinet, Horn, Bassoon
Agay, Denes 5 Easy Dances
One of the most popular woodwind quintet pieces provides a challenge for all players.
The five dances are polka, tango, bolero, waltz, and rhumba. Each movement requires its own
specific nuances that pertain to the style, especially regarding articulations. A great piece for a
mature quintet.
Woodwind Quintet 4-5 Southern Music Company

Ewazen, Eric Roaring Fork for Woodwind Quintet
A contemporary neo-classical piece for woodwind quintet by composer Eric Ewazen is a
three movement work depicting the scenes from Roaring Fork River in Colorado. Flowing
melodic lines transfer from voice to voice and while there are technical challenges for all
instruments, each player needs to focus on how these lines fit together. The ranges for the
instruments are on the higher end of the spectrum and there are many mixed meters. For
advanced students.
Woodwind Quintet 3 Shawnee Press

Gorton, Karen Folk Suite
An easier work for woodwind quintet, the folk suite by Gorton is a four movement piece
that uses a variety of musical styles. The first movement is a jig and features each instrument in
a compound meter up-tempo Irish jig. The lullaby allows for players to work on blend and
intonation and is easier to put together. The Chinese Dance movement contains a typical oriental
music style with some pentatonic motifs. The final movement, the Russian Bear is a Russian
dance. An intermediate ensemble piece for high school students and up.
Woodwind Quintet 3 Theodore Presser

Haydn, Franz Joseph Divertimento in B Flat
A very accessible classical work by Haydn for woodwind quintet. This is a standard
piece of repertoire from the woodwind quintet library to expose your students to. Typical
Baroque ornaments and nuances should be reinforced here. Many unison rhythms where
ensemble is playing tutti. This also can expose students to playing a minuetto and a rondo form.
High school groups and up.


Woodwind Quintet 5 Schott
Hindemith, Paul Kleine Kammermusik
An advanced work for very experienced performers. Very contemporary and full of
complex rhythms and accidentals. The bassoon part moves to tenor clef throughout the piece,
stopped horn in the French horn part, the flute player doubles on piccolo, and the instrument
ranges are difficult for all players. Suited for an advanced quintet comprised of strong individual
players.
Woodwind Quintet 3-4 Theodore Presser

Rameau / Nakagawa Suite in G for Woodwind Quintet
An arrangement of Baroque pieces for woodwind quintet, this work contains all of the
typical Baroque style nuances that need to be reinforced. The accompaniment parts are very
easy, whether at fast or slow tempos. The challenges are the technical passages found in the
flute, oboe, and clarinet. There are many short movements that can also be performed by
themselves.
Woodwind Quintet 2-3 Rubank

Voxman, Himie Ensemble Repertoire for Woodwind Quintet
A collection of woodwind quintet arrangements from classical composers appropriate for
high school groups. Pieces are arranged without many weaving lines but include cut time meters
and a variety of articulation based works. Arrangements from Bach, Haydn, Mozart, and
Koepke provide the players with excellent music to build their ensemble skills. This collection is
aimed at beginning quintets.
Woodwind Quintet 3-4 Theodore Presser

Washburn, Robert Suite for Woodwind Quintet
A three-movement work suitable for upper intermediate players and up. Many unison
rhythms that interject solo lines by all voices. The first movement is in a compound duple meter
and the fast tempo, along with technical passages are difficult to manage. The second movement
is slow and lyrical. Intonation is important in the second movement as melodies are exposed.
The final movement is fast and in common time in a dance style. Perfect piece for advanced
high school players and up.


TRUMPET ENSEMBLES
Trumpet Duet 2-5 Music Minus One

2 Trumpets
Arban, Jean-Baptise Complete Arban Duets
The quintessential duet book for any trumpet player now comes with a CD where you can
play each duet by yourself with a pre-recorded trumpet player. The duets range in difficulty
from easy chorales to very difficult technical exercises. This book is great for advancing trumpet
players who are serious about their musical studies.
Trumpet Duet 4 Schott

2 Trumpets
Escher, Wolf 20 Jazz Duette Fur Trompeten
If you’re looking for some quality jazz duets for trumpets, this is the book to get. This
book contains 20 jazz arrangements for two trumpets in almost every jazz style known. The
tempos can get fast for some of the swing numbers and these duets require technical skill and the
ability to play independently. Good for advancing trumpet players.
Trumpet Duet 3 Kendor

2 Trumpets
Jarvis, Rebecca 20 Recital Duets
This collection of duets combines original compositions from the composer, and
transcriptions from classical composers. Few technical challenges and rhythmic subdivisions
add to the difficulty of these duets. Great for advancing high school students looking for music
to play at a recital, concert or for an exam.
Trumpet Duet 3 Charles Colin

2 Trumpets
Jekabson, Erik 26 Intermediate Jazz Duets
An easy set of jazz duets for the intermediate player. This book is great for teaching
basic swing rhythms and articulation. The second part is not as technical as the first part and the
book in general is probably a more appropriate set for introducing jazz to high school students
than the Escher book.
Trumpet Duet 3-4 Carl Fischer

2 Trumpets
Sachs & Alessi 14 Duets
This collection of duets is arranged for trumpet or trombone duet, with the option to
combine instruments for ensemble flexibility. Bach inventions and Telemann sonatas highlight
this collection of superb literature. These duets contain some difficult technical passages that
may be more suitable for more advanced high school students. Songs are written in more of a
counterpoint construction rather than a song full of unison rhythms.


Trumpet Trio 4 Alfred
3 Trumpets
Anderson, Leroy Bugler’s Holiday
One of the most famous trumpet works for concert band, this arrangement extracts the
trumpet trio from the concert band setting and puts it with piano. A challenge for trumpets,
especially regarding fast articulations. Double tonguing is essential and this piece can be a great
teaching tool for this technique.
Trumpet Trio 3 Carl Fischer

3 Trumpets
Handel / Goldman Air and Variations
Classic Baroque style trumpet trio with piano accompaniment. Dynamics need to be
exaggerated and teachers should work on trills with their students. Some sixteenth notes,
especially in the top part and writing is contrapuntal. Good trip for high school ensemble.
Trumpet Trio 3 Carl Fischer

3 Trumpets
Mandez, Rafael Chiapanecas
A Mexican style song for three trumpets and piano accompaniment is a nice change of
pace from the classical repertoire for trumpet. Some technical challenges and articulation is an
important factor in Mexican music. Rhythms are unison throughout which adds to ease of
rehearsing and maintaining tempo.
Trumpet Trio 4-5 G. Schirmer

3 Trumpets
Muczynski, Robert Trumpet Trio
A trumpet trio for advanced high school/college trumpet players. Formatted in five short
movements, this piece requires trumpet players with a lot of technical skills and ability to double
tongue. Faster movements contain a lot of syncopation and playing on up beats. Range is not a
big factor in this piece as much as rhythms are. Great piece for an advancing trumpet trio where
all players are equally strong.
Trumpet Quartet 4 Kendor

4 Trumpets
Bach, J.S. Fugue in C Minor
A transcription from the Well-Tempered Calvier, this piece requires all players to be able
to play independent from one another as lines weave in and out throughout the piece. Rhythmic
values are as small as sixteenth notes but the real challenge is lining up the four individual parts
together.


Trumpet Quartet 2-3 Rubank Inc.
4 Trumpets
Ostransky, Leroy Fanfare and Allegro
A great piece for high school trumpet quartets that explores the dynamic range of the
instrument with some very nice harmonies. In two movements, the fanfare feature more of the
first trumpet player. The allegro movement is much fast and contains more rhythmic movement,
technical passages, and feature more prominent parts from other members of the ensemble.
Appropriate for upper intermediate high school players and up.
Trumpet Quartet 3 C L Barnhouse

4 Trumpets
Tchaikovsky / Holmes Andante Cantabile
This arrangement of a classic Tchaikovsky piece for trumpet quartet highlights the fourth
trumpet player at the beginning, who is usually playing accompaniment parts. The melody
passes through the ensemble, where other players need to be sensitive to whoever has the
melody. The piece is in 12/8 and contains many accidentals and rhythmic shorthand.
Trumpet Quartet 2-3 Rubank Inc.

4 Trumpets
Various Quartet Repertoire for Cornet or Trumpet
A collection of classical arrangements for trumpet quartet that comes in four separate
parts so there is no score reading. Music from Brahms, Dieterich, Koepke, and Schubert are
arranged to fit the ability levels of the middle school/early high school student. Ranges and
rhythms are not challenging, though you may see some consecutive eighth notes and sixteenth
notes here and there. Great for younger players.
Trumpet Sextet 3 Eighth Note Publications

6 Trumpets
Leoncavallo, Ruggero Vesti La Giubba
This operatic aria is for solo trumpet and trumpet ensemble. 3 Flugel horns are needed
for this piece as well. The challenge is more in the solo part than in the ensemble sections. Then
ensemble is playing a lyrical accompaniment for the soloist to play on top of. A key and time
signature change occur, but to the key of B flat major and a simple duple time signature. Great
piece if you have a good trumpet soloist you wish to feature.
Trumpet Sextet 4-5 Eighth Note Publications

6 Trumpets
Parcel / Marlatt London Bridge
Here is an arrangement of London Bridge for trumpet sextet. This piece may seem
simple based on the title, but there is a key signature change almost every eight measures.
Students need to be able to play in every key as this piece cycles through all key signatures and
changes style. The top trumpet player will see some difficult rhythmic passages as this work
progresses. For an advanced high school trumpet section.


Trumpet Octet 5 Eighth Note Publications
Piccolo Trumpet, 7 Trumpets
Von Suppe / Barker Poet and Peasant Overture
A very difficult work for trumpet octet. A piccolo trumpet and flugelhorn is needed to
perform this piece. The beginning section is in the key of E major for the trumpet and is lyrical
in style. The piece then picks up to 170 bpm where solo parts are passed amongst ensemble
members and a 3/8 (counted in one) section is sandwiched in between two longer simple metered
sections. Double tonguing, flutter tonguing, tempo, and key signature plays into the grading of
this piece. For a very advanced group of trumpet players.


HORN ENSEMBLES
Horn Duet 5 Edita Musica Budapesth

2 Horns
Durko Eight Horn Duets
This collection of eight duets is suitable for the advanced horn player looking for a
challenge. These duets a filled with difficult rhythmic patterns, accidentals, and meter changes.
Students must be able to play with the stopped horn technique which is an extended technique
present in these duets. For the advanced high school/college student.
Horn Duet 4 McCoy

2 Horns
Hill, Doug 27 Rare Horn Duets
This collection of duets from Doug Hill consists of a variety of arrangements including
various folk songs. The book is intended for pre hand horn and contains all open tones, perfect
for teaching hunting calls and lip control to high school horn players. For horn players from the
high school level through college.
Horn Duet 2 ProArt

2 Horns
Schaffer, Don Duets Are Fun
A collection of easy duets for the beginning horn player. Ranges are extremely
conservative and doesn’t contain unordinary meter or time changes. Suitable for middle school
or early high school student beginning to play duets.
Horn Duet 2-4 Rubank

2 Horns
Voxman, Himie Selected Duets for Horn Vol. 1, 2
A reliable collection from the selected duet series for band instruments. The
collection contains a variety of duets in styles relating to Baroque and Classical era writing with
transposed horn parts from the original works. Volume 1 is suitable for middle/high school
students, while Volume 2 is more challenging and would be recommended for advanced high
school players.
Horn Trio 3 Hornitsts’ Nest

3 Horns
Bach / Shaw Trios
These Bach horn trios are essential to developing ensemble skills, which can be said for
any instrument family. Bach chorales, dances, and fugues provide teaching opportunities
regarding ensemble balance, tone, articulation, style, and timing. These trios are appropriate for
students in high school, both developing and advanced.


Horn Trio 2 ProArt
3 Horns
Hudadoff, Igor 24 Horn Trios
This collection is perfect for middle school/early high school horn players who are being
introduced to chamber ensemble playing. All rhythms, keys, and time signatures are extremely
feasible for the young horn player and unison rhythms are found throughout to reinforce
cohesion.
Horn Trio 5 International

3 Horns
Reicha, Anton 3 Suites of Horn Trios
These very popular concert trios for horn contain substantial technical material for
advanced horn players. The slow movements allow the ensemble to showcase their musicality
and tone through the romantic composition style, while the faster movements contain impressive
technical passages. Originally for natural horn, but adapted for universal use. Recommended for
advanced high school/college students.
Horn Quartet 3 Hornists’ Nest

4 Horns
Bach / Shaw 2 Fugues
Bach serves as one of the best composers for developing chamber ensemble skills. These
fugues arranged by Shaw are great for high school horn players and up who are looking to work
on their technical ability, rhythmic precision, and timing as a group.
Horn Quartet 2 Belwin

4 Horns
Getchell / Hovey Section Studies
This book is aimed at developing ensemble skills for students beginning chamber
ensemble playing. Studies in this set focus on blend, phrasing, intonation, style, and precision
amongst members. Most horn players should begin with this book before moving to more
advanced quartet works to develop necessary skills needed to be successful in the ensemble
setting.
Horn Quartet 5 Schott

4 Horns
Hindemith, Paul Sonata for 4 Horns
One of the most popular concert horn quartets, the Hindemith Sonata for horn quartet is a
difficult ensemble piece. The writing style is similar to that of his other works, evoking a very
contemporary style and unique characteristic of sound. Extensive use of accidentals, rich
sonorities, and technical passages make this a challenge to piece together. Recommended for
advanced high school/college students.


Horn Quartet 4 King
4 Horns
Nelhybel, Vaclav Divertimento
A concert work for horn quartet in similar style to Nelhybel’s concert band writing.
Extremely rhythmic in nature, the piece doesn’t reach the extreme range of the horn, but the
technical passages and displaced accents are the challenge. A unique composition recommended
for good high school players and up.
Horn Choir 3 Hornists’ Nest

5 Horns
Bach / Shaw Jesu Meine Freude
Another great adaptation of a Bach chorale, this time scored for five horn players.
Covers the entire range of the horn and is rhythmically accessible for intermediate students. A
great piece to use for a larger group of horn students at the high school level.
Horn Choir 5 Private

10 Horns
Boysen, Andrew Of Shadows and Darkness
A contemporary work for large horn ensemble is scored for two horn soloists and two
horn quartets. There are some extended techniques and instrumental effects throughout the
piece. There is not an easy part throughout the ensemble, requiring a high demand for all
players. If you have the players, this is a very cool concert piece that will challenge your more
advanced players.
Horn Choir 4 Hornists’ Nest

8 Horns
Humperdink / Kirschen Hansel and Gretel
This arrangement of Hansel and Gretel is an absolutely beautiful lyrical selection for a
large horn ensemble. Ranges can cause an issue here as the first and seventh part extends to the
upper edge of the horn range, but the other inner and bottom voices are at an upper intermediate
level. This piece would be recommended for a strong high school horn section looking for a
concert piece.


TROMBONE ENSEMBLES
Trombone Duet 4-5 Theodore Presser Co.

2 Trombones
Presser, William 7 Duets
For the advanced trombonists in your band program, these seven duets are of recital
quality. All duets are multi-movement, which can be played in a variety of settings. Contains a
variety of styles and meters, and the majority of the writing is in counterpoint style.
Trombone Duet 3-4 Carl Fischer

2 Trombones
Sachs & Alessi 14 Duets
This collection of duets is arranged for trumpet or trombone duet, with the option to
combine instruments for ensemble flexibility. Bach inventions and Telemann sonatas highlight
this collection of superb literature. These duets contain some difficult technical passages that
may be more suitable for more advanced high school students. Songs are written in more of a
counterpoint construction rather than a song full of unison rhythms.
Trombone Duet 2-4 Southern Music Co.

2 Trombones
Voxman & Block Duet Fun Vol. 1, 2
A book of easy duet arrangements from Mozart, Bach, Arban, and other composers.
Volume 1 is for the introductory student and parts are full of unison rhythms and feasible
melodies, while Volume 2 is a little more advanced by moving away from strict unison writing
and increasing technical aspects. Great for middle school to high school students.
Trombone Duet 2-4 Rubank

2 Trombones/Baritones
Voxman, Himie Selected Duets for Trombone/Baritone Vol. 1, 2
The Voxman collection for Trombone/Baritone is a compilation of duets for the
intermediate to advancing low brass player. The levels of difficulty found in this collection of
duets are accessible to young students through more experienced high school players. The
collection contains a variety of duets in styles relating to Baroque and Classical era writing.
Rhythms contain some syncopation and sixteenth notes, but overall very standard for high school
students. Many unison rhythms allow for ease of organization between players. Great for
beginning duets and sight-reading for advanced players.
Trombone Trio 4-5 King

3 Trombones
Corelli / Lemetre Trio Sonata
This piece is aimed for the advanced trombone trio looking for more of a challenge. For
teachers, this is a great piece for tuning pure intervals and teaching resolution tendencies of
suspensions. Although the individual parts are not extremely difficult, there are difficult
subdivisions and counting that add to the difficulty of the piece.


Trombone Trio 2-3 Ed Suerta Publications
3 Trombones
Engebretson, Jim Manchester Hornpipe
A sailor song for intermediate trombone trio. The introduction is very legato, but is
written in 6/4, a meter many younger students may not be used to. The song then shifts to 6/8
and continues in this compound duple meter with basic rhythmic patterns. Great trio for
advanced middle school/early high school.
Trombone Trio 1-2 Edition Musicus

3 trombones
Uber, David Beginning Trios for Trombones
These are very easy duets for the beginning trombonist. Perfect for middle school
students and students who may have made a switch to trombone from another instrument. Very
basic rhythms in simple meters. A lot of unison rhythmic writing.
Trombone Quartet 2-3 Boosey & Hawkes

4 Trombones
Clapp, Philip Concert Suite
A diverse concert piece for trombone quartet. A multi-movement work allows the group
to experiment with different styles of playing. From a chorale to a hunting song, the ensemble
will have to identify with the specific style and articulate accordingly. Other movements include
a Minstrel Show and Nocturne.
Trombone Quartet 4 Ensemble

4 Trombones
Marini, Biagio Canzona
A Baroque style quartet for trombones is considered one of the earliest known pieces for
trombone quartet. Counterpoint writing is found throughout the piece as is found in many
Baroque pieces. Technical passages add to overall difficulty of the piece. For advanced high
school players.
Trombone Quartet 3 Ensemble

4 Trombones
Morley, Thomas My Bonny Lass
In simple meter, this piece begins with an ensemble tutti section before splitting into
melody and accompaniment. With an Irish tinge, this is a fun piece for intermediate trombone
players containing moderate range demands and appropriate rhythmic patterns.
Trombone Quartet 3 Southern

4 Trombones
Solomon, Ed Fiesta
A very fun and exciting piece for the high school trombone quartet, Fiesta contains
rhythmic flavors of Spain. Accents are relied on heavily to produce the required style. Not too
difficult in regards to range. A nice change of pace for the classical trombone quartet.


LOW BRASS ENSEMBLES (Baritone/Euphonium/Tuba)
Tuba/Baritone Deut 3-4 C L Barnhouse

2 C instruments in Bass Clef
Amsden, Arthur Celebrated Practice Duets
One of the best duet books I have found for brass players. Originally written for cornets,
there is also a version for treble clef instruments. Duets range from short in length to longer
concert duets, in various keys and various time signatures. There is a page in the beginning of
the book for daily embouchure exercises, which is a great warm up before the duets. These duets
increase in difficulty and can be played by intermediate to advanced students.
Tuba/Baritone Duet 2-3 Alfred

2 Baritones
Snell, Kenneth Master Duets for Trombone/Baritone
There are three books in each volume: easy, intermediate, and advanced. I would classify
the advanced book s more of an upper intermediate level. The easy book contains eighth notes
as the smallest rhythmic subdivision. As the books increase in difficulty, we find more
independent parts and inclusion of smaller rhythmic units. Great for high school students and the
easy book would benefit middle school players.
Trombone/Baritone Duet 2-4 Rubank

2 Trombones/Baritones
Voxman, Himie Selected Duets for Trombone/Baritone Vol. 1, 2
A reliable collection from the selected duet series for band instruments. The
collection contains a variety of duets in styles relating to Baroque and Classical era writing with
transposed parts from the original works. Volume 1 is suitable for middle/high school students,
while Volume 2 is more challenging and would be recommended for advanced high school
players.
Tuba/Baritone Trio 4 Eighth Note Publications

3 Tubas/Baritones or mix
Bach / Sweete Praeludium and Fugue XIX
A more difficult arrangement for low brass trio. Bach always serves as a staple in
chamber music skill building and this arrangement doesn’t disappoint. In 12/8 time, the speed
and rhythmic difficulty add to the challenges of this piece.

Kaisershot, Kevin Triplet Trove
This trio is designed to teach triplets in three different settings. All three movements are
in 3/4 time in a fast-slow-fast format. Tempos in the first and last movement can cause technical
challenges.


Kaisershot, Kevin Elegy
A very slow, lyrical piece for low brass trio aimed at the intermediate section. Parts are
independent from one another, so counting and understanding resolutions are important.
Rhythms are feasible with some parts moving on upbeats.
Low Brass Quartet 3 Southern

2 Baritones, 2 Tubas
Bach, Thurston Jesu, Joy of Man’s Desiring
Not only an audience favorite but great for many settings, this arrangement of the Bach
classic work is perfect for adjusting passing melodies. Balance is extremely important to the
overall execution of this piece. In 9/8 time, rhythms will take some practice, but shouldn’t be too
difficult for your high school ensemble.
Low Brass Quartet 3 Kendor

Forbes, Mike Simple Gifts
One of the quintessential brass pieces for any brass chamber ensemble. In common time
and at a moderate tempo, the parts contain some technical eighth note runs and some
accompaniment parts played on upbeats, but otherwise not too difficult.
Low Brass Quartet 4 Kendor

Forbes, Mike Ukrainian Bell Carol
This is another tradition song that students will be excited to play. The challenge here is
counting. The work is in 3/4 but counted in one. Often times, parts are played on the “and” of 2
which almost suggests a compound duple meter. This can teach counting in one and locking in
short articulated rhythms.
Low Brass Quartet 3 Eighth Note Publications

Mozart / Marlatt Alleluia
Great arrangement of the Mozart Alleluia for low brass quartet. The bottom three parts
are accompaniment based and easy enough to be graded a 2, but the top voice contains measures
of consecutive sixteenth notes that are very challenging (probably a grade 4). If you have a very
good baritone player, this piece would be great.
Low Brass Ensemble 3 Hal Leonard

Any combination of Tuba/Baritone/Trombone
Wilson / Christensen 76 Trombones
This arrangement of the classic tune from The Music Man is a real crowd pleaser and
great to include as many low brass instruments as you’d want. In a compound meter, there are
some technical challenges with the melody, but otherwise this is an east arrangement for high
school ensembles.


BRASS TRIOS
Brass Trio 4-5 King

Trumpet, Horn, Baritone (trombone)
Beethoven / King Trio, Op. 87
An advanced concert piece for skilled brass players. Written in four movements, this
piece utilizes the baritone player (or trombone) in a lengthy arrangement of a Beethoven work.
These movements can be performed on their own due to length. Rests are at a minimum so
endurance is a challenge for brass players here.
Brass Trio 1-2 Chappell

2 Trumpet, Horn
Bently, Arnold 16th Century Trios
This collection of mixed trios for two trumpets and horn are great for middle school and
early high school players. There are twelve trios in this set that contain simple rhythms that
mostly unison. Meter changes are simple and melodies are very easy to perform.
Brass Trio 2 Carl Fischer

Trumpet, Horn, Trombone
Bruckner / Maganini Aequale
This piece for bass trio contains many sustained notes and can be used to work on
developing a full and beautiful brass tone. Dynamics are key here as there is no technical
passages here. Short in length and can be a great piece to work on intonation and blend.
Brass Trio 3 Ensemble

Josquin / De Jong 3 Josquin Pieces
An adaptation of early renaissance music for brass trio. The counterpoint writing will
require students to learn to play independently of melodic passage. Irregular rhythms add to
overall difficulty of the work and allows the teaching of counting and subdividing.
Brass Trio 5 King

Marek, Robert Trio
An advanced contemporary trio for brass players. Many elements contribute to overall
difficulty including syncopations, meter changes, and hard rhythmic patterns. Individual parts
will require a lot of practice to learn many of the technical passages of this piece, although full
ensemble sections are easier to put together. For advanced high school brass players.


BRASS QUARTETS
Brass Quartet 3 Donemus

2 Trumpets, Horn, Trombone
Andriessen, Hendrik Suite
A three movement work for brass quartet with a modern approach to
brass writing. A great piece for a high school ensemble due to tutti ensemble
rhythms and moderate ranges for all instruments. There are sections where
rhythmic patterns require attention to counting and subdividing.
Brass Quartet 4-5 King

2 Trumpets, 2 Trombones (horn sub for first trombone)
Bergen, Jean Intrada
A Difficult work for brass ensemble that requires endurance among all voices. The first
trumpet is responsible for the melody throughout the majority of the song. A lot of syncopation
will require students to be able to subdivide and execute up-beat patterns. The piece alternates
between chorale sections and fast articulated sections. Appropriate for upper level high school
students.
Brass Quartet 4 Mills

Jacob, Gordon Scherzo
A rhythmically challenging piece for high school brass quartet. The meter shifts between
various compound meters, which is appropriate for teaching triplet subdivisions. All parts in this
piece are challenging and require technical skill.
Brass Quartet 3 Alfred

4 Treble/Bass Clef Instruments
Marcellus, John Quartets for Brass
This collection of arrangements from classical works is for any four treble clef or bass clef brass
instruments of the same key. Bass and treble clef instruments can play together with separate
books. Works from Mahler, Hayden, and Brahms are arranged for intermediate brass quartets.
This is a great series for teachers to combine any brass instruments together.
Brass Quartet 3 King

Trumpet, 3 Trombones
Obrecht / King Tsat een Meskin
A great chorale for brass quartets to use to sharpen their ensemble skills. Contains some
contrapuntal lines and melodies that are passed off from one voice to another. For an
intermediate high school ensemble to use to develop intonation.


Brass Quartet 1-2 Mentor
Schumann / Nagel Song, Chorale & March
This is a great introductory piece for middle school or high school players who are new to
the instrument. There are three short movements that contrast in style. Allows students to
experience ensemble playing and work on balance, intonation, timing and articulation.


BRASS QUINTETS
Brass Quintet 3 G. Schirmer

2 Trumpets, Horn, Trombone, Tuba
Barnes, Walter The Canadian Brass Book of Favorite Quintets
A great collection for intermediate brass players. This set contains a variety of pieces from
various musical styles including Baroque music, Japanese folk song, and American hymns. Parts
are not extremely technical as is the ranges for each instrument. A great balance of unison
rhythmic writing and independent scoring.
Brass Quintet 5 The Music Guild

Buchanan, Gary Grand Suite for Brass Quintet
This grand suite for brass quintet consists of seven short modern movements. The
movements range from a waltz, march, chorale, and gallop. Trombone has tenor clef in specific
measures. The independent parts, connecting melodic passages, and isolated solo sections
requires strong individual players. Heavy use of accidentals and modern harmonies. A lengthy
work, but movements can be extracted and organized to perform smaller sections of the whole
piece. For advanced quintets.
Brass Quintet 4-5 Paterchan

Chandler, Erwin Quintet for Brass
An advanced concert piece that requires advanced players. Formatted in three
movements (fast-slow-fast), this piece sounds contemporary and contains some dissonant
harmonies. Many meter changes occur throughout and mutes are required. Each voice has
isolated passages that pass on to another voice and contains some very difficult technical
patterns. This is definitely for advanced brass players.
Brass Quintet 3-4 Curnow

2 Trumpets, Horn, Trombone, Tuba (op. percussion)
Curnow, James Festivo
A fast and rhythmic piece to combine with some percussionists for a great concert work.
Consecutive sixteenth notes will require the use of double tonguing techniques. Accent
placement poses another challenge where students will need to subdivide and play isolated hits
on different parts of the beat. Definitely a fun piece to add to a concert or recital for advancing
high school quintets.
Brass Quintet 3 Lorenz

Evans, Charles Resurrection Brass
These hymn arrangements are great for tone building and intonation practice amongst brass
quintets. Rhythms are very straight forward and even though there are triplets and a few
sixteenth notes, many rhythms are unison and accessible for any high school ensemble. Some
meter changes.


Brass Quintet 4-5 WPF Music
Fritchie, Wayne Quintet for Brass Opus 14, No. 7
This quintet is more of a standard concert piece for brass quintet. The difficulty comes
with the technical passages found especially in the first trumpet part. Other than that, the rest of
the parts are suitable for your advancing high school brass quintet. More accessible than the
other advanced pieces mentioned in this list.
Brass Quintet 3-4 Alfred/Belwin

Gershwin / Smith The Music of George Gershwin
This concert compilation of Gershwin songs poses a few challenges to the young ensemble.
The jazz nature of Gershwin’s writing contains a lot of syncopation as well as some difficult
technical patterns (sixteenth note triplets for example). There are many key and time signature
changes that include 5/4. A lighter selection to add some diversity to any concert.
Brass Quintet 3 Eighth Note Publications

Haynor, James Pipes and Fifes: The Folk Songs of Scotland
A concert arrangement of various Scottish folk songs offer a variety of teaching points.
There are many key changes and a few time signature changes. Teaching the Scottish “snap”
rhythm (sixteenth note on the downbeat followed by a dotted eighth note) and drone imitation
are unique to this piece. A variety of tempos and styles presents the quintet with a wide array of
musical opportunities. Suitable for high school quintets.
Brass Quintet 4 Music Express

Holst / Nowak Second Suite in F
This is a transcription of the classic concert band work by Gustav Holst for brass quintet.
This set contains all four movements and poses the same challenges faced in the concert band
piece. The first and third movements require short articulations and attention to counting. The
final movement is in a fast compound meter and will demand technical skill from the performers.
A great concert work for an advanced high school brass quintet.


PERCUSSION ENSEMBLES
Percussion Ensemble (12 Players) 4 Row Loff

Mixed Percussion Ensemble – Snare Drum, Bass Drum, Crash Cymbals, Timpani, Bells,
Vibraphone, Xylophone, Marimba, Chimes, Triangle, Gong, Suspended Cymbal, Pang Cymbal,
Splash Cymbal
Brooks, Chris Excalibur
This piece incorporates many players to perform this fantastic work for advanced
percussionists. Technical passages found in the mallet parts, especially xylophone and many
solo opportunities for players to shine. Syncopated patterns help create a groove feel throughout
the middle of the piece. Great for upper intermediate players.
Percussion Ensemble (14 players) 4-5 Row Loff

Mixed Percussion Ensemble – Bells, Xylophone, Marimba, Vibraphone, Timpani, Snare Drum,
Concert Toms, Bass Drum, Crash Cymbals, Woodblock, Shaker, Guiro, Temple Blocks,
Triangle
Brooks, Chris Millennium
This piece incorporates a variety of players on multiple instruments. The tempo is
extremely fast and is in 5/4 time signature which causes problems for counting in five.
Technical passages all over the ensemble for mallets and drums alike. A great concert
showpiece for the advanced ensemble.
Percussion Ensemble (4 players) 1-3 Kendor

Mixed Percussion Ensemble – Snare Drum, Bass Drum, Cymbals, Woodblock,
Triangle, Timpani, Maracas, Claves, Tambourine
Brown & Musser Percussion Studies (books I-V)
14 short pieces for four percussionists varying in difficulty from beginner to intermediate.
Perfect ensemble collection to start percussionists off with chamber music.
Percussion Ensemble (3 players) 3-4 Henmar Press

Mixed Percussion Ensemble - 8 wood blocks, 5 tom toms, 2 pairs of bamboo sticks, bass drum
Cage, John Trio
A list of percussion ensemble pieces must include one from John Cage who is a
quintessential composer of percussion repertoire. Basic instrumentation, rudimentary rhythms
throughout. Although his music is very avant garde, this is a good introduction to the percussion
music of John Cage for younger players.
Percussion Ensemble (4 players) 4 Music for Percussion Inc.

Drum Ensemble – 4 high toms, 4 low toms, 4 “toy” drums, 4 temple blocks
Colgrass, Michael Percussion Music
4 short movements in which all players play on basic multiple drum setups. Rhythmically
basic with some mixed meters. Players must have well developed snare drum abilities (rolls,
rudiments, etc.). This piece works on connecting musical lines between multiple drums. Some
meter changes. Great for advancing high school ensemble.


Percussion Ensemble (9-11) 4 Row Loff
Mixed Percussion Ensemble – Bells, Xylophone, Vibes, Marimba, Drum Set, Tambourine,
Congas, Timpani, Cymbals, Police Whistle, Toms, Mark Tree, Jam Blocks, Cowbell, Bell Tree
Crockarell, Chris Glitzville
A very fun and fast piece for percussion ensemble where the drum set player drives the
pulse of the piece. The mallet players provide the melodic material using 2 mallets. Tempo in
cut time can cause some counting problems with young players.
Percussion Ensemble (3 players) 3 Mitchell Peters

Mixed Percussion Ensemble – 4 Cowbells, Suspended Cymbal, 4 Temple Blocks, Wood Block,
Tenor Drum, Snare Drum, 2 Bongos
Ervin, Karen Three Play
A short, rhythmically piece that requires each player to use basic multi-percussion setups.
This piece focuses on mix- metered passages with basic quarter and eighth note rhythms.
Excellent for intermediate percussionists.
Percussion Ensemble (4 players) 4 Samfundet

Keyboard Ensemble w/ some percussion – Glockenspiel, Vibraphone, 2 Marimbas (4.3), Snare
Drum, Tom-Tom, Suspended Cymbal.
Henze, Jesper Kwarts
Standard rhythms found throughout this piece but with a lot of mixed meters.4-mallet
technique required for 2 of the players. Great piece for some of your keyboard percussionists.
Percussion Ensemble (6 players) 4-5 C. F. Peters

Mixed Percussion Ensemble – Marimba, Glockenspiel, timpani, Tenor Drum, Bass Drum, Tam-
Tam.
Hovhaness, Alan October Mountain
A standard in percussion ensemble repertoire. This multi-movement work focuses on the
melodic percussion with the Marimba and Glockenspiel being the most important instruments.
Challenging technical passages and rhythmic patterns require ability to subdivide and place
rhythms accurately. Conductor recommended. For advancing percussionists.
Percussion Ensemble (4 players) 4-5 Grand Mesa Music

Drum Ensemble – Bongos, Snare Drum, 3 Tom-Toms, 3 Timpani.
Madison, Billy Carnival Ride
This piece is extremely fast and syncopated. All performers will require solid rhythmic and
drumming skills. Each player plays on just one type of drum, rather than multitasking through a
large amount of varied percussion instruments, which makes the piece much easier to setup,
practice, rehearse, and play. A great concert piece for intermediate and advanced players.


Percussion Ensemble (5 players) 3 KSM Publishing
Mixed Percussion Ensemble – Bongos, Snare Drum, 3 Toms, Bass Drum, 3 Timpani, Temple
Blocks, Tambourine, 2 Cowbells, Suspended Cymbal, Triangle, Wood Block
Peters, Mitchell A la Nanigo
Based on Afro-Cuban music and rhythms, the piece is primarily in compound meter and
highly syncopated and groove oriented. Each player is required to play multiple instruments. A
fun piece suited for intermediate level players.
Percussion Ensemble (2 players) 2 Universal Edition

Body Percussion – Hand Clapping
Reich, Steve Clapping Music
A good piece to workshop with young percussion students to develop rhythmic and
ensemble skills. A single, syncopated eighth note rhythm is performed in unison and repeated.
Over the course of the work, one player begins to shift the rhythm by a single eighth note while
the other player remains constant. No instrumental skills are required.
Percussion Ensemble (5 players) 4-5 Universal Edition

5 Claves (or other pieces of wood)
Reich, Steve Music for Pieces of Wood
A good piece to develop rhythmic and ensemble skills, the work incorporates a basic
eighth note rhythm that is developed between players throughout. A standard in the percussion
ensemble repertoire.
Percussion Ensemble (4 players) 5 David Skidmore Music

Mixed Percussion Ensemble – 5 Tom-toms, 2 Snare Drums, Bass Drum, Djembe, Brake Drum,
Marimba, Congas, Bongos, 4 Tambourines
Skidmore, David Ritual Music
Requires a substantial amount of multi-tasking between different percussion instruments
and choreography between different setups. Students need to have solid skills on all percussion
instruments. Temp is very fast and shows off multiple percussion instruments. Great for
advanced high school students.
Percussion Ensemble (4 players) 5 Boosey & Hawkes

Mixed Percussion Ensemble – Wood Block, Triangle, Snare Drum, Tam-Tam, Finger Cymbals,
Tambourine, Suspended Cymbal, Slap Stick, Xylophone, Vibraphone, Temple Blocks, Tenor
Drum, Timbales, Glockenspiel, Timpani, Bongos
Tull, Fisher Sonatina for Percussion Ensemble
This piece requires each player to play a variety of percussion instruments. This piece
contains standard intermediate level rhythms and techniques. Each player is also given a solo
“cadenza” within the piece. An excellent, well balanced piece of music for an advanced group of
percussionists.


Percussion Ensemble (5 players) 3-4 Southern Music Company
Mixed Percussion Ensemble – Xylophone, Glockenspiel, Vibes, Chimes, Suspended Cymbal,
Tom-Tom, Bass Drum, Tam-Tam.
Varner, Michael Ancient Voices, Distant Storms
This unique work for percussion ensemble alternates between melodic, keyboard driven
sections and other drum dominated passages. Musical and technical material well suited for
intermediate players.
Percussion Ensemble (4 players) 2-3 Ludwig

Drum Ensemble – 4 Toms, 2 Cowbells
Williams, J. Kent African Sketches
This is a three movement piece with basic instrumentation. A lot of syncopation throughout
and introduces basic polyrhythm’s between players (2:3, 4:3). All players have to be quite
technically and rhythmically competent throughout. A good concert piece for intermediate level
players.

Gramata (2015) - Benefits of Chamber Music Participation

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Head: BENEFITS OF CHAMBER MUSIC PARTICIPATION

A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF THE ARTS

student’s overall musicianship, technical ability, interpersonal relationships, leadership skills,

teaching strategies, and the development of non-musical skills beneficial to character

development. To compliment the synthesis of scholarly literature, an instructional sequence is

current instrumental music learning experiences.

compromise, creativity, personal responsibility, and pedagogical delivery.

to the benefits and value of such a program.

of 2014 The Core Music Standards can be found in strand MU:Cr6.1.E.IIIa:

Demonstrate an understanding and mastery of the technical demands and expressive

qualities of the music through prepared and improvised performances of a varied

performance based artistic processes outlined in the revised set of standards.

According to Latten (2001):

All instrumental students should be provided with regularly scheduled small-ensemble or

elementary or secondary instrumental music curriculum consisting primarily of full-

and education. (p. 45)

the onus on individual student performance.

Increasing individual musical ability through musical independence is achieved by

performance by developing more independent musicians through chamber music participation.

be as easily discernable in the larger ensemble.

through the development of musical objectives aimed at establishing musical independence

increase in the abilities of the large ensemble.

concentrated environment conducive to individual development, students acquire valuable solo

chamber music application.

The Development of Non-Musical Skills

ensemble, nonverbal communication is another element of chamber performing that needs to be

encourage the development of intrinsic characteristics essential in student maturation towards

future social and professional expectations.

chamber music participation demands flexible degrees of self-subordination, cooperation,

musicians vital to their growth as an individual and as a musician.

Without the presence of an educator, students in chamber ensembles tend to take on

learning in order to produce a high quality musical product.

Leadership is fostered through establishing a vision, communicating with ensemble

leadership skills in the classroom setting. Leadership is ultimately a fundamental aspect of

ensembles within the music program.

contribute to musical decision-making. The study analyzed interview responses of 20 string

adopt a democratic approach.

communication, and democratic decision-making amongst members. Studies by Ford &

questionnaire administered to 55 respondents representing 20 wind quintets. Results of the study

being without an appointed leader and participate in democratic decision-making. Educators

democratically to achieve musical goals. As a result of limited resources specific to

Wechsberg (1963) stated in his article regarding chamber music performance:

friends’. (p. 36)

cooperative engagement in musical activity. The opportunity to develop lasting relationships

These relationships are established through proper communication in order to determine

ensemble goals and especially musical cohesion in the midst of performance.

performance? Nonverbal communication is essential for chamber musicians to internalize

movement on listeners’ perceptions of musicality in trombone quartet performance concluded

Nonverbal communication is used in large ensemble performance through the baton of

instrumentation. By having the element of nonverbal communication as the backbone of

Confidence, both interpersonally and musically, is an intrinsic characteristic developed

through chamber music participation. As participation in chamber music ensembles improves

reinterpret music. Due to the concentrated instrumentation of a chamber ensemble, beginning

quartet by Mike Mower.

balance of collaboration amongst members, task-directed musical communication, and gender

grouping contributed positively to the overall outcome of the collaborative composition.

experience composing or arranging music within specified guidelines. In this statement,