SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: CL.026-4323-01
Ed Huckeby’s Build-A-Band arrangement of Angela’s Song is arranged for solo and small band. Solo parts are included for all of the usual band solo instruments plus the usual Build-A-Band instrumentation which allows it to performed with Soloist plus other instruments so that the four essential band parts are covered. Optional Percussion and keyboard parts can add to the overall effect. A great way to show off your best player even with a very small band.
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: FJ.B1620S
English.
Inspired by a trip to Honolulu, this music embodies the aloha spirit that so many discover when visiting the islands of Hawaii. Making use of a wealth of authentic percussion instruments (along with many options for substitutions), the piece truly captures the bright spirit of Hawaii. An optional ukulele part is cued in other instruments, and the piece concludes with a powerful rendition of Hawaii Aloha, an anthem of great pride to those who live in Hawaii. Magical!
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: BT.DHP-1053822-010
Klezmer was originally the name given to the music of the Yiddish speaking Jews in Eastern Europe. The klezmer musicians played dance music, mainly at weddings. Historically string instruments such as the violin were predominantly used, but later (after ca. 1900) other instruments and in particular the clarinet were added as melodic instruments. In klezmer music in addition to Balkan influences oriental and gipsy influences can also be found. Jacob de Haan composed Klezmania in this style, based on the well-known Hebrew song Hava Nagila.Klezmer is van oorsprong de benaming voor de muziek van de Jiddisch sprekende joden in met name Oost-Europa. De klezmermuzikanten speelden onder meer dansmuziek op bruiloften. Van oudsher werden voornamelijk snaarinstrumenten alsde viool gebruikt. Later (na ca. 1900) kwam daar vooral de klarinet als melodie-instrument bij. In de klezmermuziek zijn naast veel Balkan-invloeden ook oriëntaalse en zigeunerinvloeden terug te vinden. In deze stijl componeerde Jacobde Haan Klezmania, waarin hij het bekende Hebreeuwse lied Hava Nagila verwerkte.Mit Klezmer wurde ursprünglich die Musik der jiddisch sprechenden Juden in Osteuropa bezeichnet. Klezmer-Musiker spielten vornehmlich Tanzmusik auf Hochzeiten und Familienfeiern. In der oft zugleich fröhlichen und melancholischen Klezmer-Musik finden sich neben Anklängen der Musik des Balkans auch Einflüsse aus dem Orient und der Zigeunermusik. In diesem einzigartigen Stil komponierte Jacob de Haan sein Stück Klezmania, in welchem er das bekannte hebräische Lied Hava Nagila verwendete.« Klezmer » est le nom donné la musique inspirée par les traditions des communautés juives de langue yiddish installées en Europe de l’Est. La musique klezmer est une musique métissée d’influences balkanes, orientales et tziganes. Klezmania s’inscrit dans cette lignée. Jacob de Haan y développe un standard du répertoire : Hava Nagila.
SKU: FJ.B1750
UPC: 241444391440. English.
This sparkling work harnesses the full capability of a large percussion section! Including 3 different parts for bells along with optional vibraphone (up to three players on one instrument!), chimes and a variety of other instruments, the music comes to life through a series of simple rhythmic fanfares bursting with energy. A great opener or closer!
About FJH Beginning Band
Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.
SKU: FJ.B1750S
SKU: KJ.WB536
UPC: 084027053232.
Earthrise is the name of an iconic NASA photograph, taken on December 24, 1968 from the Apollo 8 spacecraft while orbiting the Moon. Composer Steven Pyter depicts this historical event with the evocative tone poem for developing bands. A flute solo (cued in other instruments if needed) floats above rich sonorities. The flute's melody is passed around the band and eventually is accompanied by sparkling aleatoric woodwinds. The Apollo 8 spacecraft crests the moon's horizon and planet Earth is visible in the vastness of space. Earthrise is correlated with Tradition of Excellence Book 2, page 34.
About Tradition of Excellence: Excellence in Performance
Excellence in performance is a concert band repertoire series correlated with the Tradition of Excellence Comprehensive Band Method by Bruce Pearson and Ryan Nowlin. The compositions in the series correlate to a specific page in Tradition of Excellence Books 1, 2, or 3 and reinforce and expand on skills and concepts introduced in the method./Selections include exciting parts for every player, grade-appropriate cross-cueing, accessible ranges and rhythms, creative percussion writing, electric bass and rehearsal piano parts, and full conductor scores with rehearsal suggestions, program notes and composer biographies. In addition, the Grade 1 works provide an Advanced Snare Drum part for percussionists who have achieved a higher level of ability, playable simultaneously with the more basic Snare Drum part to facilitate differentiated learning.
SKU: KJ.WB536F
UPC: 084027053256.
SKU: HL.44013026
Imagine yourself in a smoky pub with all the joys that entails. A nice jazzy solo puts you in the mood. This Sugar blues dates from the thirties and is a classic in the jazz scene. A wonderful solo in this case, a saxophone, but also for other instruments such as clarinet, trumpet or trombone (there are different transpositions of the solo part included).
SKU: CF.YPS167
ISBN 9781491143964. UPC: 680160901463. 9 x 12 inches. Key: Eb major.
As the title suggests, your saxophone section will get a good workout in this clever section feature. Andrew Balent's original tune is taken through several variations including a nice little swing section. There are many opportunities for the other instruments to shine as well in some nice interplay between the saxes and the rest of the band. Highlight your budding saxophonists with this fun little piece!
SKU: AI.AMC-WB-003SSC
8.5 x 11 inches.
The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.
SKU: BT.GOB-000764-140
‘Mixed Bag’ stands midway between a collection and a hotchpotch. It is a colourful compilation of four completely different pieces, each with its own specific character. The first part is called ‘Tanguillo’ : as its name suggests, this Spanish dance is related to the Tango. In the next part, ‘Maybe next time ....’ a repeated bass line (Passacaglia) can be heard, first solo, but thereafter gradually the other instruments join in. The third part forms a huge contrast did the former part have a Baroque atmosphere, ‘Rock Hard’ seems to have come directly from the Rock ‘n Roll era, reminding us of stars such as Bill Haley and Elvis Presley. The finale is acheerful, inciting movement called ‘Gypsy Dance’. Mixed Bag’ houdt het midden tussen collectie en ratjetoe. Het is een bonte verzameling van vier verschillende stukjes met ieder een heel eigen karakter. Het eerste deel heet ‘Tanguillo’. Dit is een Spaanse dans, die zoalsde naam al doet vermoeden verwantschap vertoont met de Tango. Daarna volgt ‘Maybe next time ....’. Dit deel bestaat uit een steeds herhalende baslijn (Passacaglia). De eerste keer solo, vervolgens komen de andere instrumentenerbij. Het derde deel vormt een groot contrast. Ademde deel twee vooral een Baroksfeer uit, ‘Rock Hard’ komt rechtstreeks uit de Rock ‘n Roll tijd van Bill Haley en Elvis Presley. De afsluiting is vrolijk en een tikkeltjeopzwepend: ‘Gypsy Dance’.
SKU: AI.AMC-WB-003
SKU: BT.GOB-000764-010
SKU: BT.GOB-000469-140
Imagine yourself in a smoky pub with all the joys that entails. A nice jazzy solo puts you in the mood. This Sugar blues dates from the thirties and is a classic in the jazz scene. A wonderful solo in this case, a saxophone, but also for other instruments such as clarinet, trumpet or trombone (there are different transpositions of the solo part included). Waan u in een rokerig bruin café met alle geneugten van dien. Een heerlijk jazzy gespeelde solo brengt u in de juiste stemming. Deze oerblues stamt uit de dertiger jaren en is een klassieker in de jazzscene. Een heerlijke solo voorin dit geval een saxofoon, maar ook geschikt voor andere instrumenten zoals klarinet, trompet of trombone (er worden verschillende transposities van de solopartij meegeleverd).
SKU: AI.AMC-WB-003SCO
11 x 17 inches.
SKU: AP.36-M905601
ISBN 9798892700603. UPC: 659359856143. English. Transcribed by William H. Silvester.
The works in the Arthur Harris Christmas Series were originally written for orchestra, with several offering the option to add chorus. These transcriptions for band, both by William Silvester or Arthur Harris himself, retain the quality of the original orchestrations, offering bands the optional opportunity to perform with chorus during the Christmas season. Choral scores for each work are available separately. Band series with chorus includes: Silent Night, Joy to the World, Hark! The Herald Angels Sing, Adeste Fidelis (O Come All Ye Faithful), The First Nowell, O Tannenbaum, and Angels We Have Heard on High. Transcriptions for band alone includes: O Little Town of Bethlehem, God Rest Ye Merry Gentlemen, Joy to the World, Deck the Halls, and We Wish You a Merry Christmas.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-50105073
ISBN 9781621561194. UPC: 659359520808. English.
There's never been another screamer quite like it! Fillmore's venerable warhorse has been given a thorough looking over by one of the foremost band conductors of our time. Drawing on his years of experience with the United States Air Force Band, Colonel Gabriel has meticulously edited this formidable march for the modern band. Rolling Thunder has long been an admired and often performed work in the symphonic band repertoire. Composed by (James) Henry Fillmore in 1916, this march was a favorite of conductor Merle Evans and the Ringling Brothers and Barnum and Bailey Circus. The work is dedicated to Ed Hicker, who as far as the little documentation shows, was an actor and musician in the Cincinnati, Ohio area and who may have performed with Fillmore in the many pit orchestra engagements of his youth. Rolling Thunder is unique within the march oeuvre, in that its softest dynamic marking is forte! In later printings, Fillmore added the subtitle A Trombone Ace, perhaps a tip of the hat to his own instrument and that the trombones and other bass instruments are playing to the fore from beginning to end. Fillmore also indicates that the march should be played Furioso. So sit back, close your eyes and enjoy the exciting, death defying sounds of the circus as only Henry Fillmore (our Uncle Henry) can do.
SKU: CL.012-3480-75
The big-top comes to life with this exciting circus march. Unlike many circus marches, technical demands are modest, making this accessible to the majority of bands. Composed during Al Sweet's tenure as bandleader for the Ringling Bros. circus, this classic march is finally available in a modern concert band edition which keeps the color and feel of the original. Audiences and performers alike will thrill to the sounds of this exciting march.
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: HL.4005186
UPC: 888680698096. 9.0x12.0x0.036 inches.
The powerful music of rock band Queen remains as relevant and recognizable as ever. This exciting medley for flexible instrumentation includes the timeless hits We Will Rock You, Another One Bites the Dust, and We Are the Champions.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
