SKU: AP.46673S
UPC: 038081535319. English.
Chorale Variants is cast more as a fantasia than a set of variations. The woodwind flourishes purposely infer what an organist might play while improvising on a chorale theme, and the full dynamic power of the wind band brings the piece to a passionate and vibrant close.
SKU: AP.46673
UPC: 038081535302. English.
SKU: BT.DHP-1135255-010
9x12 inches. English-German-French-Dutch.
This piece was composed in 2009 for a commission by Shinjuku Bunka Center to commemorate its thirty years since its opening.It is an impressive work with a brilliant, bright fanfare, and the stately sound of the church organ reverberating through the concert hall. The first performance was given by Hiroko Takahashi, a house organist of the center, with Shinjuku City Wind Orchestra conducted by Shigeto Ishizu. Original works for church organ and wind orchestra are surprisingly scarce. This is a fresh opening piece, to be followed by an organ solo which might lead to a march.Dit werk is in 2009 gecomponeerd in opdracht van het Shinjuku Bunka Center, ter gelegenheid van het dertigjarig bestaan van dit concert- en cultuurgebouw. Het is een indrukwekkend stuk muziek met een schitterende, stralende fanfare, waarbij de orgelklanken door de concertzaal schallen. De première werd gespeeld door Hiroko Takahashi, huisorganist van het centrum, en het Shinjuku City Wind Orchestra onder leiding van Shigeto Ishizu. Verrassend genoeg zijn er niet veel oorspronkelijke composities voor orgel en blaasorkest geschreven. Gelukkig is dit een mooie aanvulling op het repertoire. Dit levendige openingswerk kan bijvoorbeeld heel goed worden gevolgd door een solowerkvoor orgel, waarna een mars op het programma zou kunnen staan. Dieses Stück wurde im Auftrag des Shinjuku Bunka Centers komponiert, zu Ehren des 30-jährigen Jubiläum der Eröffnung dieses Kultur- und Konzertzentrums in Tokio. Celebration Fanfare ist ein eindrucksvolles Werk mit einer brillanten, strahlenden Fanfare und einer Kirchenorgel, deren feierlicher Klang durch den Konzertsaal hallt. Bei der Uraufführung spielte Hiroko Takahashi, der Hausorganist des Zentrums, zusammen mit dem Shinjuku City Wind Orchestra unter der Leitung von Shigeto Ishizu. Originalwerke für Kirchenorgel und Blasorchester sind überraschenderweise sehr rar. Dieses Stück eignet sich perfekt als Eröffnungsstück, dem ein Orgelsolo und dann eventuell einMarsch folgen könnte. Cette pièce a été composée en 2009 la demande du Shinjuku Bunka Center, Tokyo, pour marquer le trentième anniversaire de son ouverture. C’est une œuvre impressionnante combinant une fanfare éclatante et le son majestueux de l’orgue résonnant travers la salle de concert. Elle a été créée par Hiroko Takahashi, l’organiste du Centre, et l’orchestre d’harmonie de Shinjuku City, sous le b ton de Shigeto Ishizu. Les œuvres écrites pour orgue et orchestre d’harmonie sont rares. Fraîche et originale, cette pièce d’ouverture sera suivie d’un solo d’orgue pouvant mener une marche.
SKU: BT.DHP-1135255-140
SKU: KJ.WB532
UPC: 084027053157.
With a tip of the hat to Gustav Holst and Mars from The Planets, composer Ryan Nowlinâ??s Mission to Mars depicts the fear, anxiety, and exhilaration of discovery and exploration that future astronauts might experience on their way to the Red Planet. This energetic tone poem in ¾ sits securely under the fingers of each instrument and allows each section of your developing band to showcase their abilities. Correlates with Tradition of Excellence Book 2, page 22.
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.WB532F
UPC: 084027053133.
SKU: AP.41918S
UPC: 038081481760. English.
Three letters (F-U-N) are all you need to describe this hip new work from the pen of Vince Gassi. But if you need more, you might use words like cool, interesting, energetic. Not enough? Then how about expressive, bluesy, heroic! Oh, and with a title like Bang Zoom!, it's a safe bet there are opportunities for your percussionists to shine. (3:15) This title is available in MakeMusic Cloud.
SKU: CL.012-3539-01
One of Frederic Chopin's best known works, Prelude, Op. 28, No. 4, presents emotion-packed performance opportunities for bands at all levels. This new Ed Huckeby transcription for band provides an almost literal translation of Chopin's original work with tremendous musical challenges in both the interpretive and dynamic realms, providing the ensemble an opportunity to explore musical possibilities which might be less attainable in a more technical piece. The recognizable melodic and harmonic structures will make this piece a real hit with concert audiences and provides an opportunity to teach the musical styles of the greatest 19th century composer of piano music. Great music!
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: AP.37840S
UPC: 038081433332. English.
William Kamkwamba was raised in Malawi, an African country where magical thoughts prevailed but modern technology was a mystery. From books he read, young William imagined building a windmill that might, one day, bring electricity and water to his village and drastically change the lives of his neighbors. Hoping to someday study science, his country was debilitated by famine that forced William to drop out of school and forage for food as thousands throughout the country died of starvation. However, William's passion remained indefatigable and, using scrap metal, tractor parts, and bicycle halves, he ingeniously built a crude yet operable windmill that powered four lights and his radio. News of William's achievement soon spread beyond his country's borders, and the young boy who was once thought of as crazy became a hero to many around the world.
SKU: BT.DHP-1135433-140
Julius Wechter wrote Spanish Flea in 1967 for the renowned trumpeter and bandleader Herb Alpert, who made the tune famous. The title itself might be less familiar, but the tune is known the world over through radio, tv and films such as Beverly Hills Cop and The Simpsons or simply as catchy, up-beat background music. A guaranteed smash hit for every concert! Julius Wechter schreef Spanish Flea in 1967 voor de beroemde trompettist en bandleader Herb Alpert. Hij was het die het nummer wereldberoemd maakte. Ook wie dit nummer niet van naam kent, herkent vast de wereldberoemde melodie van film of televisie. Want deze is bijvoorbeeld ook gebruikt in films als Beverly Hills Cop en The Simpsons. Als achtergrondmuziek bij allerlei vrolijke scenes doet hij het meestal ook erg goed. Spanish Flea brengt gegarandeerd de stemming erin op uw volgende concert!Spanish Flea schrieb Julius Wechter 1967 für den berühmten Trompeter und Bandleader Herb Alpert, der die Nummer weltberühmt machte. Auch wer den Titel dem Namen nach nicht kennt, wird die Melodie aus Funk, Film und Fernsehen kennen, wo sie in lustigen Filmen wie Beverly Hills Cop und Die Simpsons oder einfach als Hintergrundmelodie zu allerlei fröhlichen Szenerien gerne verwendet wird. Ein garantierter Stimmungsmacher für jedes Konzert!Spanish Flea, écrit par Julius Wechter en 1967 pour le célèbre trompettiste et chef d’orchestre Herb Alpert, est une mélodie qui a déj fait plusieurs fois le tour du monde. On entendra le thème dans plusieurs dessins animés tel que Les Simpsons, ou autres films comme Le Flic de Beverly Hills. Fond sonore de toutes sortes de scènes divertissantes et drôles, Spanish Flea apportera sans aucun doute cette fabuleuse et indispensable note d’humour dans tout programme de concert.Spanish Flea fu scritta nel 1967 da Julius Wechter per il noto trombettista e band leader Herb Albert, che grazie e questa canzone divenne famoso in tutto il mondo. Il titolo non è molto conosciuto, ma la melodia è nota ai più grazie alle serie televisive Beverly Hills Cop e The Simpsons.
SKU: BT.DHP-1135433-010
SKU: KJ.WB486F
ISBN 9788402704832. UPC: 8402704832.
Red Sky at Morning is a great piece for teaching young musicians to play long phrases and expressive dynamics. The brass players blow air through their instruments (without buzzing) at the beginning and the end to imitate the wind and waves of the sea. The melody in the minor mode portrays the uncertainty one might feel on a ship with inclement weather on the way.
SKU: CF.CPS158F
ISBN 9780825896514. UPC: 798408096519. 9 x 12 inches.
Shillelagh! (sha-LAY-lee) is a rhapsody based on familiar Irish songs that an Irishman might have heard walking around his village sporting his shillelagh (walking stick). It contains colorful orchestration and would be an excellent choice to showcase any band at contests and festivals.
SKU: HL.1454222
UPC: 196288208785. 9.0x12.0x0.394 inches.
FORGOTTEN DREAMS was completed on May 28, 1954. The first performance was a few days later on June 2nd during a recording session for Delta Records in New York, at which time Leroy Anderson performed the piano solo himself. Although the main theme of FORGOTTEN DREAMS was intended to be played on the piano (and with simplicity), the composers band edition of the piece allowed for a solo flute to substitute (Play only in absence of Piano). It is also suggested the melody might be beautifully rendered on vibraphone due to the sustaining quality of that instrument. In any event, this charmingly romantic miniature will delight audiences whenever it is performed. This edition includes a full score.
SKU: KJ.WB486
UPC: 8402704838.
SKU: CF.CPS158
ISBN 9780825895890. UPC: 798408095895. 9 x 12 inches.
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: BT.GOB-001206-140
Angels and demons are just two of the mythical creatures that appear in Marc Cunningham’s imaginative three-part composition for concert band. The ‘good’ are always shown in opposition to the ‘evil’ in this work. Musically, this con_x001D_flict is expressed as diatonic versus chromatic, consonance versus dissonance, and darker sounds opposed to lighter-sounding sections. Which is victorious at the end of the piece? You might be in for a surprise… Engeltjes en demonen zijn maar enkele van de fantasie_x001F_-figuren die aan bod komen in dit driedelige werk van Marc Cunningham. De componist zet de tegenstellingen van de _x001F_figuren ook muzikaal in de verf door diatoniek tegen chromatiek, consonanten tegen dissonanten en donkere klanken tegen hoge klanken te plaatsen. Wie wint aan het einde? Daarvoor moet u het eerst spelen! Engel und Dämonen“ sind nur einige der mythischen Gestalten, die in Marc Cunninghams fantasievoller dreiteiliger Komposition für Blasorchester Revue passieren. Dabei stellt er immer die Guten“ in Kontrast zu den bösen Kräften. Musikalisch drückt sich dieses Spannungsverhältnis in Diatonik versus Chromatik, Konsonanz versus Dissonanz und dunkle gegenüber heller klingenden Abschnitten aus. Welche Kräfte am Ende siegen? Lassen Sie sich überraschen...Anges et Démons ne contient que quelques unes des _x001C_figures légendaires nées dans le monde fantastique imaginé par Marc Cunningham. Dans cette oeuvre en trois parties composée pour orchestre d’harmonie, les forces du mal et celles du bien s’affrontent de manière incessante. Musicalement, cette tension s’exprime en diatoniques contre chromatiques, en consonances contre dissonances et motifs ténébreux contre passages lumineux. Qui remportera la bataille_x001E_? Vous serez surpris..._x001E_!Angels and Demons (angeli e demoni) sono solo alcuni dei tanti personaggi mitici che _x001E_figurano in questa composizione in tre movimenti nella quale le forze del bene e del male si affrontano incessantemente. Musicalmente questa tensione si esprime in diatonismo contro cromatismo, in consonanze contro dissonanze e motivi tenebrosi in contrasto con motivi luminosi.
SKU: XC.HCB2305
Iconoclasts are typically portrayed in a negative light, however, many of our progress in society has come from those who attack or questions widely held beliefs. After all, if not for Aristotle – we might still believe the earth was flat!
SKU: BT.GOB-001206-010
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