SKU: PR.11640976S
UPC: 680160682768. Das Stundenbuch.
This cycle of orchestral songs sets four poems from an early collection by Rilke entitled Das Stundenbuch, or in English, Book of Hours. Although the title refers to a medieval book of prayers for the various times of day and seasons of the liturgical year, Rilke's texts occupy a position some distance from conventional piety. There is a melancholy to the spirituality expressed here, which speaks of an experience of God that is fragmentary, imperfect, and unattainable. The solitude evoked in the second song (as layers of busy activity are gradually peeled away) offers some solace, but the third song is very dark and fierce, filled with a desperate, even manic desire for God. The last song returns to the mood of the first, but now in a global rather than individual context. This song, like the set as a whole, speaks of our world's brokenness, yet strives to stammer fragments of God's name.
SKU: HL.4002970
UPC: 884088497521. 9.0x12.0x0.044 inches.
This uniquely constructed work was commissioned by the 2008 South Carolina High School All-State Band and consists of a series of gorgeous melodic textures surrounding one ever-present note. The listener hears this note briefly in the beginning and the end, but it is skillfully hidden in between. From lush soft passages to crescendos that leave your audience breathless, this composition will provide you and your ensemble with an unforgettable musical experience! Dur: 5:00 Includes audio that can be accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
SKU: BT.DHP-1165672-010
English-German-French-Dutch.
The Magic Book is taken from a tale by Danish author Tang Kristensen. It tells the story of Hans who has the power to transform himself into anything he likes thanks to a magical book. But his last transformation turns the tide against them…This great and refreshing piece contains three movements: Hans and the Animals, In the Castle and Royal Wedding.The Magic Book is gebaseerd op een verhaal van de Deense auteur Tang Kristensen. Het gaat over Hans, die zichzelf kan veranderen in alles wat hij wil, dankzij een toverboek. Maar zijn laatste transformatie lijkt zich tegen hem te keren… Ditfraaie, hartverwarmende werk bevat drie delen: Hans and the Animals, In the Castle en Royal Wedding.Dieses großartige, erfrischende Werk in drei Sätzen geht auf ein Märchen des dänischen Autors Tang Kristensen zurück. Es erzählt die Geschichte von Hans, der sich dank eines Zauberbuches in alles Mögliche verwandeln kann. Aber bei seiner letztenVerwandlung wendet sich das Blatt gegen ihn…
Die drei Sätze: Hans and the Animals (Hans und die Tiere“), In the Castle (Im Schloss“) und Royal Wedding (Königliche Hochzeit“).The Magic Book est tiré d’un conte de l’auteur danois Tang Kristensen. Il raconte l’histoire de Hans qui possède le pouvoir de se transformer en tout ce qu’il désire gr ce un livre magique. Mais sa dernière transformation lui joue un mauvaistour… Ce morceau magnifique et rafraîchissant contient trois mouvements : Hans and the Animals (Hans et les animaux), In the Castle (Au ch teau)et Royal Wedding (Mariage royal).Tratto dalla favola del narratore danese Tang Kristensen, è la storia di Hans, il ragazzo con la capacit di trasformarsi in qualsiasi cosa grazie ai poteri conferitigli da un libro magico. La sua ultima trasformazione, tuttavia, potrebbe ritorcerglisi contro… scopri questa grande storia musicale che si compone di quattro movimenti!
SKU: BT.DHP-1165672-140
The Magic Book is taken from a tale by Danish author Tang Kristensen. It tells the story of Hans who has the power to transform himself into anything he likes thanks to a magical book. But his last transformation turns the tide against them…This great and refreshing piece contains three movements: Hans and the Animals, In the Castle and Royal Wedding.The Magic Book is gebaseerd op een verhaal van de Deense auteur Tang Kristensen. Het gaat over Hans, die zichzelf kan veranderen in alles wat hij wil, dankzij een toverboek. Maar zijn laatste transformatie lijkt zich tegen hem te keren… Ditfraaie, hartverwarmende werk bevat drie delen: Hans and the Animals, In the Castle en Royal Wedding.The Magic Book (Das Zauberbuch“) ist ein Märchen des dänischen Autors Tang Kristensen. Es erzählt die Geschichte von Hans, der sich dank eines Zauberbuches in alles Mögliche verwandeln kann. Aber bei seiner letzten Verwandlung wendet sich dasBlatt gegen ihn … Dieses großartige und erfrischende Stück hat drei Sätze: Hans and the Animals (Hans und die Tiere“), In the Castle (Im Schloss“) und Royal Wedding (Königliche Hochzeit“).The Magic Book est tiré d’un conte de l’auteur danois Tang Kristensen. Il raconte l’histoire de Hans qui possède le pouvoir de se transformer en tout ce qu’il désire gr ce un livre magique. Mais sa dernière transformation lui joue un mauvaistour… Ce morceau magnifique et rafraîchissant contient trois mouvements : Hans and the Animals (Hans et les animaux), In the Castle (Au ch teau)et Royal Wedding (Mariage royal).Tratto dalla favola del narratore danese Tang Kristensen, è la storia di Hans, il ragazzo con la capacit di trasformarsi in qualsiasi cosa grazie ai poteri conferitigli da un libro magico. La sua ultima trasformazione, tuttavia, potrebbe ritorcerglisi contro… scopri questa grande storia musicale che si compone di quattro movimenti!
SKU: CF.YPS196F
ISBN 9781491152843. UPC: 680160910342.
Aeolus is the Greek mythological god of the winds. The title of this piece was chosen, in part, because of the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves are purely Aeolian. The compositional form bookends a broad and dramatic middle section with two sections in regal march style. Aeolus is sure to be a great teaching tool for young bands!.Aeolus is the god of the winds in Greek mythology. The title was chosen to indicate the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves a purely Aeolian. The opening section of the music should be performed in a march-like manner at a brisk tempo deemed appropriate by the director for the ensemble. The countermelody first heard at m. 31 should soar above the ensemble. The transition to the middle section at m. 49 should be played broadly and dramatically with careful attention to the ritardando dimuendo, both of which should be performed smoothly and gradually. Do not rush the fermata in m. 51. A sudden shift in tempo and dynamics in the transition will detract from the entrance of the contrasting theme played soli by the clarinet section at m. 52. The counter lines found in the contrasting middle section beginning at m. 53 will require careful attention to balance. The second transition section beginning at m. 79 requires a flexible tempo and a smooth blending of the horn line into the clarinet line. An effective,  unrushed rallentando at m. 81 will make the sudden forte entrance of the brass fanfare at m. 83 all the more dramatic. At m. 109, the tempo may begin to quicken at the discretion of the director.
SKU: CF.YPS196
ISBN 9781491152164. UPC: 680160909667. Key: C minor.
SKU: KJ.WB84
A patriotic sensation! This medley take you from coast to coast with America, Yankee Doodle and America The Beautiful. A collection of familiar melodies to please young and old alike! (Correlates with the Best In Class Band Method, Book 1, Page 26).
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: AP.49505
ISBN 9781470649746. UPC: 038081570525. English.
You're cool, likeable, and confident. You don't walk, you strut. When you enter a party, a hush falls over the room and heads turn because you have a certain je ne sais quoi! People say you're the bee's knees and the cat's meow. You're Awesome Sauce and this piece is the soundtrack of your life! With its fun, blues-like melody and cool rock beat, Awesome Sauce by Scott Watson is sure to be a player favorite. The limited chromaticism, accessible jazz-esque rhythms, and style-important articulations offer excellent teaching moments for the director. (2:57) Awesome Sauce correlates to Book 1, Level 6 of Sound Innovations for Concert Band. This title is available in MakeMusic Cloud.
SKU: KJ.JB105F
UPC: 8402704845.
The opening chorale provides an poignant introduction to the rhythmic vitality of the fast and dance-like exultation. Short punctuated notes over a driving rhythmic background underscore a feeling of rejoicing and jubilance. The chorale melody returns in juxtaposition with the energetic rhythms of the exultation. This is a wonderful concert selection to feature your band's rhythmic skills that will be appreciated by audience and players alike for years to come!
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.JB105
UPC: 8402704843.
SKU: KJ.WB492F
UPC: 8402704861.
Samba-lele expands the eight measure exercise found in Tradition of Excellence Book 1 into a full-fledged piece for beginning band. Ample opportunities for percussion students to play exciting rhythms on instruments not typically used in repertoire of this level, like congas, timbales, an agogo bells.
SKU: AP.49551
ISBN 9781470649104. UPC: 038081569888. English.
Of all of Gordon Jacob's major contributions to the British wind band repertoire, the William Byrd Suite (written in 1923) stands as his most-often programmed work. Though originally based on six movements from William Byrd's Fitzwilliam Virginal Book, this setting for developing band incorporates two contrasting movements including The Earle of Oxford's Marche and Wolsey's Wilde. Like Jacob's wind band work, the music is not a mere transcription from the original keyboard collection, but rather stylized with his own inventive musical spirit for modern concert band. A wealth of material here that opens doors to teachable moments as musical textures---dynamic contrasts, articulations, scoring options---are continually changing. Bravo! (2:33) This title is available in MakeMusic Cloud.
SKU: BT.DHP-1115235-140
9x12 inches. English-German-French-Dutch.
The Atlas Symphony for symphonic wind band is an impressive and subtle work, thematically complex, with a rich orchestration, but also great beauty. The composer was keen to draw a parallel between an atlas, where all the geographical maps of the world are collected in one book, and his score, which brings together all the facets of his musical style. Despite being written without any breaks, the symphony is structured around three main ideas. It is based upon a series of notes that will become the very essence of the piece, its building blocks. Like the works of composers of serial music, the series appears in different forms - melodic and harmonic, thematic or simply asan accompaniment. With its wealth of rhythms and contrapuntal power, this piece is a compelling concerto for orchestra. The Orchestre de la Police Nationale was the first to be attracted to this work and premiered it with excellence under the baton of composer Thierry Deleruyelle. Die Atlas Symphony für symphonisches Blasorchester ist ein eindrucksvolles, feinsinniges Werk, mit einer komplexen Thematik und einer reichhaltigen Orchestrierung, aber dennoch anmutig. Der Komponist beabsichtigte, eine Parallele zwischen einem Atlas, der geografische Karten der ganzen Welt enthält, und seiner Partitur zu ziehen, die alle Facetten seines persönlichen Musikstils enthält. Obwohl sie ohne Unterbrechung geschrieben ist, ist diese Symphonie doch auf drei Hauptachsen aufgebaut. Sie basiert auf einer Reihe von Noten, welche die Quintessenz, das Material des gesamten Stückes bilden. Wie bei den Komponisten serieller Musik tritt diese Reihe in verschiedenenGestalten auf - melodisch oder harmonisch, thematisch oder einfach als Begleitung. Mit seinem Reichtum an Rhythmen und der kontrapunktischen Brillanz ist die Atlas Symphony ein wahrhaftes Konzert für Orchester. Das Orchestre de la Police Nationale (Frankreich) war das erste Orchester, das sich von diesem Werk verführen ließ und spielte eine brillante Uraufführung unter der Leitung des Komponisten Thierry Deleruyelle. La Symphonie Atlas pour grand orchestre d’harmonie est une œuvre imposante et subtile, l’orchestration riche et la thématique complexe mais néanmoins gracieuse. Le compositeur a tenu faire un parallèle entre l’Atlas, ce livre où toutes les cartes géographiques du monde sont répertoriées et sa partition, qui possède toutes les caractéristiques de son style musical. Volontairement écrite d’un seul tenant, elle s’articule néanmoins en trois axes. Sa construction est basée sur une série de notes qui deviendront l’essence même de la pièce, son matériau. Tel le travail des compositeurs de musique sérielle, « la série » apparaitra sous différentes formes, mélodiqueet harmonique, thématique ou simplement d’accompagnement. Sa richesse rythmique et son pouvoir contrapuntique fait de cette pièce un véritable concerto pour orchestre. C’est l’Orchestre de la Police Nationale qui a le premier été séduit par l’œuvre et qui en a fait la brillante création sous la direction du compositeur Thierry Deleruyelle. Atlas Symphony è un brano grandioso, di enorme bellezza, pieno di sfumature, tematicamente complesso, con una ricca orchestrazione. La sinfonia è scritta senza interruzioni e basata su una serie di note che vengono proposte nella melodia, nell’armonia e nel tema. La ricchezza di ritmi e la brillantezza dei contrappunti, fanno di Atlas Symphony un brano da concerto perfetto.
SKU: BT.DHP-1115235-010
SKU: AP.49551S
ISBN 9781470649111. UPC: 038081569895. English.
Of all of Gordon Jacob's major contributions to the British wind band repertoire, the William Byrd Suite (written in 1923) stands as his most-often programmed work. Though originally based on six movements from William Byrd's Fitzwilliam Virginal Book, this setting for developing band incorporates two contrasting movements including The Earle of Oxford's Marche and Wolsey's Wilde. Like Jacob's wind band work, the music is not a mere transcription from the original keyboard collection, but rather stylized with his own inventive musical spirit for modern concert band. A wealth of material here that opens doors to teachable moments as musical textures---dynamic contrasts, articulations, scoring options---are continually changing. Bravo! (2:33).
SKU: CL.023-4970-00
This dynamic march for beginning bands will be a perfect educational choice for tackling tone production, contrasting styles, dynamics, blend and balance - all using only the first six notes! The melody is shared by several instrument sections, and your young players’ ability to sound like a band will have you choosing this piece instead of ‘lines from the book’ for their first concert!
SKU: CL.023-4970-01
SKU: KJ.E1450
Misericordia domini (1607) was composed as a double motet by Michael Praetorius. His works helped to establish the Lutheran church music style in Germany, and that is evident in the chordal, hymnlike setting of this piece. This transcription for brass shines as a concert piece and is even more effective when played antiphonally.
SKU: HL.44010914
UPC: 884088585464. 9.0x12.0x0.036 inches.
The foreboding and powerful character of this piece will captivate your beginning band. Like a soundtrack for the kinds of books that are so popular with young readers today, Endeavor will inspire your musician's imaginations and raise the group to a higher level of performance. Includes an optional advanced percussion part for drummers who need more challenge.
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