SKU: CF.CPS113F
ISBN 9780825884900. UPC: 798408084905. 9 x 12 inches. Key: Eb major.
An exceptional new composition based upon the hymn Converse (commonly known as What a Friend We Have in Jesus), William Harbinson has crafted a concert overture using the hymn's theme as a starting point. Beginning with brilliant brass fanfares and woodwind flourishes, the middle section is made up of an inversion of the hymn tune, and ends with a dramatic climax. This work is simply beautiful and heartfelt; showcasing your group's musical expression like no other.
SKU: CL.012-4572-00
In the American Declaration of Independence, Thomas Jefferson wrote, If there's something wrong, those who have the ability to take action have the responsibility to take action... Chandler Wilson’s Conversations is based on the idea of conversations that are needed for society to progressively move forward, most profoundly in the areas of racial issues and equality. The music eloquently expresses the importance of considering and respecting the points of view of other’s. A musical work which is truly thought-provoking.
SKU: CL.012-4572-01
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.DHP-1094698-015
9x12 inches. English-German-French-Dutch.
Voor dit feestelijke werk liet de componist Jan de Haan zich inspireren door het beroemde Te Deum van Marc-Antoine Charpentier (1634-1704). In dit arrangement laat de componist de registers van het orkest op unieke wijze metelkaar communiceren. Zijn “groet aan Europa†is direct en krachtig, maar met zachte, elegante en melodische passages. Een schitterend werk voor een vierstemmig variabele bezetting.Zu diesem festlichen Werk ließ sich Jan de Haan vom berühmten Te Deum von Marc-Antoine Charpentier (1634 - 1704) inspirieren. In brillanten Passagen lässt er die Register des Blasorchesters in Dialoge treten. Sein Gruß an Europa“ ist direkt und kraftvoll mit zarten, eleganten melodischen Abschnitten. Ein spritziges Werk für eine vierstimmig variable Bläserbesetzung! Pour composer cette œuvre festive, Jan de Haan s’est inspiré du Te Deum de Marc-Antoine Charpentier (1634-1704) et de l'Ode la Joie extraite de la Symphonie n° 9 de Beethoven (1770-1827). Les différents pupitres de l’orchestre conversent dans des passages brillants. Le style est direct et vigoureux, les passages mélodiques sont délicats et élégants. Une œuvre pétillante quatre voix pour ensemble instrumentation variable.
SKU: BT.DHP-1104875-140
Banda Bella heißt schönes Blasorchester“. Mit einer martialischen Eröffnung beginnend, treten alle Register des Blasorchesters in diesem frischen, lebhaften Marsch den Beweis dafür an: die Holzbläser mit charakteristischen Sechzehntel-Mustern in der ersten und zweiten Reprise, das Tenorregister mit einem melodiösen Trio-Thema, Holz und Blechbläser schließlich alternierend in einem Intermezzo, das dem von Holzbläsern verzierten Schluss vorausgeht. Banda Bella est une marche de concert pleine de vitalité. Après une ouverture martiale, les bois développent un motif bouillonnant. Le trio est dominé par un thème dans le registre ténor, qui laisse sa place un intermezzo dans lequel les cuivres conversent en alternance avec les bois. Le thème du trio revient de manière grandiose sur un chant ornementé aux bois.
SKU: BT.DHP-1104875-010
SKU: AP.98-RWS220300
Inspired by the paintings of impressionist Henri Matisse and featuring the alto saxophone, The Dance is the first movement of Three Conversations With Matisse. Along with the well known Matisse painting of the same name, this unique musical statement can be described as forbidding, menacing, tribal and ritualistic. Written for the accomplished saxophone soloist, the band accompaniment is well within the technical range of most high school, university and community ensembles. A powerful and welcome addition to the saxophone and concert band repertoire!
SKU: CL.RWS-2203-01
SKU: FJ.B1552S
English.
Using no eighth notes in the winds, this relaxed work reflects a light-hearted stroll through the big city. An air of calm, cool confidence sets the mood as people dress to impress and hit the streets. Brief musical conversations are interjected as they meet others on their walk around town in this easy-to-play, yet tuneful offering.
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: AP.98-RWS220500
Inspired by the command and structure of two Henri Matisse paintings under the name The Music Lesson, this powerful work for alto saxophone and band will become a staple of the repertoire. From the strict structure of the opening piano statement to the classically influenced melodic interplay with the saxophone, the piece moves through a flowing musical environment highlighted by a virtuosic cadenza. The recapitulation of the initial melodic line completes our music lesson and provides a strong conclusion to Three Conversations With Matisse, a suite for alto saxophone and band.
SKU: CL.RWS-2205-01
SKU: HL.4007790
UPC: 196288094012.
The Hida High School is in a highland city called Takayama in Gifu Prefecture. Takayama City has some of the highest mountains in Japan, atmospheric rows of houses and streets, and a beautiful landscape. The magnificent views from these mountains can be described as a paradise above the clouds. When the composer visited there in the summer of 2001, the lovely flowers spreading through the valley and the refreshing air welcomed him. The flowers looked as if they were fashionably dressed and fully enjoying conversation and a short summer at a reunion party. The composer was inspired by this scenery to compose this piece. The musical party opens with happy greetings of a reunion andjoyful themes follow one after another. A light xylophone solo, a waltz and an adagio featuring alternate solos by alto saxophone, euphonium and trumpet lead to a brilliant finale featuring brass and percussion played in irregular time. A beautiful musical picture that your band will enjoy performing for many years.
SKU: HL.4007789
ISBN 9781705174043. UPC: 196288094005.
SKU: HL.4007788
ISBN 9781705174036. UPC: 196288093992.
SKU: CL.RWS-2204-01
Inspired by The Blue Window by Henri Matisse, this lyrical statement for alto saxophone and band is a subdued departure from the more colorful and powerful movements of Three Conversations With Matisse. Reflective and poignant, your soloist, ensemble and audience will be quietly enthralled in a musical setting that harkens to days gone by. Simply stated....beautiful.
SKU: BT.DHP-1063946-140
The Hida High School is in a highland city called Takayama in Gifu Prefecture. Takayama City has some of the highest mountains in Japan, atmospheric rows of houses and streets, and a beautiful landscape. The magnificent views from these mountains can be described as a paradise above the clouds. When the composer visited there in the summer of 2001, the lovely flowers spreading through the valley and the refreshing air welcomed him. The flowers looked as if they were fashionably dressed and fully enjoying conversation and a short summer at a reunion party. The composer was inspired by this scenery to compose this piece. The musical party opens with happy greetings of a reunion andjoyful themes follow one after another. A light xylophone solo, a waltz and an adagio featuring alternate solos by alto saxophone, euphonium and trumpet lead to a brilliant finale featuring brass and percussion played in irregular time. A beautiful musical picture that your band will enjoy performing for many years. Takayama is een hooggelegen stad in de Gifu-prefectuur (Japan). Het oostelijke stadsdeel Tatamidaira ligt tussen schitterende bergen die behoren tot de noordelijke Japanse Alpen. Toen de componist in de zomer deze plaats bezocht,werd hij ge nspireerd tot het schrijven van Alpine Flowers’ Party! Het muzikale festijn begint met opgewekte klanken, waarna meer vrolijke scènes elkaar opvolgen. Een xylofoonsolo, een wals en een adagio met wisselende solo’svoor altsaxofoon, euphonium en trompet leiden naar een briljante finale met veel maatwisselingen, waarin het koper en het slagwerk de leiding nemen op weg naar een spetterend slot.Als Itaru Sakai im Sommer 2001 die reizvolle Region um den Berg Tatamidaira in Japan besuchte, wurde er von einem Meer von Blumen empfangen. Sie sahen aus, als würden sie in festlichem Aufzug eine unterhaltsame Party feiern und den kurzen Sommer genießen. Diese Szenerie inspirierte den Komponisten zu Alpine Flowers’ Party! Die musikalische Party beginnt mit einer herzlichen Begrüßung, dann folgt ein fröhlicher Programmpunkt dem anderen. Ein spritziges Xylophonsolo, ein Walzer und ein Adagio mit abwechselnden Soli für Altsaxophon, Euphonium und Trompete führen zu einem brillanten Finale, in dem Blechbläser und Schlagzeug im Vordergrund stehen. Feiern Sie mit!Séjournant au coeur des Alpes japonaises, Itaru Sakai est surpris par le doux parfum et les couleurs des fleurs. Il se laisse inspirer par la beauté harmonieuse qui se révèle devant ses yeux. Débute alors le délicieux festival des fleurs alpines. La conversation est animée. Un solo de xylophone apporte une touche de légèreté, une valse fait virevolter le développement, puis vient un adagio qui égrène les solos et mène vers un finale brillant. Soggiornando nel cuore della splendida catena montuosa delle Alpi giapponesi, Itaru Sakai è sorpreso del dolce profumo e dai colori dei fiori. Si lascia ispirare dalla bellezza armoniosa che si rivela ai suoi occhi. Ha inizio il delizioso festival dei fiori alpini. La conversazione è animata. Un assolo di xilofono apporta un tocco di leggerezza, un valzer fa piroettare lo sviluppo del tema, ed in seguito un adagio snoda i soli e accompagna il brano verso un finale brillante.
SKU: BT.DHP-1063946-010
SKU: AP.98-RWS220400
SKU: CL.012-4406-75
This exciting piece depicts the many facets of the once-endangered jaguar. The longing opening statements and animated main theme transition into a soloistic, lonesome melodic section that offers a haunting conversation amongst several key instruments. An energetic pursuit and capture of prey is depicted by several percussion instruments, and is followed by a return to the original theme with a powerful finish. Performers will enjoy working on this mixed-meter adventure, which can easily be incorporated into your project-based learning opportunities.
SKU: HL.4006434
UPC: 888680989934.
A Little Stress Music was commissioned by the Lenzing Werkskapelle from Austria and comprises of four sections. “Rush Hour†depicts a Friday evening during which everyone wants to get home after work. Unfortunately, traffic jams and gridlock stand in the way! In “Promenade Waltz†you can picture an evening walk along the beautiful lakeside, then a glass of wine loosens you up leading to the third movement: “Romance,†which starts with a promising conversation... The funny finale “Monday Morning†brings you back to reality and the score provides the option of the band applauding itself for a job well done! A humorous and joyful new piece by Thomas Doss!
SKU: CL.012-4406-01
SKU: CL.012-4406-00
SKU: HL.4006433
UPC: 888680989927. 9.0x12.0 inches.
SKU: BT.CMP-0919-05-010
Expect the unexpected in this major new work for Saxophone quartet and band by James Curnow. Built on a grand thematic plane, this tour de force employs the full range of expression. Gleaming modernity; dark modality; rhythms ranging from tentative to deliberate; and throughout, a sense of mysterious expectation for what is next to come. Expectations are fulfilled with the Presto finale.Not every band is capable of playing at this level, but if yours is, consider breaking new ground with DIALOGUES.In Dialogues voor saxofoonkwartet, harmonieorkest en slagwerk ontvouwen zich levendige dialogen tussen de solisten, maar ook het harmonieorkest komt in dit expressieve, veeleisende werk ruimschoots aan bod.In Dialogues für Saxophonquartett, Blasorchester und Schlagzeug entspinnen sich lebendige Dialoge zwischen den Solisten, aber auch das Blasorchester kommt in diesem ausdrucksstarken, stellenweise sehr anspruchsvollen Werk nicht zu kurz. Dialogues est une oœuvre pour Quatuor de Saxophones et Orchestre d’Harmonie. La conversation est expressive, soutenue et exigeante la fois pour les solistes et l’accompagnement.
SKU: CL.023-4373-01
Written as a conversation between the winds and percussion, as the title suggests, this composition utilizes many voices within the metallic, pitched and drummed instruments of the percussion section. Flowing melodies in the winds are answered by intense percussion punctuation. Simple but very effective, this composition will be a hit in any concert setting.
SKU: FL.FX070644
In this musical suite, you will find eight short pieces depicting one day in a Zoo. You will discover emblematic animals such as monkeys, lions or elephants. The orchestration with four parts and percussions will allow you playing those pieces with all kind of musical groups, each part being provided in several transposition tonalities. These pieces are particularly suitable for young musicians from two years of instrument practice.
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