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| Refining The March Style
Concert band - Easy
Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals. Composed by Larry Clark. Collate - FS SWS - spine: 3/4 or .75. Young Performance Series. Set of Score and Parts. With Standard notation. 16+4+8+8+4+10+4+4+8+8+8+12+4+6+2+2+4+2+20 pages. Duration 2 minutes, 53 seconds. Carl Fischer Music #YPS105. Published by Carl Fischer Music (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. $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| To Create a Voice
Concert band - Intermediate
Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226 Composed by Carol Brittin Chambers. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+2+2+6+12+24+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS226. Published by Carl Fischer Music (CF.CPS226). ISBN 9781491152522. UPC: 680160910021. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| To Create a Voice
Concert band - Intermediate
Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3 SKU: CF.CPS226F Composed by Carol Brittin Chambers. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS226F. Published by Carl Fischer Music (CF.CPS226F). ISBN 9781491153208. UPC: 680160910700. Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it! $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Fantasia Nova
Concert band - Advanced
Manhattan Beach Music
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Su...(+)
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Suitable for community bands, high school bands, and college bands. 14 minutes duration if played as a suite; or movements 1 or 3 may be performed separately. Conductor score and set of parts. Duration 14:00. Published by Manhattan Beach Music (MH.1-59913-082-3). ISBN 9781599130828. Fantasia Nova is a suite comprising two concert marches and a slow, middle movement that derives its themes from both marches. Ragtime (composed in early September, 1978) is a new from old sort of piece. Although its tunefulness and harmonies have an old-fashioned character, its structure, development, and orchestration are unusual for a march. In the chorale section (measures 111 - 148) the band director must be very careful in balancing, for each of the elements must come through. More important is that the audience be brought up by this section -- filled with a joyous exaltation; great attention must be paid to sonority and the band must play earnestly. Ragtime stands on its own and may be performed separately. Dreams (composed in late September, 1978) is the traditional march of the two. It is very closely modeled (in structure only) to Sousa's Stars and Stripes Forever. It even includes a tricky piccolo solo, although the accompaniment has a chorale texture, almost like a school alma mater. This march has a patriotic, inspirational sound, because it was composed for the town of Irondequoit, New York -- for a Town March contest held by the town's community concert band. It did not, so far as I know, become the town's march; one can hear the name, Irondequoit, throughout the Trio, for every turn of the melody (in fact, each group of four notes) fits the accent pattern (Ih-RON-dih-kwoit) of the town's name. Parade stands on its own as a complete work and may be performed separately. Ensemble instrumentation: 1 Piccolo, 6 Flutes, 2 1st & 2nd Oboes, 1 English Horn, 1 Eb Clarinet, 3 1st Bb Clarinet, 3 2nd Bb Clarinet, 3 3rd Bb Clarinet, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet (optional), 2 1st & 2nd Bassoons, 1 Contrabassoon (optional), 1 1st Eb Alto Saxophone, 1 2nd Eb Alto Saxophone, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 1st Bb Cornets, 3 2nd Bb Cornets, 3 3rd Bb Cornets, 1 1st Horn in F, 1 2nd Horn in F, 2 3rd and 4th Horns in F, 2 1st Trombones, 2 2nd Trombones, 2 3rd Trombones, 1 Euphonium (Treble Clef), 2 Euphonium (Bass Clef), 4 Tuba, 1 String Bass, 1 Timpani (Triangle), 5 Percussion. $125.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Aeolus
Concert band - Easy
Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Trombone and more. - Grade 2 SKU: CF.YPS196F Composed by Joseph Compello. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS196F. Published by Carl Fischer Music (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. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Aeolus
Concert band - Easy
Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Trombone and more. - Grade 2 SKU: CF.YPS196 Composed by Joseph Compello. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+2+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS196. Published by Carl Fischer Music (CF.YPS196). ISBN 9781491152164. UPC: 680160909667. Key: C minor. 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. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Dormez Vous? Not You!
Concert band - Beginner
C.L. Barnhouse
Grade 1 SKU: CL.028-5040-00 Composed by Shanley. Young Concert Band. Scor...(+)
Grade 1 SKU: CL.028-5040-00 Composed by Shanley. Young Concert Band. Score and set of parts. C.L. Barnhouse #028-5040-00. Published by C.L. Barnhouse (CL.028-5040-00). Looking for a piece to feature an advanced soloist with your young band? Look no further, because Dormez Vous? Not You! Is the perfect choice! The solo part can be performed by any instrument, and could be used to feature an advanced student, a former student, a fellow music teacher, or a local professional musician. It uses melodic material from Frère Jacques (Are You Sleeping?) along with original jazzy melodies and harmonies. The title very loosely translates to, Are you sleeping? Well, you won't be after you hear this amazing solo! First rate! $65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Dormez Vous? Not You!
Concert band - Beginner
C.L. Barnhouse
Grade 1 SKU: CL.028-5040-01 Composed by Shanley. Young Concert Band. Extr...(+)
Grade 1 SKU: CL.028-5040-01 Composed by Shanley. Young Concert Band. Extra score. C.L. Barnhouse #028-5040-01. Published by C.L. Barnhouse (CL.028-5040-01). Looking for a piece to feature an advanced soloist with your young band? Look no further, because Dormez Vous? Not You! Is the perfect choice! The solo part can be performed by any instrument, and could be used to feature an advanced student, a former student, a fellow music teacher, or a local professional musician. It uses melodic material from Frère Jacques (Are You Sleeping?) along with original jazzy melodies and harmonies. The title very loosely translates to, Are you sleeping? Well, you won't be after you hear this amazing solo! First rate! $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Abracadabra
Concert band [Score] - Intermediate
Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 4:30. Published by Manhattan Beach Music.
(5)$25.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Total Toto
Concert band - Intermediate
De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1002028-010 Arranged by Klaas...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1002028-010 Arranged by Klaas van der Woude. De Haske Pop Collection. Pop & Rock. Set (Score & Parts). Composed 2000. De Haske Publications #DHP 1002028-010. Published by De Haske Publications (BT.DHP-1002028-010). Right from Toto’s foundation in 1977, the band grew into a living legend, not only because of international superhits, but also because of the ongoing urge of its members to develop their special musical style - a mix of rock and a more symphonic sound. This arrangement binds adaptations of Africa, Rosanna and Stop Loving You into a glorious whole, reminding us of those glory days of Toto hits.
De band Toto, die werd opgericht in 1977, scoorde internationale superhits met een bijzondere mix van rock en een meer symfonische sound. In de jaren 1982 en 1983 kon je de radio niet aanzetten of je hoorde de klanken van Rosannaof Africa. Klaas van der Woude maakte een arrangement waarin hij deze beide nummers en Stop Loving You verwerkte tot een meeslepend geheel.
Die Popmusik der 80er-Jahre erlebt derzeit ein großes Revival. Viele Hits von damals werden erfolgreich neu aufgelegt und kommen bei Alt und Jung gleichermaßen gut an. Die drei Tophits der kalifornischen Popgruppe Toto, für Blasorchester eingerichtet von Klaas van der Woude, liegen also voll im Trend! $137.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Ascension Of The Emperor
Concert band
C.L. Barnhouse
Pre 1 SKU: CL.023-4942-00 Composed by Webb. Young Concert Band. Score and...(+)
Pre 1 SKU: CL.023-4942-00 Composed by Webb. Young Concert Band. Score and set of parts. C.L. Barnhouse #023-4942-00. Published by C.L. Barnhouse (CL.023-4942-00). Ascension of the Emperor is a terrific opener for your beginning band’s very first concert! Only the first six notes learned in band instruction are used, and because there are no rhythms faster than quarter notes for the winds (and eighth notes for percussion,) this piece bolsters confidence right away, yet challenges them to keep learning. The crowd is sure to sit up and take notice of how much they’ve grown in just a few short months! $50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Ascension Of The Emperor
Concert band
C.L. Barnhouse
Pre 1 SKU: CL.023-4942-01 Composed by Webb. Young Concert Band. Extra ful...(+)
Pre 1 SKU: CL.023-4942-01 Composed by Webb. Young Concert Band. Extra full score. C.L. Barnhouse #023-4942-01. Published by C.L. Barnhouse (CL.023-4942-01). Ascension of the Emperor is a terrific opener for your beginning band’s very first concert! Only the first six notes learned in band instruction are used, and because there are no rhythms faster than quarter notes for the winds (and eighth notes for percussion,) this piece bolsters confidence right away, yet challenges them to keep learning. The crowd is sure to sit up and take notice of how much they’ve grown in just a few short months! $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Ubuntu
Concert band - Beginner
RWS Music Company
Grade 1 SKU: CL.RWS-2004-00 I Am Because We Are. Composed by Banks...(+)
Grade 1 SKU: CL.RWS-2004-00 I Am Because We Are. Composed by Bankston. Young Concert Band. RWS Beginning Band Series. Score and set of parts. Composed 2020. Duration 1 minute, 51 seconds. RWS Music Company #RWS-2004-00. Published by RWS Music Company (CL.RWS-2004-00). Teach your young musicians to work together with this African groove that comes from the heart. With limited ranges and technical demands, your students will be able to focus on balance, intonation and rhythmic accuracy. Not only will they enhance their musical skills, they will have fun playing music together and presenting it to their audience. $50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | | |
| Ubuntu
Concert band - Beginner
RWS Music Company
Grade 1 SKU: CL.RWS-2004-01 I Am Because We Are. Composed by Banks...(+)
Grade 1 SKU: CL.RWS-2004-01 I Am Because We Are. Composed by Bankston. Young Concert Band. Extra full Score. Composed 2020. RWS Music Company #RWS-2004-01. Published by RWS Music Company (CL.RWS-2004-01). Teach your young musicians to work together with this African groove that comes from the heart. With limited ranges and technical demands, your students will be able to focus on balance, intonation and rhythmic accuracy. Not only will they enhance their musical skills, they will have fun playing music together and presenting it to their audience. $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Farewell Song
Concert band - Easy
De Haske Publications
Concert Band/Harmonie and Euphonium Solo - Grade 2.5 SKU: BT.DHP-1043621-010<...(+)
Concert Band/Harmonie and Euphonium Solo - Grade 2.5 SKU: BT.DHP-1043621-010 Composed by Victor E. Nessler. Arranged by Wil van der Beek. Your Favorite Classics. Set (Score & Parts). Composed 2004. De Haske Publications #DHP 1043621-010. Published by De Haske Publications (BT.DHP-1043621-010). Farewell Song has been taken from Der Trompetervon Säckingen by Victor E. Nessler (1841-1890). Thisopera tells the sentimental story of a plain musicianwho is eventually allowed to marry the daughter ofa baron. From the first performance in 1884, thisopera was well liked - not so much because of thestory but because of its musical features. Impressivetrumpet solos, drinking songs and dance scenes werethe ingredients that enthralled audiences throughoutEurope. Today, only the farewell song called JungWerner’s Abschied, also known as Behüt’ dich Gott,has remained an absolute winner. Wil van der Beekhas written a fine arrangement of this entitledFarewell Song. He felt itwas appropriate to entrustthe melody of this song, originally written for tenorvoice, to the baritone or euphonium.
Farewell Song stammt aus der einst berühmten Oper Der Trompeter von Säckingen von Victor E. Nessler (1841-1890). Sie erzählt die Geschichte eines einfachen Musikanten, der nach vielen Prüfungen schließlich doch die Tochter eines Barons heiraten darf. Wil van der Beek legt hier eine gelungene Bearbeitung des heute noch sehr populären Abschiedsliedes Jung Werners Abschied, auch bekannt unter dem Titel Behüt' dich Gott, vor. Die sehnsuchtsvolle Melodie - ursprünglich für einen Tenor geschrieben - wird vom sonoren Klang des Euphoniums eindrucksvoll wiedergegeben. $125.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Farewell Song
Concert band - Easy
De Haske Publications
Concert Band/Harmonie and Euphonium Solo - Grade 2.5 SKU: BT.DHP-1043621-140<...(+)
Concert Band/Harmonie and Euphonium Solo - Grade 2.5 SKU: BT.DHP-1043621-140 Composed by Victor E. Nessler. Arranged by Wil van der Beek. Your Favorite Classics. Score Only. Composed 2004. De Haske Publications #DHP 1043621-140. Published by De Haske Publications (BT.DHP-1043621-140). Farewell Song has been taken from Der Trompetervon Säckingen by Victor E. Nessler (1841-1890). Thisopera tells the sentimental story of a plain musicianwho is eventually allowed to marry the daughter ofa baron. From the first performance in 1884, thisopera was well liked - not so much because of thestory but because of its musical features. Impressivetrumpet solos, drinking songs and dance scenes werethe ingredients that enthralled audiences throughoutEurope. Today, only the farewell song called JungWerner’s Abschied, also known as Behüt’ dich Gott,has remained an absolute winner. Wil van der Beekhas written a fine arrangement of this entitledFarewell Song. He felt itwas appropriate to entrustthe melody of this song, originally written for tenorvoice, to the baritone or euphonium.
Farewell Song stammt aus der einst berühmten Oper Der Trompeter von Säckingen von Victor E. Nessler (1841-1890). Sie erzählt die Geschichte eines einfachen Musikanten, der nach vielen Prüfungen schließlich doch die Tochter eines Barons heiraten darf. Wil van der Beek legt hier eine gelungene Bearbeitung des heute noch sehr populären Abschiedsliedes Jung Werners Abschied, auch bekannt unter dem Titel Behüt' dich Gott, vor. Die sehnsuchtsvolle Melodie - ursprünglich für einen Tenor geschrieben - wird vom sonoren Klang des Euphoniums eindrucksvoll wiedergegeben. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | | |
| Angels Amongst Us
Concert band - Beginner
C.L. Barnhouse
Grade 1 SKU: CL.024-4688-00 An Old Fashioned Hymn. Young Concert B...(+)
Grade 1 SKU: CL.024-4688-00 An Old Fashioned Hymn. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR396). Score and set of parts. Composed 2018. Duration 1 minute, 57 seconds. C.L. Barnhouse #024-4688-00. Published by C.L. Barnhouse (CL.024-4688-00). Beautifully stunning, highly reflective, and deeply emotional best describes this well-crafted hymn penned by celebrated composer James Swearingen. The flowing lines and rich harmonies are scored to touch the human spirit in every way possible. Because the technical demands are well within reach, your band will be able to focus on playing not just the notes themselves, but on the expressive meaning of the notes as well. Simply breathtaking! $49.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | | |
| Angels Amongst Us
Concert band - Beginner
C.L. Barnhouse
Grade 1 SKU: CL.024-4688-01 An Old Fashioned Hymn. Young Concert B...(+)
Grade 1 SKU: CL.024-4688-01 An Old Fashioned Hymn. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR396). Extra full score. Composed 2018. Duration 1 minute, 57 seconds. C.L. Barnhouse #024-4688-01. Published by C.L. Barnhouse (CL.024-4688-01). Beautifully stunning, highly reflective, and deeply emotional best describes this well-crafted hymn penned by celebrated composer James Swearingen. The flowing lines and rich harmonies are scored to touch the human spirit in every way possible. Because the technical demands are well within reach, your band will be able to focus on playing not just the notes themselves, but on the expressive meaning of the notes as well. Simply breathtaking! $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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