SKU: CL.026-4457-01

The opening movement from the Holst First Suite is now available in the Build-A-Band format. This work is contrapuntal in nature and teaches the importance of independent playing. The flashy 16th note runs are scored for the mallets and snare drum, bringing the technical challenges within your students’ abilities. A perfect selection to make your small band with limited instrumentation sound great! Optional parts for guitar, piano, bass and percussion fill out the band. Choose the best classic contest literature for your students!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

SKU: PR.114419720

ISBN 9781491134863. UPC: 680160685790.

In a musical style strongly influenced by (and occasionally parodying) American popular music, the subtitle “Baroque” may seem a puzzle at first. It is also the key to Pann’s approach in composing for multiple wind soloists and ensemble. With Bach’s Brandenburgs in the rear-view mirror, Pann has created a glorious hybrid of inspirations with intricate counterpoint, cadenzas, beautiful slow textures, and wild rides, creating a 16-minute, fast-slow-fast concerto grosso. The published piano reduction is fully practical for live performance.
My Double Concerto (subtitled “Baroque”) from 2018 posed an immediate challenge which gave me some real trepidation as a composer. The two solo instruments, Clarinet and Alto Saxophone, are quite varied in their timbral characteristics yet they have nearly identical ranges. I gave many hours of thought to solving this challenge and eventually settled on an obvious mission: make each instrument as independent from the other as possible. Explore opposite areas of each range simultaneously. Set very different contours against one another in the solo parts. These kinds of things.I. Bach in the Fifties sets the soloists up as competing crooners. I wanted to write a 1950s-style teen idol tune, complete with electric organ, and writing the music I imagined J.S. Bach might tend towards if he was writing for The Platters or Perry Como. This first movement also presents within it a traditional concerto-style cadenza for both soloists together.II. Desert Arias should transport the listener to an arid, barren land over which a mirage of canons emerge.III. Pronouncements is set in the style of a baroque concerto’s final movement. Nuance is forfeited on behalf of straight-ahead melodic dueling. Stravinsky lingers like a ghost behind this finale.

ISBN 9781622774333.

Music teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose” that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians” for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte. He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusician.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell     Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough     Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed” to non-musical applications. We observe the music lessons and the active “transposition” or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer     Professor Emerita, Westminster Choir College of Rider University     Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes” eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D.     Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath     Pianist, Author, Teacher     University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills” which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson     Principal Oboe, New York Philharmonic (1978–2005)     Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney     Award-winning concert pianist (Geneva Competition) and teacher     Author of The Perfect Wrong Note: Learning to Trust Your Musical Self.

SKU: MB.98545M

ISBN 9780786695737. 8.75 x 11.75 inches.

This volume is intended as a folio of arrangements from the repertoire of a working musician. As such, there is only a minimum of discussion about the technical aspects of playing. Students who have already dealt with the American style called fingerpicking or fingerstyle guitar, which is quite distinct from other kinds of guitar playing, will be at an advantage. The easiest arrangements here are early intermediate level, while the other end of the scale includes pieces that may challenge even a professional. Tunes within each section are presented generally in order of difficulty. The bulk of the tunes presented are fiddle tunes, with a couple of banjo tunes and several songs as well as tunes originally played on other instruments such as harp, pipes, or accordion. There are even a small number composed for the guitar. For the most part, differences in approach among the tunes here are unrelated to the instrumental sources. All the tunes are presented in notation and tablature. Includes access to online audio.