SKU: CF.FPS156F

ISBN 9781491156377. UPC: 680160914913. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun. In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted. Overall, the main challenge for this piece is balance. For the chaser idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the spooky theme is added to the chasing theme. If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life’s course on the path of music.Performance NotesThe idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun.In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted.Overall, the main challenge for this piece is balance. For the “chaser” idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the “spooky” theme is added to the “chasing” theme.If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.

SKU: AP.49548

ISBN 9781470649166. UPC: 038081569949. English.

March of the Martians by Ralph Ford is a dynamic, exciting march written in a cinematic style for young performers reminiscent of science fiction movies from the 1950s to the video games of today. To be performed in a menacing and deliberate manner, this march builds in intensity from the first note to the final climactic ending as the Martians advance towards Las Vegas inflicting terror among the citizens as they scream and run amok through the city to avoid their fate! This fun piece works well as an opening or closing piece for your next concert or festival and would also be an engaging addition to any Halloween program. Head for the hills, it's a Martian invasion from the top secret government base in Area 51! (2:06) This title is available in MakeMusic Cloud.

SKU: CF.YPS218F

ISBN 9781491156575. UPC: 680160915118. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes Paradigm Shift is an energetic and aggressive concert piece for young bands with at least one year's training. It is also sophisticated enough for more experienced bands. Pitched in C minor, the piece opens with an energetic introduction which quickly leads to the main theme stated by the Clarinets at m. 9. A brass fanfare in C major ensues at m. 29. The woodwinds' answer to the brass fanfare at m. 39 contains divisi notes in the flute (doubled in the Oboe) which must be played. The music to the introduction is restated at m. 58, but is now shifted to the second beat of the measure by means of an additional beat inserted into m. 57. Younger bands may need some extra instruction in executing this time shift. Overall, the music should be performed boldly and with marcato articulation except where slurs are written.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music.Performance NotesParadigm Shift is an energetic and aggressive concert piece for young bands with at least one year’s training. It is also sophisticated enough for more experienced bands. Pitched in C minor, the piece opens with an energetic introduction which quickly leads to the main theme stated by the Clarinets at m. 9. A brass fanfare in C major ensues at m. 29. The woodwinds’ answer to the brass fanfare at m. 39 contains divisi notes in the flute (doubled in the Oboe) which must be played. The music to the introduction is restated at m. 58, but is now shifted to the second beat of the measure by means of an additional beat inserted into m. 57. Younger bands may need some extra instruction in executing this time shift. Overall, the music should be performed boldly and with marcato articulation except where slurs are written.

SKU: KN.60580S

UPC: 822795605808.

This lovely ballad for developing groups is a tip-of-the-hat to the tuneful ballads of the 1940's and 1950's. Warm textures are created by the densely voiced chords and winding melody. Written or ad lib solo space is provided for trumpet. While the tempo and note values of a ballad are accessible in terms of technical and range demands, working on proper blend, balance, and nuance will sustain the interest of even the most seasoned groups. Each set includes a guitar chord chart by Jim Greeson. Duration 3:30.

SKU: SU.21000213

UPC: 820821003284.

Jazz Sonorities (2002) was composed for Esther Lamneck at her request and premiered by her and Barbara Allen on drums at the Loewe Theater of New York University on May 30, 2002. Ms. Lamneck asked me to compose a piece for either solo clarinet or clarinet and piano. I decided on the former to continue my Sonorities series of works for solo instruments which eventually resulted in Sonorities VII for solo b-flat clarinet (2003-04). However, shortly after getting started with my Sonorities VII I kept hearing the swinging sounds of a jazz clarinet backed up by a jazz drum set. Part of the reason I kept hearing these sounds is that I grew up listening to the big swing bands of such clarinet leaders as Benny Goodman, Artie Shaw, Woody Herman, and Jimmy Dorsey. These musicians were my first exposure to the clarinet. So I decided to first compose a piece for clarinet with a jazz quality and a swinging partly ad lib part for the drums and to put my solo clarinet piece for Esther on hold for a year. There was also a personal reason to use the drums in the piece. My first ambition in music was to be a jazz drummer and indeed I studied drums with a jazz drummer and played drums professionally in dance bands for several years. Ms. Lamneck's part in this piece is almost entiirely written out except for a few measures of improvisation around the middle of the piece. The jazz quality of her part comes mostly in the prasing and using bluesy like pitch bends, slides, and microtones. The jazz quality of the drum set part is in the swinging beat that is used throughout most of the piece. The influence of the famous recording of Sing Sing Sing, with a swing by Benny Goodman & his orchestra in 1937 featuring Gene Krupa on drums is heard in the middle section when the drummer switches to a beat on the floor tom and high tom for several measures. Also, the Afro Cuban section toward the end of the piece was influenced by the many recordings of Stan Kenton & his orchestra particularly the 1950 Pete Rugolo arrangement of Cole Porter's Love for Sale. In the drum solo of the Afro Cuban section which is near the end can use optional claves and/or maracas (1-2 additional players). At the premiere the composer joined in this section on maracas. The drum set calls for a bass drum, floor tom, snare drum, high tom, ride cymbal, sizzle cymbal, and hi-hat. --Patrick Hardish.