Composed by
Dong-In Choi. Set of
Score and Parts.
8+8+4+8+8+8+4+4+4+4+4+4+8
+4+4+4+6+6+4+6+4+8+2+4+1+
2+1+20 pages. Duration 5
minutes. Carl Fischer
Music #CPS265. Published
by Carl Fischer Music
(CF.CPS265).
ISBN
9781491161289. UPC:
680160919871.
Remem
brance was written in
November 2018. In
remembrance of what it
took for us to be here...
was the only original
program note. The piece
can mean different things
to different people;
however, it brings unity
to all under the theme of
remembrance. We fight for
many things: love,
patriotism, freedom,
ideology,
possession...all of which
have cost tremendous
sacrifice. It was the
battles, the blood and
sweat, and the sacrifice
of those that came before
us that created the world
as we know it.
Remembrance is a tender,
melancholic reflection
that silently gives
thanks to every step and
every sacrifice that was
made to bring us what we
have today. Yes, what we
have may not be
perfect--nor is it
anywhere near
complete--but with each
generation's
responsibility to carry
the torch and never
forget, hopefully we can
make everything worth it.
Performance Notes This
tender piece is an
excellent opportunity to
explore nuanced phrasing.
While many sections may
play similar parts, often
the phrasing and dynamics
are marked differently
across the band. Each of
these discrepancies
should be brought out and
add to the perpetual
motion of the piece.
Encourage confident, yet
subtle entrances and
furthermore, think about
the ends of notes as
important as the
beginning. Really bring
out the hairpins in
sections such as m. 29,
m. 67, and m. 81 as
expressive devices.
Despite the piece's major
key, through the various
levels of dissonance and
tension, both the
ensemble and the audience
should feel the
sacrifices and tragedy
that this piece
celebrates. The tempo
should not be much slower
than the marked tempos
and with the careful
observation of the
various tempo changes,
there should be a
constant momentum pushing
throughout the piece, all
the way past the end that
leaves the audience in
thought with an
uplifting, pensive, and
gentle clarinet
chord. Remembrance was
written in November 2018.
“In remembrance of
what it took for us to be
here...†was the
only original program
note. The piece can mean
different things to
different people;
however, it brings unity
to all under the theme of
remembrance.We fight for
many things: love,
patriotism, freedom,
ideology,
possession...all of which
have cost tremendous
sacrifice. It was the
battles, the blood and
sweat, and the sacrifice
of those that came before
us that created the world
as we know it.
Remembrance is a tender,
melancholic reflection
that silently gives
thanks to every step and
every sacrifice that was
made to bring us what we
have today. Yes, what we
have may not be
perfect—nor is it
anywhere near
complete—but with
each generation’s
responsibility to carry
the torch and never
forget, hopefully we can
make everything worth
it.Performance NotesThis
tender piece is an
excellent opportunity to
explore nuanced phrasing.
While many sections may
play similar parts, often
the phrasing and dynamics
are marked differently
across the band. Each of
these discrepancies
should be brought out and
add to the perpetual
motion of the piece.
Encourage confident, yet
subtle entrances and
furthermore, think about
the ends of notes as
important as the
beginning. Really bring
out the hairpins in
sections such as m. 29,
m. 67, and m. 81 as
expressive devices.
Despite the
piece’s major key,
through the various
levels of dissonance and
tension, both the
ensemble and the audience
should feel the
sacrifices and tragedy
that this piece
celebrates.The tempo
should not be much slower
than the marked tempos
and with the careful
observation of the
various tempo changes,
there should be a
constant momentum pushing
throughout the piece, all
the way past the end that
leaves the audience in
thought with an
uplifting, pensive, and
gentle clarinet
chord.
Piano SKU: HL.14010480 Piano Solo. Composed by Per Norgard. Music ...(+)
Piano
SKU:
HL.14010480
Piano
Solo. Composed by Per
Norgard. Music Sales
America. Classical. Book
[Softcover]. 7 pages.
Music Sales #KP00717.
Published by Music Sales
(HL.14010480).
ISBN
9788759870082.
Danish.
Esperanza -
Eremitkrebs-Tango (1997)
Hermit Crab Tango,
Esperanza is part of
Norgard's Animals in
Concert, a suite of piano
pieces, so far comprised
of: 1. A Tortoise's
Tango (1984) - dur.:
4' 2. Light of a
Night - Paul meets bird
(1989) - dur.: 6'
3. Hermit Crab Tango -
Esperanza (1997) - dur.:
5' The pieces can
be performed together or
one by one. In
the1980s, quite a few
“finds”
turned up in Per
Norgard's music. The
material could be, say, a
number of song birds'
equilibrist melodic
lines, the overtones of
the ocean surf, or
waltzing themes by the
schizophrenic artist
Adolf Wolfli (1864-1930).
Or again, as heard here,
it can be the rhythms and
motifs of the tango and a
Beatles song (with bird),
explored in three
independent piano pieces
that form the Animals in
Concert suite, about
which the composer
writes: Programme
note for Animals in
Concert: 1. A
Tortoise's Tango (1984) -
dur.: 4' 2. Light
of a Night - Paul meets
bird (1989) - dur.:
6' 3. Hermit Crab
Tango - Esperanza (1997)
- dur.: 5' The
pieces can be performed
together or one by
one. In the1980s,
quite a few
“finds”
turned up in Per
Norgard's music. The
material could be, say, a
number of song birds'
equilibrist melodic
lines, the overtones of
the ocean surf, or
waltzing themes by the
schizophrenic artist
Adolf Wolfli (1864-1930).
Or again, as heard here,
it can be the rhythms and
motifs of the tango and a
Beatles song (with bird),
explored in three
independent piano pieces
that form the Animals in
Concert suite, about
which the composer
writes: “A
Tortoise's Tango”:
The tortoise as tango
dancer must presumably
possess certain rhythmic
peculiarities, which I
have chosen to express by
letting the tune of the
tortoise shuffle broadly,
tripartite through the
strict four partite time
of tango. Tortoise
Tango was the original
title of this piece,
“written for
Achilles” (the
pianist Yvar Mikhashoff),
for his so called tango
project”, including
new tangos for piano by
composers from all over
the world.
“Light of a Night
(Paul meets bird)”
was commissioned by
pianist Aki Takahashi. It
is a
“reworked”
arrangement for piano of
the Beatles song
”Blackbird”.
As some of us will
recall, the Beatles on
“The White
Album” let the
beautiful song to the
blackbird be accompanied
by an (apparently) live
blackbird song. It is
this authentic bird-motif
world that in
“Light of a
Night” weaves
itself into the Beatles
melody and in turn is
gradually infected by it,
so that a completely new
third entity ensues: a
kind of Bird-rock ballad
(or maybe it is a
Beatle-bird?).
“Hermit Crab Tango
(Esperanza)”: The
tango situation is quite
special for a Hermit
Crab. It is a well-known
fact that the hermit crab
- this soft animal - must
run the gauntlet among
the many perils at the
bottom of the sea when it
must move hose. I have
chosen to express the
angers by a.
(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for
Beginning,
Intermediate or Advanced
Students). Composed by
Miles
Okazaki. For guitar.
Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory,
Harmony.
Book. 166 pages.
Published
by Mel Bay Publications,
Inc
Composed by
Kelly Dugger. Yps. Set of
Score and Parts.
16+4+8+8+8+4+6+4+4+4+8+8+
8+8+6+6+6+4+6+1+2+4+2+24
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS255.
Published by Carl Fischer
Music (CF.YPS255).
ISBN 9781491161531.
UPC:
680160920181.
This
programmatic work depicts
our superhero Daring Dog,
as he goes on a journey
to conquer the villain.
Daring Dog is a
superhero, only... not
everyone knows it yet. We
meet Daring Dog and his
sidekick at m. 15 in the
beginning section. At m.
24, we hear as his mother
gives him a stern lecture
to stop messing around
and be more serious.
Daring Dog tries to
explain how he has saved
the world numerous times
at m. 32. At m. 42, he
decides he must do what
is necessary to defeat
the villain, despite what
his mother thinks, and
begins planning. At m.
52, we can hear him
running in the snare
drum, and the villain
approaches. Barking and
growling (flutter tongue
in flute, and growling in
brass), at m.78 the fight
is on. Measure 82 reveals
a huge terrible monster,
and Daring Dog is
terrified. He sticks out
his sword with his eyes
closed, and *POOF!* the
monster evaporates. (It
was probably imaginary
the whole time.) The end
section is a triumphant
celebration that Daring
Dog has, indeed, saved
the world again! Daring
Dog is a fun piece for
all ages! Difficult
enough to be a wonderful
recruitment piece, and
easy enough to be
playable by young bands,
this piece can truly span
all levels. Actors might
also depict the story
while the band plays for
even more fun.
 . This
programmatic work depicts
our superhero Daring Dog,
as he goes on a journey
to conquer the villain.
Daring Dog is a
superhero, only... not
everyone knows it yet. We
meet Daring Dog and his
sidekick at m. 15 in the
beginning section. At m.
24, we hear as his mother
gives him a stern lecture
to stop messing around
and be more serious.
Daring Dog tries to
explain how he has saved
the world numerous times
at m. 32. At m. 42, he
decides he must do what
is necessary to defeat
the villain, despite what
his mother thinks, and
begins planning. At m.
52, we can hear him
running in the snare
drum, and the villain
approaches. Barking and
growling (flutter tongue
in flute, and growling in
brass), at m.78 the
ï¬ght is on. Measure
82 reveals a huge
terrible monster, and
Daring Dog is
terriï¬ed. He sticks
out his sword with his
eyes closed, and *POOF!*
the monster evaporates.
(It was probably
imaginary the whole
time.) The end section is
a triumphant celebration
that Daring Dog has,
indeed, saved the world
again!Daring Dog is a fun
piece for all ages!
Difficult enough to be a
wonderful recruitment
piece, and easy enough to
be playable by young
bands, this piece can
truly span all levels.
Actors might also depict
the story while the band
plays for even more
fun. .
(100 Hit Songs Excerpted for Successful Auditions Women's Edition Voice and Pian...(+)
(100 Hit Songs Excerpted
for Successful Auditions
Women's Edition Voice and
Piano). By Various.
Edited by Michael
Dansicker. Vocal
Collection. 184 pages.
Published by Hal Leonard
E-Z Play Today #146. Composed by Ilya Salmanzadeh, Timothy McKenzie, Elton Jo...(+)
E-Z Play Today #146.
Composed by Ilya
Salmanzadeh, Timothy
McKenzie, Elton John, Tim
Rice, and Beyonce. E-Z
Play
Today. Disney, Movies.
Softcover. 40 pages.
Published by Hal Leonard
(Fender Special Edition G-DEC Guitar Play-Along Pack). By Eric Clapton. Fender G...(+)
(Fender Special Edition
G-DEC Guitar Play-Along
Pack). By Eric Clapton.
Fender G-Dec Guitar
Play-Along. Softcover
with DVD-ROM. Guitar
tablature. Published by
Hal Leonard
SKU: GI.G-10177 Composed by Jim Childers. Music Education. 168 pages. GIA...(+)
SKU: GI.G-10177
Composed by Jim Childers.
Music Education. 168
pages. GIA Publications
#10177. Published by GIA
Publications
(GI.G-10177).
ISBN
9781622775224.
List
ening Excerpts to Develop
Band Musicianship is a
resource that can sit
near your workstation for
ease and speed. I feel
listening has been a
great benefit to my
students. I have spent a
lot of time attempting to
be more efficient, and I
want to share the fruits
of my labor with others.
Incorporate listening
excerpts into your
teaching, and you and
your students will
benefit greatly.
—Jim Childers
Providing great listening
models for band students
can be an incredibly
efficient and effective
way to convey musical
concepts—provided
directors have a library
of well-organized
recordings that catalog
everything from
expressive styles
(“Heroicâ€) to
technical issues
(“Double-Tonguingâ
€). With this
essential book, Jim
Childers does the hard
work of classifying the
top wind band recordings
to provide efficient
excerpts for just the
right concept. Imagine
teaching students to do a
lifting release. If they
heard members of
“The
President’s
Own†in one of
their amazing recordings,
students can be
enlightened and inspired.
With added coaching from
the director, students
will have a shortened
trip to improved
performance. In this
resource, Childers
collects hundreds of
quality listening
excerpts into tables and
categorizes them both by
instrumentation and by
characteristics such as
expressive elements,
articulations, tempo, and
more. This book helps
directors be efficient in
using small, but
effective, listening to
develop students’
musicianship—and
is particularly helpful
in a distance learning
environment. When
considering how much time
directors spend in
rehearsals trying to
describe and redefine the
musical effects they
desire, words and their
connotative meanings
often fall short and fail
to produce what a
director hopes to hear.
But providing students
the opportunity to listen
to great bands playing
those desired elements
from within great pieces
of music can, and will,
improve musicianship and
inspire students! Jim
Childers is Director of
Bands at Marion (IL) Jr.
High School, where he
directs all band
activities in grades six
through eight. He has
directed bands since
1991, at Marion Jr. High
School since 2002 as well
as Highland High School
and Mt. Vernon Township
High School. He earned
his bachelor’s and
master’s degrees
in music education at
Southern Illinois
University–Carbond
ale, studying trombone
with Dr. Robert Weiss. He
has guest conducted many
camps, including ISYM at
the University of
Illinois, and has been
invited to present at
several conferences,
including The Midwest
Clinic.
Sequential Repertoire for Solo Strings or String Ensemble (Piano / Score). ...(+)
Sequential Repertoire for
Solo Strings or String
Ensemble (Piano / Score).
Composed by Winifred
Crock,
William Dick, and Laurie
Scott.
Method/Instruction;
Score; String Orchestra
Method/Supplement;
Suzuki.
64 pages. Published by
Alfred Music
Performed by Elvis Presley. Piano/Vocal/Chords Songbook (Arrangements for piano ...(+)
Performed by Elvis
Presley.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 324 pages.
Published by Hal Leonard.
Mallet. Arranged by Various. Instrumental Series; Play-Along. Pop Instrum...(+)
Mallet. Arranged
by Various. Instrumental
Series; Play-Along. Pop
Instrumental Solo Series.
Radio; Rock. Book; CD. 24
pages. Alfred Music
#00-42234. Published by
Alfred Music (AP.42234).
(Sequential Repertoire for Solo Strings or String Ensemble). By Laurie Scott, Wi...(+)
(Sequential Repertoire
for Solo Strings or
String Ensemble). By
Laurie Scott, Winifred
Crock, and William Dick.
For Bass. String
Orchestra
Method/Supplement. Book &
CD. 36 pages. Published
by Alfred Music
Publishing
Concert
Band, Grade 4, 2:00 Score
and Parts. Composed
by Amilcare Ponchielli.
Arranged by Franco
Cesarini. Editions Franco
Cesarini. Classical,
Concert, Concert Band.
Softcover. Duration 120
seconds. Hal Leonard
#EFC024-SC. Published by
Hal Leonard (HL.4008682).
(The Easiest Piano Method Ever!). By Christine H. Barden, Gayle Kowalchyk and E....(+)
(The Easiest Piano Method
Ever!). By Christine H.
Barden, Gayle Kowalchyk
and E. L. Lancaster. For
Piano. Book; CD;
Method/Instruction; Piano
Method. Elementary. 96
pages. Published by
Alfred Music Publishing
Composed by Ed Kiefer.
Sws. Yps. Full score. 20
pages. Duration 2
minutes, 34 seconds. Carl
Fischer Music #YPS222F.
Published by Carl Fischer
Music (CF.YPS222F).
ISBN 9781491156636.
UPC: 680160915170. 9 x 12
inches.
Written in
an upbeat Latin rhythmic
form, Chips, and Salsa,
Too begins with
percussion under a nice
rhythmic motif in the
winds. A tuneful minor
melody in the clarinets,
well below the break,
continues above this
Latin groove after the
intro. The tubas (and
cross-cued for euphoniums
and bass clarinets) and
flutes have a melody
together beginning in m.
43, and the rest of the
band is gradually layered
in the mix until
everybody is contributing
to the mix. Latin
rhythms, featured
percussion, and lots of
nice melodies for the
winds makes this a piece
your students and
audiences will love! Pay
careful attention to the
articulation because
without it you will lose
the rhythmic feel. The
tempo is marked
quarter=152, but you can
play it faster if you
like. Too slow, and you
can't dance to it! The
syncopated rhythms are
infectious and you will
be surprised at how
quickly your band catches
on. The ranges are
perfect for young players
and there are plenty of
doublings to assist
smaller bands. Use as
many percussionists as
possible, but insist they
groove together and don't
cover up the winds.
Remember, it's a dance.
Have fun!
Kiefer.ed@gmail.com
Facebook: The Music of Ed
Kiefer. Written in an
upbeat Latin rhythmic
form, Chips, and Salsa,
Too begins with
percussion under a nice
rhythmic motif in the
winds. A tuneful minor
melody in the clarinets,
well below the break,
continues above this
Latin groove after the
intro. The tubas (and
cross-cued for euphoniums
and bass clarinets) and
flutes have a melody
together beginning in m.
43, and the rest of the
band is gradually layered
in the mix until
everybody is contributing
to the mix.Latin rhythms,
featured percussion, and
lots of nice melodies for
the winds makes this a
piece your students and
audiences will love!Pay
careful attention to the
articulation because
without it you will lose
the rhythmic feel. The
tempo is marked
quarter=152, but you can
play it faster if you
like. Too slow, and you
can’t dance to it!
The syncopated rhythms
are infectious and you
will be surprised at how
quickly your band catches
on. The ranges are
perfect for young players
and there are plenty of
doublings to assist
smaller bands. Use as
many percussionists as
possible, but insist they
groove together and
don’t cover up the
winds. Remember,
it’s a dance. Have
fun!Kiefer.ed@gmail.comFa
cebook: The Music of Ed
Kiefer.
Flexible Ensemble SKU: BT.EMBZ14849 Kammermusikserie mit variabler Bes...(+)
Flexible Ensemble
SKU:
BT.EMBZ14849
Kammermusikserie mit
variabler Besetzung.
EMB Ad Libitum.
Educational Tool. Set of
Parts. Composed 2013. 76
pages. Editio Musica
Budapest #EMBZ14849.
Published by Editio
Musica Budapest
(BT.EMBZ14849).
The volumes in
this new series contain
duos, trios and quartets,
their degree of
difficulty ranging from
easy through intermediate
to advanced. Every piece
is a transcription or an
arrangement, since in
editing the volumes our
primary concern was to
provide a collection of
valuable and interesting
compositions, as freely
variable as possible as
regards instrumentation,
for music school students
and also for adults who
make music for their own
pleasure. The range and
pitch of the parts enable
the works to be performed
on any required or
possible combination of
the given instruments. In
the Easy quartets volume,
in addition to
independent movements a
number of works can be
foundthat can be
performed together to
form suites. Thus from
short movements that can
also be used separately
cycles may be formed
which can enliven a
little domestic concert,
an instrument
demonstration or the
programme of a
performance for a festive
occasion. Besides
sequences of Renaissance
dances, arrangements of
Bach chorales, choral
works and classical
dances, the varied
content also includes
Romantic movements
suitable for enjoyable
domestic music-making.
Die Bände der
neuen Serie beinhalten
leichte, mittelschwere
oder fortgeschrittene
Duos, Trios und
Quartette. Bei der
Zusammenstellung lag das
Hauptaugenmerk auf der
höchstmöglichen
Freiheit in der
Kombinierbarkeit der
Instrumente sowie darauf,
dass die Kompositionen
für Musikschüler
und Hobbymusiker
musikalisch interessant
und wertvoll sind. Aus
diesem Grund handelt es
sich bei allen Stücken
um Transkriptionen. Lage
und Tonumfang der Stimmen
sind so gesetzt, dass
sich die Werke allen
denkbaren Umständen
und Ansprüchen
anpassen und entsprechend
in jeder Kombination der
angegebenen
Musikinstrumente
vorgetragen werden
können.
Voix Mezzo-Soprano [Partition] - Intermédiaire Hal Leonard
(100 Songs Excerpted for Successful Auditions). Edited by Michael Dansicker. For...(+)
(100 Songs Excerpted for
Successful Auditions).
Edited by Michael
Dansicker. For
mezzo-soprano voice solo
and piano accompaniment.
Vocal Collection.
Broadway, Movies and Pop.
Difficulty: medium.
Songbook. Vocal melody,
lyrics, piano
accompaniment, chord
names and introductory
text. 188 pages.
Published by Hal Leonard
Book/Online Audio & Video SKU: HL.1206211 Feel the Music, See the Ligh...(+)
Book/Online Audio & Video
SKU: HL.1206211
Feel the Music, See
the Light. Berklee
Guide. Music Business,
Music Reference, Music
Therapy. Softcover Media
Online. Duration 200
seconds. Published by
Berklee Press
(HL.1206211).
ISBN
9780876392294. UPC:
196288186793.
Use
music to improve your
wellbeing. Has music ever
made you smile, cry,
maybe even fall in love?
Learn the many ways that
music affects your mind,
body, and spirit, and can
enhance your wellbeing.
Dr. Suzanne Hanser
reveals how music creates
flow and fulfillment,
whether you are a music
lover, musician, or
therapist. Recordings of
original music and
personal stories from
around the world offer
poignant examples of how
you can use music in your
wellness journey. When
you really feel the
music, you can learn a
lot about yourself and
see the light! Learn how
listening to and creating
music can help you:
• Understand and
use some of the core
concepts of music therapy
to help alleviate your
distress and be a
healthier, more satisfied
person. • Explore
your personal musical
history and the emotions
and insights that music
evokes. • Find
relief from stress and
manage your moods.
• Inspire your
motivation and
creativity. •
Explore your spirituality
and expand your
self-awareness. •
Beocme more resilient and
improve your self-care
skills. • Benefit
from meaningful stories
and music offering
insight into your own
health and wellness.
Composed by Larry Clark.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+2+5+12 pages.
Duration 2 minutes, 59
seconds. Carl Fischer
Music #FAS97. Published
by Carl Fischer Music
(CF.FAS97).
ISBN
9781491143049. UPC:
680160900541. Key: D
major.
Expectations
is dedicated to Larry
Clark's young son. It was
written with thoughts of
his playful nature, which
can be heard throughout
the piece, while the
lush, emotional opening
depicts the composer's
awe at being a parent to
a wonderful little boy.
This touching piece will
stretch the musicianship
of young string students,
but it will be worth the
journey. Expectations
is a special piece for
me. I wrote it with my
youngest son Benjamin in
mind. Most nine year
olds, as Benjamin, are
full of carefree joy,
wonder and excitement. It
was my hope to depict
that nature in the style
of the piece.The piece
begins sentimentally, as
I remember the
overwhelming joy I felt
upon his birth. There is
nothing that can replace
the feeling of becoming a
dad. Ben has always been
a “daddy's
boy†and is a great
hugger! This first
section of the piece
should be lush and
musical. It is important
to ask young musicians to
play with heart. They can
certainly do it but might
have to be asked to pour
some emotion into
bringing the music to
life.After the lyrical
opening the piece heads
off on a carefree journey
with a bouncy bass line
and a jaunty tune. There
are moments of
counterpoint in the piece
where the melody echoes
itself. The musical
material from the
beginning returns several
times as the bridge
material, the glue that
holds the piece together.
It is my hope that if
nothing else, the piece
brings a smile to your
face. Perhaps it can also
serve to teach young
students contrast and
musicianship in music.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you andyour students
enjoy it and find it
useful for your
program.-Larry
ClarkLakeland, FL
2016.
Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85).
ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches.
Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy.
31 Chansons Classiques. By Various. Piano/Vocal/Chords Songbook (Arrangements fo...(+)
31 Chansons Classiques.
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 120 pages.
Published by Hal Leonard.
Composed by
Amy Webb. Set of Score
and Parts. Carl Fischer
Music #FPS164. Published
by Carl Fischer Music
(CF.FPS164).
ISBN
9781491163504. UPC:
680160922291.
Call
of the Ancient Clans
takes players back to the
time of the dawn of man,
when neighboring tribes
could communicate with
each other not by racing
through the harsh jungle
or dry desert, but by the
use of different rhythm
instruments. Music was
also used in religious
rituals, celebrations and
to share the history of
the group.With an
interesting, pulsating
rhythm and catchy
woodwind lines, Call of
the Ancient Clans is sure
to light a fire under
students and get them
involved in making some
exhilarating music. The
notes can be easily
played by those with over
a year of band
experience, but will also
provide a good challenge,
as the first clarinets do
go over the break a
couple of times.Students
will have a lot of fun
playing double forte (who
doesn’t?).
However, caution students
that playing “as
loud as you canâ€
can lead to bad-sounding
notes. Balance with the
person next to you; if
you can’t hear
them, you’re too
loud. Double forte is a
bit like calling to your
friend from across the
gym when nobody else is
in there. You
don’t want to be
louder than that.Who has
the melody at each
rehearsal mark? Your
students should know and
if they do not, tell
them. If they
don’t have the
melody, they need to back
off their notes and play
softer. Let the melody
shine.Balance will make
this piece truly sing. I
hope you enjoy playing
it; I loved writing
it.
Orchestra - Grade 1.5 SKU: AP.48037 Arranged by Bob Phillips. MakeMusic C...(+)
Orchestra - Grade 1.5
SKU: AP.48037
Arranged by Bob Phillips.
MakeMusic Cloud;
Performance Music
Ensemble; String
Orchestra. Belwin
Beginning String
Orchestra. Folk;
Multicultural;
Traditional. Score and
Part(s). 148 pages.
Duration 2:50. Belwin
Music #00-48037.
Published by Belwin Music
(AP.48037).
UPC:
038081557472. English.
Traditional French Folk
Songs; Jacques
Offenbach.
This
piece arranged by Bob
Phillips is a cute, fun,
and easy medley of French
music that uses four
(quatre) well-known songs
and builds to an exciting
finish with the famous
Can Can. It will also
provide the opportunity
for cross-cultural study.
The melodies lie well on
all the instruments, so
it can be a great way to
feature any section.
Challenge your orchestra
to see how fast they can
play the ending! (2:50)
This title is available
in MakeMusic Cloud.