SKU: HL.1122017

ISBN 9781705181744. UPC: 196288108986.

A Good Understanding (2005) was written for Tim Brown and the choir of Clare College, Cambridge with the generous cooperation of John Scott and the Boys of Saint Thomas Church Fifth Avenue. A Good Understanding, with texts culled from two psalms, is designed to share a program with Rutter's expansive and expressive Mass of the Children. The piece unfolds episodically short choral phrases alternating with longer instrumental interludes. The first half of the text is typical psaltry praise-making: outlining agreements, explaining the rules; the music is, accordingly, severe but practical. The second half of the text begins, The fear of the Lord is the beginning of wisdom/a good understanding have all they that do his commandments.?I find the idea of a good understanding?to be an especially exciting reward for following the rules; the boys sing pulsed syllables and long descants to celebrate the covenant while the choir sings a lilting, repetitive refrain. (Psalm 111, 10). - Nico Muhly.

SKU: HL.35031226

ISBN 9781495074073. UPC: 888680642129. 5.0x5.0x0.2 inches.

New edition of this popular musical from Jill Gallina! Feelin' Good is a creative musical experience that will encourage children to take good care of their minds and bodies, and help them develop a positive self-image. This revue includes ten original rock-style songs that incorporate movement, creative dramatization and a sing a-long. The songs are arranged in unison with an optional second part and a complete piano accompaniment. The short dialog that precedes each song offers speaking parts for 12 and requires little memorization. If a shorter performance is desired, any song can be eliminated without losing continuity. Helpful performance suggestions, props, staging and costume ideas are also included. PDFs of singer songsheets and dialog are available via digital access. To perform with recordings, there are 2 options. A Performance/Accompaniment CD is available separately. For cost-saving value, the Performance Kit/Audio Access includes the Teacher Book with student PDFs and performance/accompaniment audio recordings via digital access. Songs include: Feelin- Good, Exercisin' Is Energizin', Shake a Leg, We're All Special People, Use Your Head, The Magic Machine, You Are What You Eat, Good Friends, Let's Wash, Sweet Dreams My Friend. About 35 minutes. Suggested for grades 1-3.

SKU: BT.CMP-1108-07-140

9x12 inches. English.

Did you ever find a baby bumblebee and try to bring it home? No Place Like Home, The Flight Of The Bumblebee and The Arkansas Traveler (the bumblebee song melody) combine to make this Trombone feature unlike any you’ve tried before. It’s a good idea to occasionally give the Trombone section a little time in the limelight, and it’s also a good idea for your band to have some fun. This one works on both levels. Pick one up today! (The arrangement, Not the baby bumblebee!)

Het Engelse woord voor hommel is ‘bumblebee’. In het speelse, fantasierijke Bumble Bones, waarin de trombonesectie de hoofdrol speelt, wordt het gezoem van de hommel voornamelijk nagebootst op de mondstukken. Dit werk bevat No PlaceLike Home, The Flight of the Bumblebee en The Arkansas Traveler (de melodie van de ‘bumblebee song’) en is een aanrader voor wie een werk wil uitvoeren dat anders dan anders is.

Ein beliebtes amerikanisches Kinderlied über eine Hummel wird zur Melodie des Volksliedes The Arkansas Traveler gesungen. Diese Melodie, das Lied >No Place Like Home und der berühmte Hummelflug sind die drei Zutaten zu einem heiteren Solostück für das Posaunenregister, wie es die Welt noch nicht gehört hat. Eine gute Gelegenheit, Ihre Posaunen ins Rampenlicht zu rücken und zugleich ein Riesenspaß für alle Anwesenden!

Avec Bumble Bones (“Les trombones bourdonnants”), Mike Hannickel met l’honneur l’un des plus anciens instruments vent : le trombone. La musique développe un charme et une ingéniosité très authentiques. Une œuvre plaisante pour les solistes, l’accompagnement et le public.

SKU: BT.DHP-1104969-140

9x12 inches. English-German-French-Dut ch.

This beautiful duet was an appropriate way to mark the end of Henry Maske’s career and simultaneously introduce Andrea Bocelli to the international music scene. His collaboration with Sarah Brightman resulted in an unforgettable performance. Perfect for ending or providing an intimate moment during your concert, this arrangement exhibits the high standards the New Sounds for Concert Band series is known for.

Met dit meeslepende duet brak Andrea Bocelli in 1996 internationaal door als tenor. Hij zong dit onvergetelijke lied samen met Sarah Brightman. Time to say Goodbye is het ideale werk om als slot van uw uitvoering, als afscheidsliedof gewoon als rustig moment in uw concert te programmeren. Kwaliteit zoals u dat gewend bent in de serie New Sounds for Concert Band!

Dieses mitreißende Duett wurde 1996 zur Hymne zum Abschluss der Karriere von Henry Maske und markierte gleichzeitig den internationalen Durchbruch des Startenors Andrea Bocelli, dessen Auftritt mit Sarah Brightman unvergessen ist. Zum Abschluss Ihres Konzerts, zum Abschied oder einfach nur als gefühlvoller, ruhiger Programmpunkt eignet sich diese Bearbeitung in gewohnter Qualität der Reihe New Sounds for Concert Band ideal!

Collection NEW SOUNDS FOR CONCERT BANDRemarqué par le grand Luciano Pavarotti dont il devient le protégé, Andrea Bocelli se fait connaître dans le monde entier avec Con te partirò (Time to Say Goodbye), une chanson écrite par Francesco Sartori et Lucio Quarantotto pour le Festival de San Remo 1995. Ténor d’inspiration lyrique, il chante, la fois, la musique pop et classique. Il est l’artiste classique avec le plus d'albums vendus son actif, soit plus de 70 millions d'exemplaires dans le monde. Time to Say Goodbye : un must au répertoire de votre formation.

Questo coinvolgente duo del 1966 cantato per onorare la fine della carriera di Herny Maske ha anche segnato il debutto internazionale di Andrea Bocelli, la cui interpretazione al fianco di Sarah Brightman resta indimenticabile. Un brano ideale per concludere il vostro concerto, ma anche come brano di sicuro eff etto del vostro programma.

SKU: BT.DHP-1104969-010

9x12 inches. English-German-French-Dut ch.

This beautiful duet was an appropriate way to mark the end of Henry Maskeâ??s career and simultaneously introduce Andrea Bocelli to the international music scene. His collaboration with Sarah Brightman resulted in an unforgettable performance. Perfect for ending or providing an intimate moment during your concert, this arrangement exhibits the high standards the New Sounds for Concert Band series is known for.

Met dit meeslepende duet brak Andrea Bocelli in 1996 internationaal door als tenor. Hij zong dit onvergetelijke lied samen met Sarah Brightman. Time to say Goodbye is het ideale werk om als slot van uw uitvoering, als afscheidsliedof gewoon als rustig moment in uw concert te programmeren. Kwaliteit zoals u dat gewend bent in de serie New Sounds for Concert Band!

Dieses mitrei�ende Duett wurde 1996 zur Hymne zum Abschluss der Karriere von Henry Maske und markierte gleichzeitig den internationalen Durchbruch des Startenors Andrea Bocelli, dessen Auftritt mit Sarah Brightman unvergessen ist. Zum Abschluss Ihres Konzerts, zum Abschied oder einfach nur als gefu?hlvoller, ruhiger Programmpunkt eignet sich diese Bearbeitung in gewohnter Qualität der Reihe New Sounds for Concert Band ideal!

Collection NEW SOUNDS FOR CONCERT BANDRemarqué par le grand Luciano Pavarotti dont il devient le protégé, Andrea Bocelli se fait connaître dans le monde entier avec Con te partirò (Time to Say Goodbye), une chanson écrite par Francesco Sartori et Lucio Quarantotto pour le Festival de San Remo 1995. Ténor dâ??inspiration lyrique, il chante, la fois, la musique pop et classique. Il est lâ??artiste classique avec le plus d'albums vendus son actif, soit plus de 70 millions d'exemplaires dans le monde. Time to Say Goodbye : un must au répertoire de votre formation.

Questo coinvolgente duo del 1966 cantato per onorare la fine della carriera di Herny Maske ha anche segnato il debutto internazionale di Andrea Bocelli, la cui interpretazione al fianco di Sarah Brightman resta indimenticabile. Un brano ideale per concludere il vostro concerto, ma anche come brano di sicuro eff etto del vostro programma.

SKU: CF.WF231

ISBN 9781491153314. UPC: 680160910816.

Styli stic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces” in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.
Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes” at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces” in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.