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+1
2+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 Å’ = 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.
By Connie Ray. Edited by Mike Craver. Arranged by Mike Craver And Mark Hardwick....(+)
By Connie Ray. Edited by
Mike Craver. Arranged by
Mike Craver And Mark
Hardwick. For
Piano/Vocal/Guitar. Music
from the Off-Broadway
Hit. Broadway, Gospel,
Bluegrass. Songbook. 64
pages. Published by
Shawnee Press.
By Cat Stevens. Easy Guitar. Folk Rock. Guitar/vocal songbook (softcover). With ...(+)
By Cat Stevens. Easy
Guitar. Folk Rock.
Guitar/vocal songbook
(softcover). With
standard notation, vocal
melody, lyrics, chord
names, guitar chord
diagrams and strum and
pick patterns. 48 pages.
Music Sales #AM74741.
Published by Music Sales
For Bb trumpet solo and Bb tenor saxophone solo. Format: instrumental solo songb...(+)
For Bb trumpet solo and
Bb tenor saxophone solo.
Format: instrumental solo
songbook. With standard
notation. Broadway.
Series: The Chartbuster
Series. 48 pages. 9x12
inches. Published by Hal
Leonard.
SKU: GI.G-10008 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10008
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10008. Published by GIA
Publications
(GI.G-10008).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School.
Performed by Ray Charles (1930-2004). For voice, piano and guitar (chords only)....(+)
Performed by Ray Charles
(1930-2004). For voice,
piano and guitar (chords
only). Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. R
Composed by Cole Porter. For voice and piano. From the Broadway musical "Kiss Me...(+)
Composed by Cole Porter.
For voice and piano. From
the Broadway musical
"Kiss Me, Kate". Format:
vocal score. With vocal
melody, piano
accompaniment, lyrics and
stage cues. Standards and
broadway. 212 pages. 9x12
inches. Published by Hal
Leonard.
(E-Z Play Today Volume 160). By Various. For Organ, Piano/Keyboard, Electronic K...(+)
(E-Z Play Today Volume
160). By Various. For
Organ, Piano/Keyboard,
Electronic Keyboard. E-Z
Play Today. Softcover.
224 pages. Published by
Hal Leonard
Composed by
Various. Chord Buddy.
Pop, Standards.
Softcover. 128 pages.
Published by Hal Leonard
(HL.365043).
ISBN
9781705135273. UPC:
840126960648.
8.5x11.0x0.362
inches.
Just press
the buttons on the
ChordBuddy ukulele device
and play! This songbook
features 60 favorites in
vocal melody, lyrics and
chord diagram
arrangements for standard
G-C-E-A tuning. The
chords in the book are
color-coded to match your
ChordBuddy ukulele
device. Songs include:
Blowin' in the Wind
• Down on the
Corner • Free
Fallin' • Hound Dog
• Margaritaville
• Old Time Rock
& Roll • Twist
and Shout • Walk of
Life • and more.
(Note: the ChordBuddy
device is sold
separately).
SKU: HL.50605317 For Recorder Quartet. Composed by Cheryl Frances-...(+)
SKU: HL.50605317
For Recorder
Quartet. Composed by
Cheryl Frances-Hoad.
Woodwind. Softcover. 56
pages. Duration 300
seconds. Chester Music
#CH88116. Published by
Chester Music
(HL.50605317).
ISBN
9781705177570. UPC:
196288102694. 9.0x12.0
inches.
Pieces of
Light was commissioned by
the Flautadors for their
20th Anniversary. When
the group approached me
about writing a piece, I
had just finished reading
Pieces of Light; The New
Science of Memory by
Charles Fernyhough, and
it struck me that a work
inspired by memories and
how they are created in
our brains would be very
appropriate for a group
of musicians celebrating
such a wonderful
milestone. A quote by
Nabokov in particular
provided ideas for both
the rapid, rhythmic music
that starts and ends the
piece and the slow,
'light-filled' chords of
the middle section: [In
Nabokov's autobiography,
Speak, Memory, he sees]
'the awakening of
consciousness as a series
of spaced flashes, with
the intervals between
them gradually
diminishing until bright
blocks of perception are
formed, affording memory
a slippery hold.' In
addition, this work has
really been shaped by the
recorders themselves:
before writing, I spent
several hours with Ian
Wilson (a member of the
group) learning about the
myriad different types of
instrument I could write
for. The renaissance
instruments particularly
appealed due to their
fabulous timbre, despite
the fact that, due to
their open hole design,
diatonic music works much
better than anything
chromatic. I became
rather obsessed with the
idea of writing chromatic
music for diatonic
instruments, and so in
this piece I use
recorders at both modern
(A440) and baroque (A415,
a semi-tone lower) pitch.
This allowed me to write
a piece that uses all
twelve semitones of the
scale throughout, whilst
never writing a note for
any individual recorder
that falls outside its
particular diatonic major
scale: a compositional
device that pleased me
greatly!-Cheryl
Frances-Hoad, 2019.
Exploring the History of America's Own Music. By Kirby Shaw, John Jacobson. (Si...(+)
Exploring the History of
America's Own Music. By
Kirby Shaw, John
Jacobson. (Singer 5
Pak). Expressive Art
(Choral). Children's
Musical. 5 Singer's
Editions. Published by
Hal Leonard.
String quartet (2vn.va.vc) SKU: HL.49045305 Score and Parts. Compo...(+)
String quartet
(2vn.va.vc)
SKU:
HL.49045305
Score
and Parts. Composed
by Tobias Picker. This
edition: Folder. Sheet
music. Edition Schott.
Softcover. Composed 2008.
98 pages. Duration 13'.
Schott Music #ED31095.
Published by Schott Music
(HL.49045305).
ISBN
9781495082405. UPC:
888680656539.
9.0x12.0x0.256
inches.
Following
the premiere of my opera
An American Tragedy at
the Metropolitan Opera,
the President of the
Manhattan School of
Music, Robert Sirota,
called me and told me
that the American String
Quartet had asked him to
commission me as part of
the school's 90th
anniversary celebration.
I was very excited
because this meant that
the first new music I
would compose after my
largest piece ever would
be a string quartet for
my alma mater. I embraced
the chance to return to
chamber music with gusto
because I saw this not
only as an opportunity to
incorporate everything
I'd learned writing four
grand operas into an
intimate yet profound
genre but also as the
starting point of a new
direction in my
compositional thinking.
20 years separate my
first and second quartet
and it is not difficult
to hear the evolution
between the two. Tobias
Picker.
Low Voice and Piano SKU: HL.14011325 Composed by Henry Purcell. Music Sal...(+)
Low Voice and Piano
SKU: HL.14011325
Composed by Henry
Purcell. Music Sales
America. Exam Material.
Book [Softcover]. 60
pages. Music Sales
#NOV170266. Published by
Music Sales
(HL.14011325).
ISBN
9780853608189.
8.5x11.0x0.17
inches.
Edited for
Contralto or Tenor Voice
by Gerald Cooper.
Easy Instrumental Duets. By The Beatles. Arranged by Mark Phillips. Easy Instr...(+)
Easy Instrumental Duets.
By
The Beatles. Arranged by
Mark
Phillips. Easy
Instrumental
Duets. Duet, Classic
Rock,
Pop, Rock. Softcover. 48
pages. Published by Hal
Leonard
