Band concert band - Grade 1 SKU: CF.BPS135F March. Composed by Jos...(+)
Band concert band - Grade
1
SKU: CF.BPS135F
March. Composed by
Joseph Compello. Sws.
Bps. Full score. 12
pages. Carl Fischer Music
#BPS135F. Published by
Carl Fischer Music
(CF.BPS135F).
ISBN
9781491158067. UPC:
680160916665. 9 x 12
inches.
Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics. Thank you for
choosing this
composition. Joseph
Compello. Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting  of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics.Thank you for
choosing this
composition.Joseph
Compello.
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Arranged
by Larry Clark. For
cello. Part book
(softcover). Published by
Carl Fischer
Arkansas Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band (Score & Parts) - Grade 4 SKU: HL.44011053 Suite based on...(+)
Concert Band (Score &
Parts) - Grade 4
SKU:
HL.44011053
Suite
based on a folk song from
Arkansas. Composed by
Jacob De Haan. De Haske
Concert Band. Concert
Piece. Set (Score &
Parts). Composed 2011. De
Haske Publications
#1114824010. Published by
De Haske Publications
(HL.44011053).
The American
state of Arkansas is
often called 'the natural
state' and 'the land of
opportunity.' This piece
belongs to Jacob de
Haan's series of musical
montages depicting
various states in the
USA, including Dakota,
Oregon and Virginia.
Arkansas is a suite in
three movements based on
a well-known native
American folk song. It
appears as a ballade,
variations and finally
accompanies a jazzy
rhythm. The folk song
helps provide continuity
throughout the three
movements. A perfect
addition to any
concert.
Arkansas
kent meerdere bijnamen.
Zo verwijst 'The Natural
State', maar ook 'The
Land of Opportunity' naar
deze staat. Na Dakota,
Oregon en Virginia voegt
Jacob de Haan met het
concertwerk Arkansas
wederom een titel toe aan
zijn serieover
Amerikaanse staten. Het
is een suite uit drie
delen, gebaseerd op een
bekend volkslied uit deze
contreien. Iedere keer
weer verschijnt het
herkenbare lied als een
rode draad. Helemaal,
fragmentarisch, als
ballad maar ookin
variaties en jazzritmes.
Arkansas: drie delen vol
afwisseling en
speelplezier!
Der
amerikanische Bundesstaat
Arkansas tragt den
Spitznamen The Natural
State oder The Land of
Opportunity. Dieses
Konzertwerk fügt
sich in die Reihe der von
Jacob de Haan vertonten
amerikanischen Staaten
und Landschaften,
darunter Dakota, Oregon
und Virginia. Es ist eine
Suite in drei Satzen auf
der Grundlage von einem
bekannten Volkslied aus
Arkansas, die sich - mal
vollstandig, mal
fragmentarisch, als
Ballade, in Variationen
oder auch in jazzigen
Rhythmen als roter Faden
durch die drei Satze
dieser
abwechslungsreichen
Komposition
zieht.
Arkansas,
oeuvre de concert en
trois mouvements, signee
Jacob de Haan, s'inscrit
dans la lignee des autres
oeuvres du compositeur
consacrees a la
description d'etats
americains (Dakota,
Oregon et Virginia). La
trame de cette suite
s'articule autour d'une
celebre melodie
traditionnelle qui sera
reprise sous la forme
d'une ballade, d'un canon
et d'une variation jazzy.
Lo stato
americano dell'Arkansas e
anche chiamato The
Natural State o anche The
Land of Opportunity. Un
nuovo brano firmato Jacob
de Haan, nello spirito di
grandi brani da concerto
come Dakota, Oregon e
Virginia. Arkansas e una
suite in tre movimenti
che prende spunto da una
nota canzone folk di
questo stato del sud
degli Stati Uniti. Una
canzone che viene
proposta nel corso
dell'intero brano sotto
forme diverse, in
variazioni o anche con
accenti di musica jazz e
che agisce da filo
conduttore per tutto il
brano.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
For Trombone. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Cle...(+)
For Trombone. Composed by
O. Blume, Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907). SWS.
Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF109. Published
by Carl Fischer Music
For Trumpet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi...(+)
For Trumpet in Bb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF107. Published
by Carl Fischer Music
Character Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS21 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS21
Composed by Larry Clark.
Edited by Amy Rosen. SWS
- FS. Carl Fischer First
Plus String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Carl Fischer Music
#FAS21. Published by Carl
Fischer Music (CF.FAS21).
ISBN 9780825853067.
UPC: 798408053062. 8.5 X
11 inches. Key: B
minor.
Characte
r was composed to
introduce young string
players to contemporary
harmonic techniques while
still being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece.As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your
program.-Larry ClarkNew
York, NY 2003.
For Horn in F. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Cl...(+)
For Horn in F. Composed
by O. Blume, Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF108. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Trombone
/ Euphonium B.C. /
Bassoon. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Clarinet
/ Trumpet / Euphonium
T.C. / Tenor Saxophone in
Bb. Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Flute /
Oboe. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
For Clarinet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clement...(+)
For Clarinet in Bb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF105. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Instruments). By Larry Clark....(+)
(32 Trios That Can Be
Played by Any Combination
of Instruments). By Larry
Clark. Edited by Doris
Gazda. Arranged by Larry
Clark. For bass. Bass
part. 48 pages. Published
by Carl Fischer
For Alto Saxophine in Eb. Composed by Johann Sebastian Bach (1685-1750), Muzio C...(+)
For Alto Saxophine in Eb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907). SWS.
Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF106. Published
by Carl Fischer Music
For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1...(+)
For Flute. Composed by
Johann Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF104. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Tuba.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Alto /
Baritone Saxophone.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
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.