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.
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1552S Score Only. C...(+)
Concert Band Concert Band
- Grade 0.5
SKU:
FJ.B1552S
Score
Only. Composed by
Robert Sheldon. Concert
Band. FJH Concert Band.
Light Concert; Novelty.
Score. Duration 1:30. The
FJH Music Company Inc
#98-B1552S. Published by
The FJH Music Company Inc
(FJ.B1552S).
English.
Using
no eighth notes in the
winds, this relaxed work
reflects a light-hearted
stroll through the big
city. An air of calm,
cool confidence sets the
mood as people dress to
impress and hit the
streets. Brief musical
conversations are
interjected as they meet
others on their walk
around town in this
easy-to-play, yet tuneful
offering.
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
Divertimento Orchestre d'harmonie - Intermédiaire Latham Music Enterprises
Concert Band Clarinet or Violin, Viola, Cello and Piano - Grade 3.5 SKU: AP.3...(+)
Concert Band Clarinet or
Violin, Viola, Cello and
Piano - Grade 3.5
SKU:
AP.36-52784001
For
Violin or Clarinet,
Viola, Cello and
Piano. Composed by
Anna Amalia. Arranged by
Lynne Latham. This
edition: Latham Music.
String Ensemble - Mixed.
LudwigMasters - Latham
Music. Score and Part(s).
Latham Music Enterprises
#36-52784001. Published
by Latham Music
Enterprises
(AP.36-52784001).
English.
Anna
Amalia of Prussia held
various titles during her
lifetime, including
Princess and Abbess of
Quedlinburg. Born in
Berlin, she was one of
ten surviving children of
the royal family of King
Frederick William I of
Prussia. Princess Anna
Amalia studied
harpsichord, piano and
counterpoint. Princess
Anna also founded a music
library collection, which
included autographed
scores of J.S. Bach and
other composers. This
collection still exists
today (Amalien
Bibliothek). This
two-movement Divertimento
in Bb Major has something
for everyone. The melodic
and secondary parts are
passed equally between
the instruments. The
piano part is quite
playable for a high
school student. It has
the character of a
conversation between
friends gathering for a
friendly afternoon tea.
This arrangement is
scored for piano quartet,
with a substitue clarinet
part in place of
violin.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra SKU: AP.12-0571572162 Composed by Carl Vine. Full Orchestra (Fu...(+)
Orchestra
SKU:
AP.12-0571572162
Composed by Carl Vine.
Full Orchestra (Full
Score); Masterworks;
Performance Music
Ensemble; Single Titles.
Faber Edition. Form:
Concerto. 20th Century;
Masterwork. Score. Faber
Music #12-0571572162.
Published by Faber Music
(AP.12-0571572162).
ISBN 9780571572168.
English.
Carl
Vine's Piano Concerto No.
1 (1997) is one of three
large-scale works
composed with pianist
Michael Kieran Harvey in
mind---the others being
his first two piano
sonatas. Vine describes
it as a conscious and
continuous tribute to the
piano concerto as a
medium and historical
entity, a fact most
apparent in the slow
movement, with its long
melodic lines evoking
both Ravel and Bach. This
25-minute concerto is
cast in the familiar
three-movement form, with
fast outer movements
framing a central slow
movement. The outer
movements share some
material (particularly in
some lively
conversational
interchanges between
piano and trumpet), and
also some typically
pianistic glitter across
the orchestra, with harp
and glockenspiel ensuring
that the piano is less of
an outsider than might
have otherwise been the
case.
SKU: BR.BV-478 Texte zur Musik 1996 bis 2020. Composed by Helmut L...(+)
SKU: BR.BV-478
Texte zur Musik 1996
bis 2020. Composed by
Helmut Lachenmann. Edited
by Ulrich Mosch.
Hardback. Buchverlag
Breitkopf & Hartel (Music
Books). Music post-1945;
New music (post-2000).
Book. 652 pages.
Breitkopf and Haertel #BV
478. Published by
Breitkopf and Haertel
(BR.BV-478).
ISBN
9783765104787. 6.5 x 9.5
inches.
German.
Shortly
after his book Musik als
existentielle Erfahrung
(1996) was published,
Lachenmann's Madchen mit
den Schwefelholzern was
premiered in Hamburg. The
definitive texts for this
key work of new music
theater have a chapter of
their own in the new
volume Kunst als vom
Geist beherrschte Magie.
Essential are, in
addition, the
many-faceted
conversations and panel
discussions where over
the years Lachenmann has
further developed and
intensively represented
his aesthetics in his
dialogue with
dramaturges, journalists,
philosophers, and music
researchers. The composer
has revised all the
book's texts, and in some
cases even heavily
revamped them. Many texts
are also being published
for the first time, while
others previously
appearing in program
notes are now finally
readily accessible.Please
note, the book is in
German.
Ping Pong Ensemble Jazz [Conducteur et Parties séparées] - Facile Kendor Music Inc.
Jazz Ensemble standard jazz ensemble (Kendor Konvertible for 9-17 players) with ...(+)
Jazz Ensemble standard
jazz ensemble (Kendor
Konvertible for 9-17
players) with opt. flute,
clarinet, F horn, tuba
and vibes - Grade 2
SKU: KN.60623
Composed by Lennie
Niehaus. Kendor
Konvertible. Jazz
Gateway. Moderate Swing.
Score and set of parts.
Duration ca. 4 minutes, 5
seconds. Kendor Music Inc
#60623. Published by
Kendor Music Inc
(KN.60623).
UPC:
822795606232.
Are
you looking for a solid,
sophisticated chart that
is accessible to aspiring
jazz musicians? Well,
your search is over. Film
writer Lennie Lenny
Niehaus knows how to make
developing players sound
their best. The title of
this cleverly conceived
original refers to the
conversational interplay
between the sax and brass
sections, and it includes
a chorus where everyone
plays a soli in unison, a
writing device used
effectively by Bill
Holman, Rob McConnell,
and others. Each set
includes a guitar chord
chart by Jim Greeson.
Duration ca. 4:05.
Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with ...(+)
Jazz Ensemble standard
Jazz ensemble (Kendor
Konvertible for 9-17
players) with opt. flute,
clarinet, F horn, tuba
and vibes - Grade 2
SKU: KN.60623S
Composed by Lennie
Niehaus. Jazz Gateway.
Kendor Music Inc #60623S.
Published by Kendor Music
Inc (KN.60623S).
UPC:
822795606232.
Are
you looking for a solid,
sophisticated chart that
is accessible to aspiring
jazz musicians? Well,
your search is over. Film
writer Lennie Lenny
Niehaus knows how to make
developing players sound
their best. The title of
this cleverly conceived
original refers to the
conversational interplay
between the sax and brass
sections, and it includes
a chorus where everyone
plays a soli in unison, a
writing device used
effectively by Bill
Holman, Rob McConnell,
and others. Each set
includes a guitar chord
chart by Jim Greeson.
Duration ca. 4:05.
For
Soprano, Mezzo Soprano,
Tenor, Baritone, Chorus
and Orchestra.
Composed by Steven
Stucky. This edition:
Vocal score. Libretto by
Gene Scheer. Laquita
Mitchell/Soprano, Kelley
O?Connor/Mezzo-soprano,
Vale Rideout/Tenor,
Robert Orth/Baritone,
Dallas Symphony Chorus
(David Davidson,
Director); Dallas
Symphony Orchestra,
conducted by Jap van
Zweden. Contemporary.
Vocal Score. With
Standard notation.
Composed 2008. 132 pages.
Duration 1 hour, 10
minutes. Theodore Presser
Company #441-41024.
Published by Theodore
Presser Company
(PR.441410240).
UPC:
680160589128. Libretto by
Gene Scheer.
August
4, 1964 was commissioned
by the Dallas Symphony
for the 2008 celebration
of President Lyndon B.
Johnson’s
centennial year. The
75-minute oratorio
focuses on two events
that came to a head on
August 4, 1964, events
that defined LBJ’s
presidency: the discovery
of the bodies of three
slain civil rights
workers in Mississippi,
and the bombing of North
Vietnam, which
accelerated U.S.
involvement in the
Vietnam war. Gene
Scheer’s
thoroughly-researched
libretto includes actual
transcripts of White
House phone conversations
and government documents,
as well as letters from
the mothers of the slain
civil rights workers.
Orchestra SKU: PR.44641242L Composed by Steven Stucky. With Standard nota...(+)
Orchestra
SKU:
PR.44641242L
Composed
by Steven Stucky. With
Standard notation.
Duration 1 hour, 10
minutes. Theodore Presser
Company #446-41242L.
Published by Theodore
Presser Company
(PR.44641242L).
UPC:
680160617531.
Augus
t 4, 1964 was
commissioned by the
Dallas Symphony for the
2008 celebration of
President Lyndon B.
Johnson’s
centennial year. The
75-minute oratorio
focuses on two events
that came to a head on
August 4, 1964, events
that defined LBJ’s
presidency: the discovery
of the bodies of three
slain civil rights
workers in Mississippi,
and the bombing of North
Vietnam, which
accelerated U.S.
involvement in the
Vietnam war. Gene
Scheer’s
thoroughly-researched
libretto includes actual
transcripts of White
House phone conversations
and government documents,
as well as letters from
the mothers of the slain
civil rights workers.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Violin, Violoncello and Piano SKU: AP.36-60783002 Composed by Camille Sai...(+)
Violin, Violoncello and
Piano
SKU:
AP.36-60783002
Composed by Camille
Saint-Saens. String Duo
and Ensemble, Piano Trio,
Conductor Score and
Parts. Master String
Series. Score and
Part(s). LudwigMasters
Publications
#36-60783002. Published
by LudwigMasters
Publications
(AP.36-60783002).
ISBN
9798888528655. UPC:
659359997112.
English.
The piano
trio version of LA MUSE
ET LE POÈTE, Op. 132 was
written by Camille
Saint-Saëns (1835-1921)
in 1910 during a vacation
to North Africa, and that
version premiered at
Queen's Hall on June 7,
1910, with Eugene Ysaÿe
on violin, Jospeh
Hollmann on cello, and
the composer at the
piano. Saint-Saëns
transcribed the version
for violin, cello and
orchestra that same year,
and the same two string
players premiered that
version on October 20 at
the Sarah Bernhardt
Theater in Paris under
Fernand Le Borne. Despite
the title (which was
later added by the
publisher to make it more
marketable), no program
is intended for the work
and neither instrument
represents either the
muse or the poet.
Saint-Saëns himself
referred to the piece as
a conversation between
the two instruments
instead of a debate
between two
virtuosos.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.