Concert Band (Score) - Grade 5 SKU: HL.44012906 For Concert Band (Scor...(+)
Concert Band (Score) -
Grade 5
SKU:
HL.44012906
For
Concert Band (Score
Only). Composed by
Philip Sparke. Anglo
Music Concert Band.
Opening Pieces.
Softcover. Composed 2017.
32 pages. Anglo Music
Press #AMP447140.
Published by Anglo Music
Press (HL.44012906).
A Bluegrass
Overture was
commissioned by Gabriel
Wooley and funded by a
grant from Leslie and
Cathy Anderson for the
Central Kentucky Concert
Band to celebrate their
40th anniversary in 2016.
This energetic overture
opens with an
introduction loosely
based on 'bluegrass'
chords before a slower,
legato chorale appears in
the clarinets and flutes.
This is short-lived and
soon a new mood is
introduced, based on a
repeated-note
accompaniment. This leads
to the main theme,
heavily syncopated with
bluesy inflections. A
central section features
a cantabile melody, which
changes key frequently,
before the main theme
reappears, leading to a
triumphal presentation of
the earlierchorale
melody.
A
Bluegrass Overture is
geschreven voor de
Central Kentucky Concert
Band ter gelegenheid van
hun veertigjarig bestaan
in 2016. De opdracht komt
van Gabriel Wooley en is
gefinancierd door een
gift van Leslie en Cathy
Anderson. Deze energieke
ouverture opent met
bluegrass-akkoorden,
waarna in de klarinetten
en fluiten een langzamer,
legato koraal naar voren
komt. Het wordt al snel
gevolgd door een nieuw
sfeerbeeld, dat is
gebaseerd op een
begeleiding van herhaalde
noten. Hier komt het
hoofdthema uit voort, dat
zwaar gesyncopeerd is en
bluesachtige invloeden
laat horen. In het
middengedeelte klinkt een
zangerige melodie met
frequente modulaties,
waarna hethoofdthema weer
opduikt en ons meevoert
naar een glorierijke
presentatie van de eerder
gespeelde koraalmelodie.
A Bluegrass
Overture wurde von
Gabriel Wooley anlasslich
des 40-jahrigen Jubilaums
der Central Kentucky
Concert Band im Jahre
2016 in Auftrag gegeben
und von Leslie und Cathy
Anderson finanziell
unterstutzt. Diese
energiegeladene Ouverture
beginnt mit einer
Einleitung mit lockeren
Bluegrass-Akkorden, bevor
ein langsamer Choral im
Legato in den Klarinetten
und Floten erklingt. Das
ist jedoch nur von kurzer
Dauer, denn schon bald
wird durch eine
Begleitung mit
repetierten Noten eine
neue Stimmung erzeugt.
Dies fuhrt schliesslich
zum Hauptthema mit
deutlichen Synkopen und
Blues-Modulationen. Die
zentrale Passage zeichnet
sich durch eine kantable
Melodie aus, die
haufigdie Tonart
wechselt, bevor das
Hauptthema wiederkehrt
und zu einer triumphalen
Prasentation der
vorherigen Choralmelodie
hinleitet.
A
Bluegrass Overture
fut commande par Gabriel
Wooley et finance par une
bourse de Leslie et Cathy
Anderson pour la
celebration du 40e
anniversaire du Central
Kentucky Concert Band en
2016. Cette ouverture
energique debute par une
introduction basee
vaguement sur les accords
de bluegrass, puis un
court choral plus lent et
plus legato apparait chez
les clarinettes et
flutes. Bientot un
changement d'atmosphere
se produit, base sur un
accompagnement de motifs
de notes repetees. Ceci
nous mene au theme
principal, tres syncope,
aux inflexions de blues.
La section du milieu
comprend une melodie
lyrique qui change de
tonalite frequemment,
avant que le retour du
theme principal nousmene
a une presentation
triomphale de la melodie
de choral entendue plus
tot.
Questa
ouverture energica si
apre con una introduzione
dal movimento ampio
caratterizzata da accordi
in stile bluegrass prima
di un corale lento e
legato affi dato ai
clarinetti e ai flauti,
di breve durata, e presto
sostituito da una nuova
atmosfera, scandita da un
accompagnamento con note
ribattute. Questo conduce
a un tema principale,
molto sincopato, con
inflessioni blues. Una
sezione centrale dalla
melodia cantabile che
cambia spesso tonalita
anticipa la ricomparsa
del tema principale, che
conduce a sua volta a una
trionfale riproposizione
della melodia corale.
Composed by
John Ireland. Band Music.
Score and parts. Duration
10:00. Published by G & M
Brand Music Publishers
(CN.R10011).
Cast your self
into a storm at sea with
this fantastic piece from
John Ireland. Turbulent
rhythmic motives launch
the work to blend into a
more lyrical melody
contrasting the opening.
Don't be fooled though;
the first rhythmic motive
provides the underlay, a
reminder that the calm
surface of the sea is
only masking the swirling
water
underneath!
A
Maritime Overture was
written in 1944 and
published in 1946. This
edition was published in
1988. The score was
prepared from the
composer's full draft by
Norman Richardson, and
uses the same material as
Tritons - a Symphonic
Prelude for orchestra
dating from the early
1900s. The development of
the material however is
different in each piece.
The work is conceived in
F major - but it is 24
bars before Ireland
establishes this
tonality. Fortissimo
chords of B-flat major
open the work, and the
Overture hovers between G
minor and B-flat as a
restless rhythmic motif
is introduced. As soon as
F major is finally
established it is
contradicted as the music
fragments, but the key is
allowed a further 4 bars
to consolidate before
more lyrical interplay
leads to a second idea,
introduced by flutes and
oboes in C major. Marked
'espressivo e ben
cantando' this is a
complete contrast to the
opening, although the
first rhythmic motif
provides the underlay - a
reminder after the
opening storms that the
calm surface of the sea
is only masking the
swirling water
underneath. A Maritime
Overture has a freer
approach to form than say
the first movement of a
symphony might allow,
enabling Ireland to
introduce a totally new
central section marked
'poco meno mosso' in F
minor. A bold cornet (not
trumpet) heralds this new
idea, in a passage marked
'with freedom' and
perhaps for the only time
there is a true
tranquility in the
sextuplet accompaniment.
Thus the restlessness is
suspended, but not for
long, as the opening
storm returns and a
recapitulation allows the
F major theme and the
second theme - this time
in the sub-dominant
(B-flat) - to reassert
themselves.
Score and Parts Concert Band (Score & Parts) - Grade 5 SKU: HL.44012905 <...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 5
SKU:
HL.44012905
For
Concert Band.
Composed by Philip
Sparke. Anglo Music
Concert Band. Bluegrass,
Concert. Softcover.
Composed 2017. Anglo
Music Press #AMP447010.
Published by Anglo Music
Press (HL.44012905).
English-German-French-
Dutch.
A Bluegrass
Overture was commissioned
by Gabriel Wooley and
funded by a grant from
Leslie and Cathy Anderson
for the Central Kentucky
Concert Band to celebrate
their 40th anniversary in
2016. This energetic
overture opens with an
introduction loosely
based on bluegrass chords
before a slower, legato
chorale appears in the
clarinets and flutes.
This is short-lived and
soon a new mood is
introduced, based on a
repeated-note
accompaniment. This leads
to the main theme,
heavily syncopated with
bluesy inflections. A
central section features
a cantabile melody, which
changes key frequently,
before the main theme
reappears, leading to a
triumphal presentation of
the earlier chorale
melody.
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.
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Sleep, My Child Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465.
A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Concert band - Grade 4-5 SKU: P2.W0004 Composed by James Grant. Published...(+)
Concert band - Grade 4-5
SKU: P2.W0004
Composed by James Grant.
Published by Potenza
Music (P2.W0004).
Tribute: Those
Who Serve, scored for
Grade 4/5 band, is
dedicated to the bravery,
heroism and sacrifice of
First Responders. The
music is based on an
earlier work for
orchestra, called
Tribute, commissioned by
conductor Michael
Gagliardo and the Etowah
Youth Symphony Orchestra
to commemorate the events
of September 11, 2001. I
composed the original
Tribute in the spring of
2002 while in residence
at Copland House in
Cortlandt Manor, NY,
where Aaron Copland lived
and worked the last
thirty years of his life.
With gratitude to Copland
House and as my own
tribute to Mr. Copland,
the orchestral version of
Tribute opened and closed
with the composer's
initials A.C. featured in
the strings as major
chords on A and C.
Mercifully, the current
version for band has been
transposed up a half-step
to the key of B-flat. A
central section in D-flat
features robust quotes
from Copland's Fanfare
for the Common Man, a
work that is at the
spiritual core of
Tribute: Those Who
Serve.Tribute: Those Who
Serve invites us to pause
and reflect on the daily
acts of valor exhibited
by the many First
Responders in our local
communities--law
enforcement officials,
firefighters, search and
rescue teams, emergency
medical technicians and
citizen volunteers, to
name but a few. My hope
is that Tribute: Those
Who Serve will inspire
community and school
bands nationwide to hold
events to honor the brave
women and men who serve
with consummate
commitment and
determination in our
local communities,
selflessly standing tall
in times of local and
national crisis.
Band Concert Band - Grade 2 SKU: CF.YPS215 Composed by Sean O'Loughlin. Y...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215
Composed by Sean
O'Loughlin. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+12+20+4
pages. Duration 3:15.
Carl Fischer Music
#YPS215. Published by
Carl Fischer Music
(CF.YPS215).
ISBN
9781491152348. UPC:
680160909841. Key: Bb
major.
Beyond the
Crest is an exciting
piece that captures the
essence of Sean
O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2011. 22
pages. Anglo Music Press
#AMP317140. Published by
Anglo Music Press
(HL.44011005).
White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band in Tokyo, Japan. The
request was for a
moderately slow piece of
intermediate difficulty
that included the work
“white” (Ms.
Teramoto's lucky color)
in the title. The
composer used this
suggestion to write a
piece that was both
bright and light in terms
of harmony, color and
orchestration, with much
use of simple major and
minor chords and an
emphasis on the pure,
transparent timbres of
the upper woodwinds of
the band; he was also
keen to capture the
essence and history of
the oboe as a solo
instrument. The piece is
pastoral in character and
often almost baroque in
style. It opens with a
chorale-like passage on
flutes and clarinets; the
soloist enters with a
recitative over trilling
clarinets. The main theme
is then introduced,
accompanied by the
woodwinds. After a short
bridge passage, a change
of key heralds a second
theme by the soloist,
with gentle brass
punctuations. This builds
to a climax, ending on a
high trill from the
soloist. After short
passage over a timpani
roll, the band recalls
the main theme, taken up
once again by the
soloist. This leads to a
short cadenza before the
closing bars bring the
work peacefully to a
close.
White Light Orchestre d'harmonie - Facile Anglo Music
Grade 3 - Score and Parts. Composed by Philip Sparke (1951-). Anglo Music...(+)
Grade 3 - Score and
Parts. Composed by
Philip Sparke (1951-).
Anglo Music Concert Band.
Anglo Music Press
#AMP317010. Published by
Anglo Music Press
(HL.44011004).
Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216).
ISBN
9781491152423. UPC:
680160909926.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Legion Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.47277 Composed by Bruce W. Tippette. Con...(+)
Concert Band - Grade 2.5
SKU: AP.47277
Composed by Bruce W.
Tippette. Concert Band;
Performance Music
Ensemble; Single Titles.
Young Symphonic. Score
and Part(s). 252 pages.
Alfred Music #00-47277.
Published by Alfred Music
(AP.47277).
UPC:
038081545103.
English.
In the key
of D minor, this piece
features a dark and
militaristic-sounding
melody coupled with a
brighter countermelody.
Strong accents, rhythmic
syncopations, and bold
chords shape these
melodies into several
iterations, leading to a
rousing coda.
Legion Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.47277S Composed by Bruce W. Tippette. Co...(+)
Concert Band - Grade 2.5
SKU: AP.47277S
Composed by Bruce W.
Tippette. Concert Band;
Performance Music
Ensemble; Single Titles.
Young Symphonic. Score.
16 pages. Alfred Music
#00-47277S. Published by
Alfred Music (AP.47277S).
UPC: 038081545110.
English.
In the key
of D minor, this piece
features a dark and
militaristic-sounding
melody coupled with a
brighter countermelody.
Strong accents, rhythmic
syncopations, and bold
chords shape these
melodies into several
iterations, leading to a
rousing coda.
The Saga of Haakon the Good Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band - Grade 4 SKU: HL.44010429 Grade 4 - Score and Parts....(+)
Concert Band - Grade 4
SKU: HL.44010429
Grade 4 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2008.
Anglo Music Press
#AMP236-010. Published by
Anglo Music Press
(HL.44010429).
The piece
traces key events in the
life of Haakon the Good,
later to become King
Haakon I (ca. 921-960),
who had been fostered by
King Athelstan of England
as part of a peace
agreement made by his
father (The Future King).
The English king brought
him up in the Christian
religion and, on the news
of his father's death,
provided him with ships
and men for an expedition
against his half-brother
Eirik Bloodaxe, who had
been proclaimed king of
Norway. On his arrival he
travelled north (The
Journey to Trondheim),
where he began to gain
the support of the
landowners by promising
to give up the rights of
taxation his father had
previously claimed.
Elrik's sons allied
themselves with the
Danes, but were
invariably defeated by
Haakon, who was
successful in everything
he undertook except in
his attempt to introduce
Christianity to the
country (The Missionary
King), which aroused an
opposition he did not
feel strong enough to
face. One of his most
famous victories was The
Battle of Rastarkalv
(near Frei) in 955. By
placing ten standards far
apart along a low ridge
(to give the impression
his army was bigger than
it actually was), he
managed to fool Eirik's
sons that they were
outnumbered (the ten
standards are represented
by ten loud chords that
begin in m. 420). The
Danes fled and were
slaughtered by Haakon's
army.
Grade 4 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2008. 64
pages. Anglo Music Press
#AMP236-140. Published by
Anglo Music Press
(HL.44010430).
The piece
traces key events in the
life of Haakon the Good,
later to become King
Haakon I (ca. 921-960),
who had been fostered by
King Athelstan of England
as part of a peace
agreement made by his
father (“The Future
King”). The English
king brought him up in
the Christian religion
and, on the news of his
father's death, provided
him with ships and men
for an expedition against
his half-brother Eirik
Bloodaxe, who had been
proclaimed king of
Norway. On his arrival he
travelled north
(“The Journey to
Trondheim”), where
he began to gain the
support of the landowners
by promising to give up
the rights of taxation
his father had previously
claimed. Elrik's sons
allied themselves with
the Danes, but were
invariably defeated by
Haakon, who was
successful in everything
he undertook except in
his attempt to introduce
Christianity to the
country (“The
Missionary King”),
which aroused an
opposition he did not
feel strong enough to
face. One of his most
famous victories was
“The Battle of
Rastarkalv” (near
Frei) in 955. By placing
ten standards far apart
along a low ridge (to
give the impression his
army was bigger than it
actually was), he managed
to fool Eirik's sons that
they were outnumbered
(the ten standards are
represented by ten loud
chords that begin in m.
420). The Danes fled and
were slaughtered by
Haakon's army.
Concert Band Snare Drum; Mallet Percussion; Orchestral Percussion SKU: FJ.BB2...(+)
Concert Band Snare Drum;
Mallet Percussion;
Orchestral Percussion
SKU: FJ.BB211PER
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211PER.
Published by The FJH
Music Company Inc
(FJ.BB211PER).
ISBN
9781619281905. UPC:
241444377680.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Saxophone SKU: FJ.BB211ASX Composed by Chip DeStefano and Ti...(+)
Concert Band Saxophone
SKU: FJ.BB211ASX
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211ASX.
Published by The FJH
Music Company Inc
(FJ.BB211ASX).
ISBN
9781619281820. UPC:
241444376836.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Bassoon SKU: FJ.BB211BSN Composed by Chip DeStefano and Timo...(+)
Concert Band Bassoon
SKU: FJ.BB211BSN
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211BSN.
Published by The FJH
Music Company Inc
(FJ.BB211BSN).
ISBN
9781619281806. UPC:
241444376690.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Horn SKU: FJ.BB211FHN Composed by Chip DeStefano and Timothy...(+)
Concert Band Horn
SKU:
FJ.BB211FHN
Composed
by Chip DeStefano and
Timothy Loest. Band
Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211FHN.
Published by The FJH
Music Company Inc
(FJ.BB211FHN).
ISBN
9781619281851. UPC:
241444377130.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Tuba SKU: FJ.BB211TU Composed by Chip DeStefano and Timothy ...(+)
Concert Band Tuba
SKU:
FJ.BB211TU
Composed
by Chip DeStefano and
Timothy Loest. Band
Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211TU.
Published by The FJH
Music Company Inc
(FJ.BB211TU).
ISBN
9781619281899. UPC:
241444377512.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Conductor SKU: FJ.BB211CS Composed by Chip DeStefano and Tim...(+)
Concert Band Conductor
SKU: FJ.BB211CS
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211CS.
Published by The FJH
Music Company Inc
(FJ.BB211CS).
ISBN
9781619281912. UPC:
241444377758.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Trumpet SKU: FJ.BB211TPT Composed by Chip DeStefano and Timo...(+)
Concert Band Trumpet
SKU: FJ.BB211TPT
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211TPT.
Published by The FJH
Music Company Inc
(FJ.BB211TPT).
ISBN
9781619281844. UPC:
241444.37706.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Clarinet SKU: FJ.BB211CL Composed by Chip DeStefano and Timo...(+)
Concert Band Clarinet
SKU: FJ.BB211CL
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211CL.
Published by The FJH
Music Company Inc
(FJ.BB211CL).
ISBN
9781619281813. UPC:
241444376768.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Trombone SKU: FJ.BB211TBN Composed by Chip DeStefano and Tim...(+)
Concert Band Trombone
SKU: FJ.BB211TBN
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211TBN.
Published by The FJH
Music Company Inc
(FJ.BB211TBN).
ISBN
9781619281868. UPC:
241444377208.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Oboe SKU: FJ.BB211OB Composed by Chip DeStefano and Timothy ...(+)
Concert Band Oboe
SKU:
FJ.BB211OB
Composed
by Chip DeStefano and
Timothy Loest. Band
Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211OB.
Published by The FJH
Music Company Inc
(FJ.BB211OB).
ISBN
9781619281790. UPC:
241444376522.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Baritone SKU: FJ.BB211BTC Composed by Chip DeStefano and Tim...(+)
Concert Band Baritone
SKU: FJ.BB211BTC
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211BTC.
Published by The FJH
Music Company Inc
(FJ.BB211BTC).
ISBN
9781619281882. UPC:
241444377444.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Flute SKU: FJ.BB211FL Composed by Chip DeStefano and Timothy...(+)
Concert Band Flute
SKU: FJ.BB211FL
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211FL.
Published by The FJH
Music Company Inc
(FJ.BB211FL).
ISBN
9781619281783. UPC:
241444376454.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!
Concert Band Saxophone SKU: FJ.BB211TSX Composed by Chip DeStefano and Ti...(+)
Concert Band Saxophone
SKU: FJ.BB211TSX
Composed by Chip
DeStefano and Timothy
Loest. Band Supplement;
Method/Instruction.
Chorales and Beyond.
Book. The FJH Music
Company Inc #98-BB211TSX.
Published by The FJH
Music Company Inc
(FJ.BB211TSX).
ISBN
9781619281837. UPC:
241444376904.
English.
This
incredible resource is an
ideal way to expand or
vary the daily routine of
your ensemble while
developing essential
fundamental concepts of
sound and intonation.
Daily routines cover
breathing, long tones,
pitch matching,
intervals, scales,
arpeggios, chords and
chorales. All chorales
are written in four-part
harmony with all parts
appearing in each
instrument book for
ultimate flexibility with
instrumentation. Centered
around 10 common major
and minor keys, each
includes a daily routine
and three cycles that can
be used to provide
constant variety and
freshness. Personal
warm-ups and musical
terms are also included
along with vibrant and
engaging percussion
writing from longtime
master educator and
percussionist Kevin
Lepper!