| Refining The March Style Orchestre d'harmonie - Facile 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. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rondo Barocco Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-0981286-010 Composed by Otto ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-0981286-010
Composed by Otto M.
Schwarz. Applause Series.
Original Light Music. Set
(Score & Parts). Composed
1998. De Haske
Publications #DHP
0981286-010. Published by
De Haske Publications
(BT.DHP-0981286-010).
The Baroque is
a period of frills and
ornaments, wether in
architecture, painting or
music. An easy melody
passes through a variety
of arrangements. From
brass quintet and
different tutti parts,
all the sections are in
action. Fortified by a
drum set and an
(optional) electric bass,
the piece is given a
modern touch and becomes
more acceptable to the
audience. A follow-up to
Rondo Romantica, this
piece was composed in
December 1997.
De
barok: een tijdperk van
speelsheid in de
architectuur, de
schilderkunst en de
muziek. In dit werk wordt
een eenvoudig in het
gehoor liggende melodie
door veel verschillende
arrangementen geleid. Van
het koperkwintet tot
enkele tuttidelen zijn
alle secties in actie.
Versterkt door de drumset
en de basgitaar krijgt
het stuk een moderne
touch. Hierdoor wordt het
extra aantrekkelijk voor
het publiek!
In
diesem fröhlichen Werk
des österreichischen
Komponisten Otto M.
Schwarz kommt wirklich
jede Instrumentengruppe
Ihres Blasorchesters zum
Zuge. Ein spielerisches
Barock-Thema wird durch
einen flotten
Schlagzeug-Rhythmus
unterlegt und wird somit
zu einer swingenden
Nummer für Ihr
nächstes Konzert!
Le baroque : un
style et une époque
marqués par la
légèreté qui a
investi tous les domaines
artistiques
(architecture, peinture,
musique, etc.). Dans ce
morceau, la mélodie
simple est jouée
plusieurs fois dans des
arrangements
différents. Tous les
pupitres sont
sollicités afin que
l’on entende aussi
bien des tutti que des
interventions du
quintette de cuivres. La
batterie et la guitare
basse donnent au morceau
une touche moderne
très attrayante.
Rondo Barocco, qui
s’inscrit dans la
lignée de Rondo
Romantica, est une
oeuvre adaptée aux
orchestres juniors et aux
formations plus
expérimentées. <
br>Il barocco: uno stile
e un’epoca
contraddistinti dalla
leggerezza che ha infl
uenzato tutti i campi
artistici (architettura,
pittura, musica, ecc.).
In questo brano, la
semplice melodia è
eseguita a più riprese
in diversi arrangiamenti.
Tutte le sezioni della
banda sono sollecitate
per far sì che si
possano ascoltare vari
passaggi in tutti, ma
anche degli interventi
del quintetto di ottoni.
La batteria e la chitarra
apportano un tocco
moderno ed accattivante.
Rondo Barocco è
un brano a sicuro effetto
che delizier il
pubblico. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rondo Barocco Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-0981286-140 Composed by Otto ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-0981286-140
Composed by Otto M.
Schwarz. Applause Series.
Original Light Music.
Score Only. Composed
1998. De Haske
Publications #DHP
0981286-140. Published by
De Haske Publications
(BT.DHP-0981286-140).
The Baroque is
a period of frills and
ornaments, wether in
architecture, painting or
music. An easy melody
passes through a variety
of arrangements. From
brass quintet and
different tutti parts,
all the sections are in
action. Fortified by a
drum set and an
(optional) electric bass,
the piece is given a
modern touch and becomes
more acceptable to the
audience. A follow-up to
Rondo Romantica, this
piece was composed in
December 1997.
De
barok: een tijdperk van
speelsheid in de
architectuur, de
schilderkunst en de
muziek. In dit werk wordt
een eenvoudig in het
gehoor liggende melodie
door veel verschillende
arrangementen geleid. Van
het koperkwintet tot
enkele tuttidelen zijn
alle secties in actie.
Versterkt door de drumset
en de basgitaar krijgt
het stuk een moderne
touch. Hierdoor wordt het
extra aantrekkelijk voor
het publiek!
In
diesem fröhlichen Werk
des österreichischen
Komponisten Otto M.
Schwarz kommt wirklich
jede Instrumentengruppe
Ihres Blasorchesters zum
Zuge. Ein spielerisches
Barock-Thema wird durch
einen flotten
Schlagzeug-Rhythmus
unterlegt und wird somit
zu einer swingenden
Nummer für Ihr
nächstes Konzert!
Le baroque : un
style et une époque
marqués par la
légèreté qui a
investi tous les domaines
artistiques
(architecture, peinture,
musique, etc.). Dans ce
morceau, la mélodie
simple est jouée
plusieurs fois dans des
arrangements
différents. Tous les
pupitres sont
sollicités afin que
l’on entende aussi
bien des tutti que des
interventions du
quintette de cuivres. La
batterie et la guitare
basse donnent au morceau
une touche moderne
très attrayante.
Rondo Barocco, qui
s’inscrit dans la
lignée de Rondo
Romantica, est une
oeuvre adaptée aux
orchestres juniors et aux
formations plus
expérimentées. <
br>Il barocco: uno stile
e un’epoca
contraddistinti dalla
leggerezza che ha infl
uenzato tutti i campi
artistici (architettura,
pittura, musica, ecc.).
In questo brano, la
semplice melodia è
eseguita a più riprese
in diversi arrangiamenti.
Tutte le sezioni della
banda sono sollecitate
per far sì che si
possano ascoltare vari
passaggi in tutti, ma
anche degli interventi
del quintetto di ottoni.
La batteria e la chitarra
apportano un tocco
moderno ed accattivante.
Rondo Barocco è
un brano a sicuro effetto
che delizier il
pubblico. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, alto Saxophone and
more. - Grade 2 SKU:
CF.YPS208 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. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Proud (Grutsk) Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1196103-010 For Concert ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1196103-010
For Concert Band,
Bagpipes and Drums.
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Set (Score and
Parts). Composed 2019. De
Haske Publications #DHP
1196103-010. Published by
De Haske Publications
(BT.DHP-1196103-010).
English-German-French-
Dutch. This
impressive work was
composed for the
Dutch-Friesian city of
Leeuwarden, which was
considered the
â??cultural capitalâ??
of Europe, 2018; the
composer spent his
college years in this
city. This festive work
for bagpipes, drums and
concert band is based on
the melody of the anthem
of the province of
Friesland. Proud
was written for the music
event, Grutsk, which is
the Friesian word for
proud hence the title.
Various bands have
performed on five
different stages across
the town centre. The
finale was performed in a
concert held at
Wilhelminaplein
(Wilhelmina Square),
which opened with this
work. This world premiere
was conducted by the
composer himself. The
bagpipes areoptional, but
advisable. As a whole,
they give the composition
a very special sound.
Dit
indrukwekkende werk is
gecomponeerd in het kader
van Leeuwarden als
Culturele Hoofdstad van
Europa in 2018. In deze
stad heeft de componist
ooit zijn studententijd
doorgebracht. Het
feestelijke werk voor
doedelzakken, drummers en
blaasorkesten is
gebaseerd op de melodie
van het volkslied van de
provincie Friesland.
Proud werd
geschreven voor het
muziekevenement Grutsk.
Dit is het Friese woord
voor trots vandaar de
titel. Op vijf
verschillende podia in de
binnenstad traden diverse
bands op. Afsluiting
vormde het concert op het
Wilhelminaplein, dat met
dit werk werd geopend.
Deze wereldpremière
werd gedirigeerd door de
componist zelf. De
doedelzakstemmen zijn
optioneel,maar wel
wenselijk. Ze geven de
gehele compositie een
bijzondere klankkleur.
Dieses
eindrucksvolle Werk wurde
für die
holländisch-friesische
Stadt Leeuwarden
geschrieben, die
Europäische
Kulturhauptstadt 2018
ist. In dieser Stadt
verbrachte der Komponist
seine Studienjahre. Sein
festliches Werk für
Dudelsack, Trommler und
Blasorchester basiert auf
der Hymne der Provinz
Friesland. Proud
wurde speziell für die
Veranstaltung Grutskâ??
geschrieben, was auf
Friesisch so viel
Stolzâ?? bedeutet und
somit den Titel des
Stückes erklärt.
Auf fünf verschiedenen
Bühnen im Stadtzentrum
führten es mehrere
Blasorchestern auf. Das
Finale bildete ein
Konzert auf dem
Wilhelmina-Platz, das mit
Proud eröffnet
wurde. Diese
Welturaufführung wurde
vomKomponisten selbst
dirigiert. Der Dudelsack
ist optional, jedoch
empfehlenswert, da er der
Komposition ihren ganz
besonderen Klang
verleiht.
Cette
Å?uvre saisissante a
été composé pour
la ville de Leeuwarden
(Pays-Bas) en tant que
capitale européenne de
la culture en 2018.
Câ??est dans cette ville
que le compositeur a
passé ses années
universitaire. Cette
Å?uvre festive pour
cornemuses, tambours et
fanfare est basée sur
la mélodie de
lâ??hymne de la province
de la Frise. Proud
a été écrit pour
l'événement musical
Grutsk, qui est le mot
frison pour Proud (fier)
- d'où le titre. Sur
cinq scènes
différentes travers le
centre-ville, divers
groupes ont joué. Le
final était un concert
sur le Wilhelminaplein
(Square Wilhelmina), dont
ce titre était
lâ??ouverture. Cette
première mondiale a
été assurée par
le
compositeurlui-même.
Les cornemuses sont
facultatives, mais
recommandées. Ils
donnent la composition
dans son ensemble un son
très particulier. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Proud (Grutsk) Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1196103-140 For Concert ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1196103-140
For Concert Band,
Bagpipes and Drums.
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA.
Contemporary Music. Score
Only. Composed 2019. 14
pages. De Haske
Publications #DHP
1196103-140. Published by
De Haske Publications
(BT.DHP-1196103-140).
English-German-French-
Dutch. This
impressive work was
composed for the
Dutch-Friesian city of
Leeuwarden, which was
considered the
‘cultural
capital’ of
Europe, 2018; the
composer spent his
college years in this
city. This festive work
for bagpipes, drums and
concert band is based on
the melody of the anthem
of the province of
Friesland. Proud
was written for the music
event, Grutsk, which is
the Friesian word for
proud hence the title.
Various bands have
performed on five
different stages across
the town centre. The
finale was performed in a
concert held at
Wilhelminaplein
(Wilhelmina Square),
which opened with this
work. This world premiere
was conducted by the
composer himself. The
bagpipes areoptional, but
advisable. As a whole,
they give the composition
a very special sound.
Dit
indrukwekkende werk is
gecomponeerd in het kader
van Leeuwarden als
Culturele Hoofdstad van
Europa in 2018. In deze
stad heeft de componist
ooit zijn studententijd
doorgebracht. Het
feestelijke werk voor
doedelzakken, drummers en
blaasorkesten is
gebaseerd op de melodie
van het volkslied van de
provincie Friesland.
Proud werd
geschreven voor het
muziekevenement Grutsk.
Dit is het Friese woord
voor trots vandaar de
titel. Op vijf
verschillende podia in de
binnenstad traden diverse
bands op. Afsluiting
vormde het concert op het
Wilhelminaplein, dat met
dit werk werd geopend.
Deze wereldpremière
werd gedirigeerd door de
componist zelf. De
doedelzakstemmen zijn
optioneel,maar wel
wenselijk. Ze geven de
gehele compositie een
bijzondere klankkleur.
Dieses
eindrucksvolle Werk wurde
für die
holländisch-friesische
Stadt Leeuwarden
geschrieben, die
Europäische
Kulturhauptstadt 2018
ist. In dieser Stadt
verbrachte der Komponist
seine Studienjahre. Sein
festliches Werk für
Dudelsack, Trommler und
Blasorchester basiert auf
der Hymne der Provinz
Friesland. Proud
wurde speziell für die
Veranstaltung
Grutsk“
geschrieben, was auf
Friesisch so viel
Stolz“ bedeutet und
somit den Titel des
Stückes erklärt.
Auf fünf verschiedenen
Bühnen im Stadtzentrum
führten es mehrere
Blasorchestern auf. Das
Finale bildete ein
Konzert auf dem
Wilhelmina-Platz, das mit
Proud eröffnet
wurde. Diese
Welturaufführung wurde
vomKomponisten selbst
dirigiert. Der Dudelsack
ist optional, jedoch
empfehlenswert, da er der
Komposition ihren ganz
besonderen Klang
verleiht.
Cette
Å“uvre saisissante a
été composé pour
la ville de Leeuwarden
(Pays-Bas) en tant que
capitale européenne de
la culture en 2018.
C’est dans cette
ville que le compositeur
a passé ses années
universitaire. Cette
Å“uvre festive pour
cornemuses, tambours et
fanfare est basée sur
la mélodie de
l’hymne de la
province de la Frise.
Proud a été
écrit pour
l'événement musical
Grutsk, qui est le mot
frison pour Proud (fier)
- d'où le titre. Sur
cinq scènes
différentes travers le
centre-ville, divers
groupes ont joué. Le
final était un concert
sur le Wilhelminaplein
(Square Wilhelmina), dont
ce titre était
l’ouverture. Cette
première mondiale a
été assurée par
le
compositeurlui-même.
Les cornemuses sont
facultatives, mais
recommandées. Ils
donnent la composition
dans son ensemble un son
très particulier. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Apollo Arise Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200 Composed by
Travis Weller. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
2+8+8+4+8+16+16+4+4+4+4+4
+4+8+8+8+4+2+6+6+6+2+2+8+
2+2+3+6+6+24 pages.
Duration 3 minutes, 1
seconds. Carl Fischer
Music #CPS200. Published
by Carl Fischer Music
(CF.CPS200). ISBN
9781491152355. UPC:
680160909858. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Apollo Arise Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Mallet
Percussion, Marimba,
Oboe, Percussion 1,
Percussion 2, Percussion
3, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3 SKU:
CF.CPS200F Composed
by Travis Weller. Concert
Band (CPS). Full score.
With Standard notation.
24 pages. Carl Fischer
Music #CPS200F. Published
by Carl Fischer Music
(CF.CPS200F). ISBN
9781491153031. UPC:
680160910533. Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Rolling Earth Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Composed by Robert Starer (1924-2001). Concert band. Suitable for advanced middl...(+)
Composed by Robert Starer
(1924-2001). Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor score and
set of parts. Duration
3:15. Published by
Manhattan Beach Music
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Rolling Earth Orchestre d'harmonie - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-053-X Composed by Robert Starer. S...(+)
Concert band - Grade 3
SKU:
MH.1-59913-053-X
Composed by Robert
Starer. Suitable for
advanced middle school,
high school, community
and college bands.
Conductor Full Score.
Duration 3:15. Published
by Manhattan Beach Music
(MH.1-59913-053-X).
ISBN
9781599130538. The
term Rolling Earth comes
from a poem by Walt
Whitman and the music is
a celebration of the
planet we live on. It has
three thematic elements:
the sequence of chords of
the opening, a brief
staccato passage passed
around different
instruments in the
fashion of a canon, and
an expressive melody
first played by the
woodwinds and later
repeated by the trumpet,
saxophone and euphonium.
A gentler section comes
to a point of
contemplation, when a
strong rhythmic motive
brings it back to the
celebratory mood of the
opening. Ensemble
instrumentation: 2
Piccolo, 4 Flute 1, 4
Flute 2, 3 Oboe 1-2, 2 Eb
Clarinet, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 2 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 3 Bassoon 1-2,
3 Eb Alto Saxophone 1, 3
Eb Alto Saxophone 2, 2 Bb
Tenor Saxophone, 2 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 3 Horn
in F 1-2, 3 Horn in F
3-4, 3 Trombone 1, 3
Trombone 2, 3 Trombone 3,
3 Euphonium B.C., 2
Euphonium T.C., 6 Tuba, 2
Timpani, 2 Mallet
Percussion: Xylophone.
Glockenspiel, 6
Percussion Score: Snare
Drum. Tenor Drum, Bass
Drum, Gong. Suspended
Cymbals, Bongo Drum. $15.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 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. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Black Light Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3 and
more. - Grade 3.5 SKU:
CF.CPS228F Composed
by George Sweet. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS228F. Published
by Carl Fischer Music
(CF.CPS228F). ISBN
9781491153222. UPC:
680160910724. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was a
large influencing factor
for George Sweet in the
composition of this
piece. Richly scored
for the modern concert
band, Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was
an influencing factor on
the composition of the
piece. Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass.This begins
with strict motor
accompaniment. Take care
to maintain equal balance
among the different
“moving
parts†so that they
blend to create a solid
whole both here and
throughout the piece. The
primary thematic material
is stated by the trumpets
and horns at m. 12. This
material is the basis for
much of the harmonic and
thematic material that
follows. A slightly
varied statement of the
main theme is presented
again at m. 26 with a
different type of motor
accompaniment. This leads
to a B-section at m. 44,
which is a bold
fanfare-like presentation
of the main material.
Another series of
variations on the main
theme begins at m. 50 and
incorporates many
different textural and
harmonic ideas in the
accompaniment. Once
again, be careful to not
let any one “moving
part†overwhelm
another and keep the
texture evenly balanced.
 A second, broader
presentation of the
B-section occurs at m. 90
and leads to a subdued
C-section at m. 100 with
new melodic material
presented in the trumpet.
A whimsical march-like
section pushes to the
return of the
introductory motor
material at m. 131. A
final heroic presentation
of the main thematic
material results in a
somewhat ambiguous coda,
which brings the piece to
a dramatic
conclusion. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Black Light Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3 and
more. - Grade 3.5 SKU:
CF.CPS228 Composed by
George Sweet. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+1+2+2+
2+2+4+8+2+28+4 pages.
Duration 4 minutes, 35
seconds. Carl Fischer
Music #CPS228. Published
by Carl Fischer Music
(CF.CPS228). ISBN
9781491152546. UPC:
680160910045. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was a
large influencing factor
for George Sweet in the
composition of this
piece. Richly scored
for the modern concert
band, Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was
an influencing factor on
the composition of the
piece. Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass.This begins
with strict motor
accompaniment. Take care
to maintain equal balance
among the different
“moving
parts†so that they
blend to create a solid
whole both here and
throughout the piece. The
primary thematic material
is stated by the trumpets
and horns at m. 12. This
material is the basis for
much of the harmonic and
thematic material that
follows. A slightly
varied statement of the
main theme is presented
again at m. 26 with a
different type of motor
accompaniment. This leads
to a B-section at m. 44,
which is a bold
fanfare-like presentation
of the main material.
Another series of
variations on the main
theme begins at m. 50 and
incorporates many
different textural and
harmonic ideas in the
accompaniment. Once
again, be careful to not
let any one “moving
part†overwhelm
another and keep the
texture evenly balanced.
 A second, broader
presentation of the
B-section occurs at m. 90
and leads to a subdued
C-section at m. 100 with
new melodic material
presented in the trumpet.
A whimsical march-like
section pushes to the
return of the
introductory motor
material at m. 131. A
final heroic presentation
of the main thematic
material results in a
somewhat ambiguous coda,
which brings the piece to
a dramatic
conclusion. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Individualized Instructor: Book 3 - Full Score Orchestre d'harmonie [Conducteur] GIA Publications
Concert band SKU: GI.G-M3MS Sing Drum and Play. Composed by James ...(+)
Concert band SKU:
GI.G-M3MS Sing
Drum and Play.
Composed by James
Froseth. Band Method.
Other Band Methods. Music
Education. Full score. 68
pages. GIA Publications
#M3MS. Published by GIA
Publications (GI.G-M3MS).
English. For the
teacher of instrumental
music classes, individual
differences among
students are inevitable.
Unfortunately, the lack
of flexible materials
frequently forces
teachers to adopt a
quasi-instructional
procedure best described
as lockstep, where all
students in the class
rehearse each exercise
until the slow members of
the class succeed or
until the teacher gives
up. The Individualized
Instructor was designed
with the expectation that
students are different.
With this method, high-,
average-, and
low-achieving students in
a class are able to
progress simultaneously
at their own rate
according to their
interest and ability. In
addition, the flexibility
of the instructional
format often allows
twelve or more students
to perform different
musical material
simultaneously, thereby
eliminating the
“follow the
leader†approach to
music learning. All study
materials in the series
are musical. Nonmusical
exercises are excluded in
favor of folk song
literature, musical
rounds, and musical
ensembles. Furthermore,
The Individualized
Instructor encourages
students to think about
their music: to analyze
unfamiliar material,
generalize previously
learned concepts and
skills, and synthesize
all elements into a
musically proficient
performance. In addition,
this series develops many
fundamentals (tonality,
phrasing, tempo, and
musical style) through
the use of the singing
voice. Singing best
provides the
“musicalâ€
experience that,
subsequently, can be
applied to the
development of musically
sensitive instrumental
performance. Books 1, 2,
and 3 and the
supplementary books
ensure that these
fundamental ideas are
carried well beyond the
first year of
instruction. $5.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zephyr Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Tyler Arcari. Score and part(s). 20 168 pages. Duration 3 minutes,...(+)
Composed by Tyler Arcari.
Score and part(s). 20
168 pages. Duration 3
minutes, 20 seconds. Carl
Fischer #YPS0171.
Published by Carl Fischer
(CF.YPS171).
$70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5 SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71). ISBN
9781491143544. UPC:
680160901043. Key: G
minor. Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak . $125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Off Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS212F
March. Composed by
John Philip Sousa.
Arranged by Andrew
Balent. Concert Band
(CPS). This early Sousa
march demonstrates his
melodic gift and his use
of counter melodies. Good
ensemble balance, dynamic
contrast, and proper
articulation are vital
for a good
performance.Performance
Time: 2:00. Full score.
With Standard notation.
20 pages. Carl Fischer
Music #CPS212F. Published
by Carl Fischer Music
(CF.CPS212F). ISBN
9781491153062. UPC:
680160910564. This
early Sousa march
demonstrates his melodic
gift and his use of
counter melodies. It
contains his signature
style, but in a different
an unique was from him
more well-know
marches. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To Create a Voice Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226 Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226). ISBN
9781491152522. UPC:
680160910021. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Afton Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clari...(+)
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Suspended Cymbal and
more. - Grade 3-3.5
SKU: CF.CPS48
Composed by Carl
Strommen. FS-SWS. Carl
Fischer Concert
Performance Series.
Classical. Score and Set
of Parts. With Standard
notation.
8+8+4+8+8+8+2+4+4+4+4+4+4
+8+8+8+4+4+6+6+4+6+8+2+1+
2+1+20 pages. Carl
Fischer Music #CPS48.
Published by Carl Fischer
Music (CF.CPS48). ISBN
9780825858932. UPC:
798408058937. 9 X 12
inches. Key: Bb
major. Based upon
the Appalachian Folk Song
Flow Gently, Sweet Afton,
Strommen takes the tune
through a myriad of
different harmonic and
textural variations. An
excellent piece with
which to teach expressive
playing, this is one of
the best pieces Carl
Strommen. $85.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chase the Horizon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197F Composed
by John Pasternak. Young
Band (YPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS197F. Published
by Carl Fischer Music
(CF.YPS197F). ISBN
9781491152850. UPC:
680160910359. Chase
the Horizon is
a musical journey
depicting a lonesome
cowboy riding on his
horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Legend of Taum Sauk Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Carl Fischer
Composed by Larry Clark. Score and part(s). With Standard notation. 24 162 pag...(+)
Composed by Larry Clark.
Score and part(s). With
Standard notation. 24
162 pages. Duration 4
minutes, 52 seconds. Carl
Fischer #YPS0180.
Published by Carl Fischer
(CF.YPS180).
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Captive Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Ed Kiefer. Score and part(s). 32 164 pages. Duration 4 minutes, 11...(+)
Composed by Ed Kiefer.
Score and part(s). 32
164 pages. Duration 4
minutes, 11 seconds. Carl
Fischer #CPS0186.
Published by Carl Fischer
(CF.CPS186).
$95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chase the Horizon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cy...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Trombone and
more. - Grade 2 SKU:
CF.YPS197 Composed by
John Pasternak. 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+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major. Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exemplary Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Cymbals, Euphonium, Euphonium ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet,
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet, Tuba,
Vibraphone, alto
Saxophone and more. -
Grade 0.5 SKU:
CF.PPS49F Composed by
Richard Summers. Primer
Band (PPS). Full score.
With Standard notation.
12 pages. Carl Fischer
Music #PPS49F. Published
by Carl Fischer Music
(CF.PPS49F). ISBN
9781491152614. UPC:
680160910113. Exemp
lary is
a mature musicalÂ
piece for beginning
bands. Even though
only the first six
notes of the Bb-major
scale are used
with simple rhythms,
students and teachers
will find many, fun
musical challenges
that provide
opportunities for for
growth. As the title
suggests, performances
of Exemplary should
serve as a desirable
model, be worthy of
imitation, and should
represent the absolute
best in
musicianship. Exemplar
y is a mature musical
piece for beginning
bands. Even though only
the first six notes of
the Bb-major scale are
used, and simple
rhythms are used to
compose this piece, it
has many musical
challenges that will
enhance students’
musical growth. There are
some very musical ideas
and sections in this
piece that should be
explored. Just as this
title suggests, Exemplary
should serve as a
desirable model, be
worthy of imitation, and
should represent the best
possible example of its
kind. If you describe
something as exemplary,
it should be extremely
good. With all of these
challenges, the piece
also has some nice
melodies and is fun to
play. Â Notes to the
ConductorThere are
marcato and legato
styles, many dynamic
markings (sometimes
different between
woodwinds, brass, and
percussion) major and
minor third intervals,
and challenging beginning
percussion writing (that
should not be
overplayed). Four-measure
phrasing should be
observed. When a
crescendo occurs, it
should connect to the
next note without taking
a breath. These are
teachable concepts that
will benefit the
musicianship of the
students and take them to
a higher level of
performance. Â . $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Not So Silent Night Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Carl Fischer
Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash C...(+)
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Bells, Chimes,
Clarinet, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Sleigh
Bells, Snare Drum,
Tambourine, Timpani,
Triangle, Trombone and
more. - Grade 1 SKU:
CF.BPS48 Full
Score and Parts.
Composed by Anonymous.
Arranged by Sean
O'Loughlin. Carl Fischer
Beginning Performance
Series. Score and Set of
Parts. With Standard
notation. Carl Fischer
Music #BPS48. Published
by Carl Fischer Music
(CF.BPS48). ISBN
9780825864339. UPC:
798408064334. 9 X 12
inches. Key: Bb
major. Using the
basic melodic shape of
Silent Night, Sean
O'Loughlin has written a
lively piece that goes in
a quite different, more
up-to-date direction than
the familiar, reflective
Carol. The noise makers
of the percussion section
are given a lively role
to play, and the
introduction, by the low
brass, of God Rest Ye
Merry, Gentlemen, in the
middle of the piece,
creates a somewhat ironic
twist in this amusing
re-imagining of a classic
carol. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Off Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS212
March. Composed by
John Philip Sousa.
Arranged by Andrew
Balent. Concert Band
(CPS). This early Sousa
march demonstrates his
melodic gift and his use
of counter melodies. Good
ensemble balance, dynamic
contrast, and proper
articulation are vital
for a good
performance.Performance
Time: 2:00. Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+1+1+4+
2+4+20 pages. Duration 3
minutes, 8 seconds. Carl
Fischer Music #CPS212.
Published by Carl Fischer
Music (CF.CPS212).
ISBN 9781491152386.
UPC:
680160909889. This
early Sousa march
demonstrates his melodic
gift and his use of
counter melodies. It
contains his signature
style, but in a different
an unique was from him
more well-know
marches. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ulterior Motifs Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Cabasa, Chimes, Clari...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Brake Drum, Cabasa,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Hi-hat Cymbal,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Ride Cymbal
and more. - Grade 1.5
SKU: CF.FPS150
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+2+1+3+8+16+2 pages.
Duration 2 minutes, 6
seconds. Carl Fischer
Music #FPS150. Published
by Carl Fischer Music
(CF.FPS150). ISBN
9781491152102. UPC:
680160909605. The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs. $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ulterior Motifs Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Cabasa, Chimes, Clari...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Brake Drum, Cabasa,
Chimes, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Hi-hat Cymbal,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Ride Cymbal
and more. - Grade 1.5
SKU: CF.FPS150F
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#FPS150F. Published by
Carl Fischer Music
(CF.FPS150F). ISBN
9781491152782. UPC:
680160910281. The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To Create a Voice Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226F Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F). ISBN
9781491153208. UPC:
680160910700. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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