Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Concert Band - Grade 1 SKU: XC.FCB2405 (Jolly Old St. Nicholas, Up on ...(+)
Concert Band - Grade 1
SKU: XC.FCB2405
(Jolly Old St.
Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The
Messiah). Composed by
Larry Clark. Set of
parts. Excelcia Music
Publishing #FCB2405.
Published by Excelcia
Music Publishing
(XC.FCB2405).
Take a fun and
engaging trip with Santa
as he enjoys his spring
vacation! This creative
piece is a treasure of
musical concepts wrapped
up in one accessible
package! Spring from The
Four Seasons is cleverly
woven amongst a medley of
popular holiday songs.
Creative orchestration
puts the music in a
variety of settings from
festive to march-like to
Middle Eastern. Beginning
players will reinforce a
wide variety of musical
concepts, and young
trombonists will work on
developing first to sixth
position. A guaranteed
holiday favorite!
Concert Band - Grade 1 SKU: XC.FCB2405FS (Jolly Old St. Nicholas, Up o...(+)
Concert Band - Grade 1
SKU: XC.FCB2405FS
(Jolly Old St.
Nicholas, Up on the
Housetop, Spring from The
Four Seasons, Joy to the
World, God Rest Ye Merry
Gentlemen, Hallelujah
Chorus from The
Messiah). Composed by
Larry Clark. Score.
Excelcia Music Publishing
#FCB2405FS. Published by
Excelcia Music Publishing
(XC.FCB2405FS).
Take a fun and
engaging trip with Santa
as he enjoys his spring
vacation! This creative
piece is a treasure of
musical concepts wrapped
up in one accessible
package! Spring from The
Four Seasons is cleverly
woven amongst a medley of
popular holiday songs.
Creative orchestration
puts the music in a
variety of settings from
festive to march-like to
Middle Eastern. Beginning
players will reinforce a
wide variety of musical
concepts, and young
trombonists will work on
developing first to sixth
position. A guaranteed
holiday favorite!
Concert Band; Orchestra
3(3rd dPicc)+Picc.3(3rd
dEH).2+BCl+Eb.3(3rd
dCBsn: 4.3.3.1:
Timp.Perc(4-5):
2Hp.Clst.Mand: Str
(9-8-7-6-5 in set): Soli
T, A (or Bar)
SKU:
AP.36-A674102
Composed by Die
Chinesische Flöte
after Chinese poets of
the 8th century: Li Tai
Po, Gustav Mahler/
Translated into German by
Hans Bethge, Haoran Meng,
Qi Qian, and Wei Wang.
Full Orchestra, Solo
Voice(s) with Ensemble,
Conductor Score & Parts.
Kalmus Orchestra Library.
Score and Part(s).
LudwigMasters
Publications #36-A674102.
Published by
LudwigMasters
Publications
(AP.36-A674102).
UPC:
659359656231.
English.
Fresh from
the loss of his oldest
daughter Maria Mahler,
and knowing he had a
serious heart condition,
Gustav Mahler (1860-1911)
crafted Das Lied von der
Erde (The Song of the
Earth) in the years 1908
and 1909. The first
performance took place on
November 20, 1911 at the
Tonhalle in Munich,
conducted by Bruno
Walter. It encompasses
six settings of old
Chinese poems, four of
them by the Tang Dynasty
poet Li Bai, loosely
translated into German by
Hans Bethge. Conscious of
his own mortality, Mahler
filled his orchestral
song cycle with themes of
resignation, fading
beauty, and autumn
loneliness. The last
song, roughly the same
length as the previous
five movements combined,
serves as a sprawling,
yet deeply personal
farewell to both love and
life. Instrumentation:
3(3rd dPicc)+Picc.3(3rd
dEH).2+BCl+Eb.3(3rd
dCBsn: 4.3.3.1:
Timp.Perc(4-5):
2Hp.Clst.Mand: Str
(9-8-7-6-5 in set): Soli
T, A (or Bar). Movements:
1. Das Trinklied vom
Jammer der Erde (The
Drinking Song of Earth's
Sorrow); 2. Der Einsame
im Herbst (Autumn
Loneliness); 3. Von der
Jugend (Youth); 4. Von
der Schönheit
(Beauty); 5. Der Trunkene
im Fruhling (Wine in
Spring); 6. Der Abschied
(The Farewell). Reprint
edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Concert Band; Orchestra
3(3rd dPicc)+Picc.3(3rd
dEH).2+BCl+Eb.3(3rd
dCBsn: 4.3.3.1:
Timp.Perc(4-5):
2Hp.Clst.Mand: Str
(9-8-7-6-5 in set): Soli
T, A (or Bar)
SKU:
AP.36-A674101
Composed by Die
Chinesische Flöte
after Chinese poets of
the 8th century: Li Tai
Po, Gustav Mahler/
Translated into German by
Hans Bethge, Haoran Meng,
Qi Qian, and Wei Wang.
Full Orchestra, Solo
Voice(s) with Ensemble,
Conductor Score. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A674101.
Published by
LudwigMasters
Publications
(AP.36-A674101).
ISBN
9798892701914. UPC:
659359871511.
English.
Fresh from
the loss of his oldest
daughter Maria Mahler,
and knowing he had a
serious heart condition,
Gustav Mahler (1860-1911)
crafted Das Lied von der
Erde (The Song of the
Earth) in the years 1908
and 1909. The first
performance took place on
November 20, 1911 at the
Tonhalle in Munich,
conducted by Bruno
Walter. It encompasses
six settings of old
Chinese poems, four of
them by the Tang Dynasty
poet Li Bai, loosely
translated into German by
Hans Bethge. Conscious of
his own mortality, Mahler
filled his orchestral
song cycle with themes of
resignation, fading
beauty, and autumn
loneliness. The last
song, roughly the same
length as the previous
five movements combined,
serves as a sprawling,
yet deeply personal
farewell to both love and
life. Instrumentation:
3(3rd dPicc)+Picc.3(3rd
dEH).2+BCl+Eb.3(3rd
dCBsn: 4.3.3.1:
Timp.Perc(4-5):
2Hp.Clst.Mand: Str
(9-8-7-6-5 in set): Soli
T, A (or Bar). Movements:
1. Das Trinklied vom
Jammer der Erde (The
Drinking Song of Earth's
Sorrow); 2. Der Einsame
im Herbst (Autumn
Loneliness); 3. Von der
Jugend (Youth); 4. Von
der Schönheit
(Beauty); 5. Der Trunkene
im Fruhling (Wine in
Spring); 6. Der Abschied
(The Farewell). Reprint
edition.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Gulliver's
Travels. Composed by
Maxime Aulio. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 2003. De Haske
Publications #DHP
1033505-010. Published by
De Haske Publications
(BT.DHP-1033505-010).
Jonathan Swifts
satirischer Roman
Gullivers Reisen -
eine literarische Reise
zwischen Vernunft und
Verrücktheit - regte
auch die Phantasie des
Komponisten Maxime Aulio
an. Seine Suite für
Blasorchester besteht aus
mehreren kurzen,
teilweise wie eine Kette
aneinander gereihten
Sätzen. Zyklisch in
veränderter Form
wiederkehrende Motive und
Themen beschreiben
Gullivers Gedanken und
Gefühle oder auch
Landschaften und
Personen, die ihm
unterwegs
begegnen.
We, The People Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
(Concert March). Composed by James Swearingen. For concert band. Young Band. Sou...(+)
(Concert March). Composed
by James Swearingen. For
concert band. Young Band.
Sound Foundations. Grade
1. Score and parts.
Duration 1 minute, 15
seconds. Published by
C.L. Barnhouse
Band Rocks! Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Composed by Ed Huckeby. For concert band. Young Band. Sound Foundations. Grade 1...(+)
Composed by Ed Huckeby.
For concert band. Young
Band. Sound Foundations.
Grade 1. Score and parts.
Duration 1 minute, 44
seconds. Published by
C.L. Barnhouse
Composed by Larry Neeck. Concert band. Young Concert Band. Sound Foundations. Au...(+)
Composed by Larry Neeck.
Concert band. Young
Concert Band. Sound
Foundations. Audio
recording available
separately (item
CL.WFR362). Grade 1.
Score and set of parts.
Composed 2009. Duration 1
minute, 44 seconds.
Published by C.L.
Barnhouse
Daydreams Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Composed by Rob Romeyn. Young Concert Band. Sound Foundations Series. Audio reco...(+)
Composed by Rob Romeyn.
Young Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR393). Score and
parts. Composed 2017.
Duration 2 minutes, 50
seconds. Published by
C.L. Barnhouse
(CL.023-4556-00).
(Overture for Band). Composed by James Swearingen. For concert band. Young Conce...(+)
(Overture for Band).
Composed by James
Swearingen. For concert
band. Young Concert Band.
Sound Foundations. Level
1. Score and set of
parts. Duration 2
minutes, 13 seconds.
Published by C.L.
Barnhouse
Composed by James Swearingen. For concert band. Young Concert Band. Sound Founda...(+)
Composed by James
Swearingen. For concert
band. Young Concert Band.
Sound Foundations. Level
0.5. Score and set of
parts. Duration 1 minute,
41 seconds. Published by
C.L. Barnhouse
Composed by Grice. For concert band. Young Concert Band. Sound Foundations. Leve...(+)
Composed by Grice. For
concert band. Young
Concert Band. Sound
Foundations. Level 0.5.
Score and set of parts.
Duration 2 minutes, 35
seconds. Published by
C.L. Barnhouse