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/Harmonie/Fanfare Band - Grade 4 SKU: BT.DHP-1216336-215 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 4
SKU:
BT.DHP-1216336-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 30 pages.
De Haske Publications
#DHP 1216336-215.
Published by De Haske
Publications
(BT.DHP-1216336-215).
English-German-French-
Dutch.
From the
beginning of the Middle
Ages, we have known
performance practices in
which the duration of the
notes can differ from the
actual notation. In some
cases, binary written
melodies were performed
in a ternary way. This
isalso the case in the
present-day shuffle: the
written quavers are
performed in a long-short
system in which the ratio
is 2:1. In other words,
the performance practice
is based on a triplet
feel. In this
composition,
allingredients of the
shuffle are featured: a
vigorous swing rhythm, a
walking bass, the
successions of thirds in
the accompaniment and the
frequent use of triplets.
To make sure that the
binary written rhythms in
the accompanimentsare
performed in the correct
ternary manner, Peter
Kleine Schaars has
notated the melody themes
in triplets as much as
possible. Thus, this
composition is a very
useful exercise for the
swing development of your
ensemble.Additionally,
the work is a treat to
listen to, so your
audience will really
appreciate this up-tempo
big band like
composition. All ternary
rhythmic cells 17 till 24
pass in revue,
furthermore much
attention had been paid
to acorrect performance
of cell 4 in swing feel.
Al vanaf het
begin van de middeleeuwen
kennen we
uitvoeringspraktijken
waarbij de lengte van de
noten anders kan zijn dan
de daadwerkelijke
notatie. Zo werden in
sommige gevallen binair
uitgeschreven
melodieën ternair
uitgevoerd.Dat is ook het
geval bij de hedendaagse
shuffle: de geschreven
achtsten worden
uitgevoerd in een
lang-kortsysteem waarbij
de verhouding 2:1 geldt.
Oftewel de
uitvoeringspraktijk is
gebaseerd op een
triolenfeel. In deze
compositiekomen alle
ingrediënten van de
shuffle aan bod: een
stevig swingritme, een
walking bass, oplopende
tertsenreeksen in de
begeleiding en veelvuldig
gebruik van triolen. Om
ervoor te zorgen dat de
binair genoteerde
ritmieken in
debegeleidingen op de
juiste ternaire wijze
worden uitgevoerd, heeft
Peter Kleine Schaars de
melodiethema’s
zoveel mogelijk
uitgeschreven in triolen.
Hierdoor is deze
compositie een zeer
bruikbare oefening voor
de swingontwikkelingvan
uw ensemble. Daarnaast is
het werk een feest om
naar te luisteren en zal
het publiek deze uptempo
bigbandachtige compositie
zeker waarderen. Alle
ternaire ritmische cellen
17 tot 24 passeren de
revue, daarnaast is er
veelaandacht voor een
juiste uitvoering van cel
4 in swingfeel.
Seit Beginn des
Mittelalters sind uns
Aufführungspraktiken
bekannt, bei denen die
Dauer der Noten von der
tatsächlichen Notation
abweichen kann. In
einigen Fällen wurden
binär geschriebene
Melodien ternär
gespielt. Dies ist
auchbeim modernen Shuffle
der Fall: Die notierten
Achtelnoten werden in
einem
Lang-Kurz-System“
im Verhältnis 2:1
ausgeführt. Mit
anderen Worten, die
Aufführungspraxis
basiert auf einem
Triolengefühl. In
dieser Komposition sind
alleZutaten des Shuffle
enthalten: ein
kräftiger
Swing-Rhythmus, ein
Walking Bass, eine
Abfolge von Terzen in der
Begleitung und die
häufige Verwendung von
Triolen. Um
sicherzustellen, dass die
binär geschriebenen
Rhythmen in
denBegleitungen ternär
ausgeführt werden, hat
Peter Kleine Schaars die
Melodiethemen so weit wie
möglich als Triolen
notiert. Daher eignet
sich diese Komposition
zum Ãœben des Swings.
Darüber hinaus hört
sich das Stück so
schön an,dass Ihr
Publikum von dieser
schnellen
Big-Band-ähnlichen
Komposition begeistert
sein wird. Die
ternären
Rhythmus-Einheiten 17 bis
24 kommen alle vor,
außerdem wurde ein
Schwerpunkt auf die
korrekte Umsetzung der
Rhythmus-Einheit4 im
Swing-Stil
gelegt.
Christmas Colours Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000747-010 Composed by Bruce ...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000747-010
Composed by Bruce Fraser.
Set (Score & Parts). 59
pages. Gobelin Music
Publications #GOB
000747-010. Published by
Gobelin Music
Publications
(BT.GOB-000747-010).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Christmas Colours Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000747-140 Composed by Bruce ...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000747-140
Composed by Bruce Fraser.
Score Only. Gobelin Music
Publications #GOB
000747-140. Published by
Gobelin Music
Publications
(BT.GOB-000747-140).
‘Christmas
Colours’ is a palette
consisting of several
Christmas songs.
Bruce Fraser has
mainly used the colours
green (the colour of
holly) and white (the
colour of snow). This
composition begins with
the chiming of festive
bells - if you listen
well, however, you can
already hear short
fragments from 'The Holly
and the Ivy', whose
entire melody is finally
played, alternated with
'The Sussex Carol'. After
this, the pace slows down
and the stately 'See amid
the Winter Snow' sounds,
but parts from 'Jingle
Bells' and 'Silent Night'
can also be heard.
Then, after walking under
'The Holly and the Ivy'
once again, the
celebration of Christmas
may
begin!
Christmas
Colours is een potpourri
met allemaal
verschillende
kerstliedjes. Bruce
Fraser gebruikt vooral de
kleuren groen van de
'holly' (hulst) en wit
van de 'snow'
(sneeuw). Het werkje
begint met feestelijke
klokjes waar,als u goed
luistert, fragmentjes van
'The Holly and the Ivy'
tussendoor klinken.
Uiteindelijk klinkt de
hele melodie, afgewisseld
met 'The Sussex
Carol'. Na de
tempovertaging klinkt het
statige 'See amid the
winter snow',met
fragmenten van 'Jingle
Bells' en 'Silent Night'.
Tenslotte lopen we
nog één keer onder 'The
Holly and the Ivy' door
en kan het Kerstfeest
beginnen.
Concert Band Symphonic Band - Grade 5 SKU: FJ.B1757S Score Only. C...(+)
Concert Band Symphonic
Band - Grade 5
SKU:
FJ.B1757S
Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Symphonic Band.
Score. Duration 8:00. The
FJH Music Company Inc
#98-B1757S. Published by
The FJH Music Company Inc
(FJ.B1757S).
English.
This
short, four-movement work
is based on traditional
dances that have each
gone through some type of
transformation to bring
them roaring into the
21st century. Playable
individually or all
together, movements
include the fun Polka,
playful Waltz, passionate
Tango, and the whimsical,
yet extremely energetic
Cakewalk.
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
Concert Band Symphonic Band - Grade 5 SKU: FJ.B1757 Composed by Brian Bal...(+)
Concert Band Symphonic
Band - Grade 5
SKU:
FJ.B1757
Composed by
Brian Balmages. Concert
Band; MakeMusic Cloud.
FJH Symphonic Band. Score
and Part(s). Duration
8:00. The FJH Music
Company Inc #98-B1757.
Published by The FJH
Music Company Inc
(FJ.B1757).
UPC:
241444395882.
English.
This
short, four-movement work
is based on traditional
dances that have each
gone through some type of
transformation to bring
them roaring into the
21st century. Playable
individually or all
together, movements
include the fun Polka,
playful Waltz, passionate
Tango, and the whimsical,
yet extremely energetic
Cakewalk.
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
Groovin' Orchestre d'harmonie - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.49101 Composed by Steve Hodges. Concert ...(+)
Concert Band - Grade 1.5
SKU: AP.49101
Composed by Steve Hodges.
Concert Band; Performance
Music Ensemble.
Challenger Band Series.
Jazz; Light Concert.
Score and Part(s). 123
pages. Duration 2:15.
Alfred Music #00-49101.
Published by Alfred Music
(AP.49101).
ISBN
9781470646127. UPC:
038081564487.
English.
Fingers
will be snapping with
this cool piece by Steve
Hodges. Groovin' features
a walking bass line and
jazz drum patterns that
provide a strong
foundation for the catchy
melodies and jazz
articulations. The
drummers will love the
short fills and interplay
with the rest of the band
throughout. A great
opportunity for the young
concert band to get their
groove on with this fun
jazz piece! (2:15).
Groovin' Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.49101S Composed by Steve Hodges. Concert...(+)
Concert Band - Grade 1.5
SKU: AP.49101S
Composed by Steve Hodges.
Concert Band; Performance
Music Ensemble.
Challenger Band Series.
Jazz; Light Concert.
Score. 12 pages. Duration
2:15. Alfred Music
#00-49101S. Published by
Alfred Music (AP.49101S).
ISBN 9781470646134.
UPC: 038081564494.
English.
Fingers
will be snapping with
this cool piece by Steve
Hodges. Groovin' features
a walking bass line and
jazz drum patterns that
provide a strong
foundation for the catchy
melodies and jazz
articulations. The
drummers will love the
short fills and interplay
with the rest of the band
throughout. A great
opportunity for the young
concert band to get their
groove on with this fun
jazz piece! (2:15).
