Songs Of The Wizz. Composed by Charlie Smalls. Arranged by Peter Kleine S...(+)
Songs Of The Wizz.
Composed by Charlie
Smalls. Arranged by Peter
Kleine Schaars. Catalogue
Movie and Musical. Movie
and Musical. Recorded on
The Magnificent Seven
(ML.311058720). Full set.
Duration 9 minutes, 41
seconds. Molenaar Edition
#012507060. Published by
Molenaar Edition
(ML.012507060).
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115249-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1115249-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 32
pages. De Haske
Publications #DHP
1115249-140. Published by
De Haske Publications
(BT.DHP-1115249-140).
9x12 inches.
English-German-French-Dut
ch.
The Wooden
Soldier is a short
and simple piece
commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
andoptional parts.The
wooden toy soldier that
inspires the work
initially marches in a
fictitious parade before
gliding into a swift
waltz. Both sections are
based on the same melodic
material: the brisk
triple-time passage is in
fact a variation on the
parade theme. Switching
between majorand minor
keys—together with
a number of surprising
twists—makes an
enthralling work despite
the restrictions imposed.
The Wooden
Soldier is een kort
en eenvoudig werkje dat
is geschreven in opdracht
van het Singaporese
ministerie van Onderwijs.
Het was aanvankelijk
bedoeld als verplicht
werk voor het Singapore
Youth Festival 2012.
Omdat veelschoolorkesten
in Singapore een
onvolledige bezetting
hebben, kreeg de
componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Het houten
speelgoedsoldaatje dat
als inspiratiebron
diende, stapt eerst in
een fictieve parade en
strekt daarna de benen
tijdens een vlotte wals.
Beide passages zijn
gebaseerd op hetzelfde
melodischemateriaal: de
snelle driekwartsmaat is
dus als het ware een
variant op het
paradethema. De
afwisseling tussen grote-
en kleinetertstoonaarden
en hier en daar een
verrassende wending
zorgen ervoor dat dit
werkje met zijn enethema
blijft boeien, ondanks de
vele opgelegde
beperkingen.
Th
e Wooden Soldier ist
ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das
Werk so zu gestalten,
dass es auch mit einem
begrenzten Ensemble
gespielt werden könne:
Dies erklärt einige
Verdopplungen und
optionale Instrumente.Der
hölzerne
Spielzeugsoldat, der als
Quelle der Inspiration
diente, marschiert
zunächst in einer
fiktiven Parade, um
danach das Tanzbein zu
einem flotten Walzer zu
schwingen.
BeideAbschnitte basieren
auf demselben melodischen
Material: Der schnelle
Dreivierteltakt ist also
im Grunde eine Variation
auf das Parade-Thema. Der
Wechsel zwischen Dur- und
Moll-Tonarten sowie
eingestreute
überraschende
Wendungen sorgen
dafür, dass dieses
Stück mit seinem
einen Thema trotz der
zahlreichen auferlegten
Beschränkungen stets
spannend bleibt.
Commissionato
come brano
d’obbligo dal
Ministero
dell’Educazione
per il Singapore Youth
Festival 2012, The
Wooden Soldier è
stato arrangiato per
poter essere eseguito da
una formazione ad
organico ridotto. Il
pezzo include varie parti
raddoppiate e opzionali.
Il brano inizia in uno
stile simile a una marcia
da parata per poi
scivolare verso un rapido
valzer, basandosi,
seppure in stili diversi,
sul medesimo materiale
melodico. I passaggi tra
tonalit maggiori e
minori, come anche
sorprendenti colpi di
scena, fanno di questo
brano una valida aggiunta
al programma da
concerto.
When Hearts Tremble Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5
SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75).
ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major.
When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others .
A Shaker Gift Song Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Grade 2. Conductor
score and set of parts.
Duration 2:15. Published
by Manhattan Beach Music
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.
Concert Band/Harmonie - Grade 3 SKU: BT.1108-04-010-MS Composed by John L...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1108-04-010-MS
Composed by John Lennon
and Paul McCartney.
Arranged by Thijs Oud.
Scherzando Pop, Film and
Show. Pop & Rock. Set
(Score & Parts). Composed
2004. Music Sales
#1108-04-010 MS.
Published by Music Sales
(BT.1108-04-010-MS).
The Beatles
remain the
biggest-selling British
group of all time with
their countless hits and
timeless classics written
by John Lennon and Paul
McCartney. All You Need
Is Love is one such song
that recently made it
into the top 40 pop songs
of all time. In this
arrangement Thijs Oud has
utilised all the original
Beatles elements whilst,
at the end, integrating
‘snippets’
of many more of their
hits. Perfect for all
concert programmes this
will also make an
excellent finale to your
events.
Kein
anderer Song beschreibt
das Lebensgefühl der
60er Jahre und damit die
Glanzzeit der Beatles
besser als das
unvergessene All You
Need is Love, das
auch den Titel zu
Bernhard Kurz’
Musical über die
Fab’ Four
lieferte. Sowohl Musik
als auch Botschaft des
eingängigen Liedes
haben an Popularität
nichts verloren und
werden Ihr Publikum im
Arrangement von Don
Campbell aufs Neue
begeistern. All You
Need Is Love passt in
jedes unterhaltsame
Konzertprogramm und
eignet sich zum Beispiel
auch ideal als
Finale.
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.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Composed by Andrew Glover. Young Concert Band. Command Series. Audio recording a...(+)
Composed by Andrew
Glover. Young Concert
Band. Command Series.
Audio recording available
separately (item
CL.WFR385). Score and
parts. Composed 2015.
Duration 3 minutes, 33
seconds. Published by
C.L. Barnhouse
(CL.011-4404-00).
Concert Band/Harmonie - Grade 4 SKU: BT.1165-04-140-MS Arranged by Toshio...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1165-04-140-MS
Arranged by Toshio
Mashima. New Sounds for
Concert Band. Pop & Rock.
Score Only. Composed
2004. Music Sales
#1165-04-140 MS.
Published by Music Sales
(BT.1165-04-140-MS).
Can't Take
My Eyes Off You war
ein Riesenerfolg für
das Duo Bob Crewe und Bob
Gaudio. Bekannte
Künstler, wie unter
anderem Diana Ross,
Gloria Gaynor und
später die Pet Shop
Boys, brachten den Titel
über drei Jahrzehnte
hinweg immer wieder in
die Hitparaden und die
Menschen in den Discos
zum Tanzen. Toshio
Mashima bearbeitete den
unwiderstehlich flotten
Popsongs für
Blasorchester. Bei diesem
Titel kann niemand still
sitzen!
There have been
many arrangements of
Beatles’ songs for
various kinds of
ensembles, so rather than
just producing a further
medley of Beatles’
hits, Peter Kleine
Schaars has added a new
twist to them with this
excellent new work. All
You Need Is Love and With
a Little Help from my
Friends pass by in a
swing march, Michelle
sounds like a newly
composed ballad and When
I’m Sixty Four is
played in Dixie swing
style. A Hard
Day’s Night is
transformed into a funk
theme with a samba
interlude, Let It Be into
a slow march, and
Ob-La-Di, Ob-La-Da in a
rock beat. Experience The
Beatles as you have never
heard them before.
(A Revolutionary Method for Beginning Musicians (Baritone T.C.)). By Robert Shel...(+)
(A Revolutionary Method
for Beginning Musicians
(Baritone T.C.)). By
Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For Baritone T.C..
Band Method; Book; CD;
DVD; Method/Instruction.
Sound Innovations.
Beginner. 48 pages
(A Revolutionary Method for Beginning Musicians (Conductor's Score)). By Robert ...(+)
(A Revolutionary Method
for Beginning Musicians
(Conductor's Score)). By
Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For Conductor's
Score. Band Method;
Method/Instruction;
Score. Sound Innovations.
Beginner. 400 pages.
Published by Alfred Music
Publishing
The Lightning Spirit Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Roland Barrett. Arranged by Roland Barrett. Young Band. FJH Young Band. Score...(+)
By Roland Barrett.
Arranged by Roland
Barrett. Young Band. FJH
Young Band. Score for
this title: B1261S.
Concert Band. Level: 2.
Score and Set of Parts.
Composed 2005. Published
by The FJH Music Company
Inc.
(A Revolutionary Method for Early-Intermediate Musicians (Mallet Percussion)). B...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (Mallet
Percussion)). By Robert
Sheldon, Peter Boonshaft,
Dave Black, and Bob
Phillips. Concert Band.
For Mallet Percussion.
Band Method; Book; CD;
DVD; Method/Instruction.
Sound Innovations. Early
Intermediate. 48 pages.
Published by Alfred Music
Publishing
(A Revolutionary Method for Early-Intermediate Musicians (Conductor's Score)). B...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (Conductor's
Score)). By Robert
Sheldon, Peter Boonshaft,
Dave Black, and Bob
Phillips. Concert Band.
For Conductor's Score.
Band Method;
Method/Instruction;
Score. Sound Innovations.
Early Intermediate. 400
pages. Published by
Alfred Music Publishing
(A Revolutionary Method for Early-Intermediate Musicians (Conductor's Score)). B...(+)
(A Revolutionary Method
for Early-Intermediate
Musicians (Conductor's
Score)). By Robert
Sheldon, Peter Boonshaft,
Dave Black, and Bob
Phillips. Concert Band.
For Conductor's Score.
Band Method; CD; DVD;
Method/Instruction;
Score; SmartMusic. Sound
Innovations Series for
Band. Early Intermediate.
404 pages. Published by
Alfred Music Publishing
By David Shaffer. For young concert band. Rising Band Series. Grade 2. Score and...(+)
By David Shaffer. For
young concert band.
Rising Band Series. Grade
2. Score and set of
parts. Duration 2
minutes, 1 second.
Published by C.L.
Barnhouse
The Golden Sixties Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1175842-140 You Can't Hu...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1175842-140
You Can't Hurry Love -
Son-Of-A-Preacher Man -
Stand By Me - Think.
Arranged by Richard
Johnsen. DHP Pop, Film
and Show. Pop & Rock.
Score Only. Composed
2017. 25 pages. De Haske
Publications #DHP
1175842-140. Published by
De Haske Publications
(BT.DHP-1175842-140).
The 1960s is
one of the most
fascinating eras in the
history of popular music.
Many great hits from then
have been turned into new
versions during later
decades after initial
success. But everyone,
both young and old,
remembers the original
songs well. Richard
Johnsen has made great
arrangements of You
Can't Hurry Love,
Son-of-A-Preacher
Man, Stand By
Me and Think,
for this spectacular
medley, The Golden
Sixties.
De
jaren zestig: een
fascinerend tijdperk uit
de geschiedenis van de
popmuziek. Veel grote
hits uit die periode zijn
in de decennia die erop
volgden verschillende
keren in een nieuw jasje
gestoken, maar iedereen
jong en oud kent ook de
originele songs. Richard
Johnsen bewerkte You
Can't Hurry Love,
Son-Of-A-Preacher
Man, Stand By
Me en Think,
waarmee hij deze fraaie
en spectaculaire medley
The Golden Sixties
in het leven
riep.
Die 1960er
Jahre gehören zu den
faszinierendsten Zeiten
in der Geschichte der
Popmusik. Viele bekannte
Hits aus dieser Zeit
erschienen in den
Jahrzehnten nach ihrem
ursprünglichen Erfolg
mehrmals in neuen
Versionen. Aber jeder,
sowohl die Jungen als
auch die Alten, erinnert
sich auch noch an die
Originalversion der
Songs. Richard Johnsen
hat tolle Arrangements
von You Can't Hurry
Love,
Son-Of-A-Preacher
Man, Stand By
Me und Think
geschrieben und das
fantastische Medley
The Golden Sixties
erstellt.
Gli anni
’60 sono uno dei
periodi più
affascinanti per la
musica pop. Molte hit di
quegli anni, dopo il
successo inziale, sono
state riviste in nuove
versioni negli ultimi
decenni. Ma proprio
tutti, sia giovani che
meno giovani, ricordano
molto bene la versione
originale. Richard
Johnsen ha sapientemente
arrangiato per questo
spettacolare medley i
brani You Can't Hurry
Love,
Son-Of-A-Preacher
Man, Stand By
Me e
Think.
The Golden Sixties Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1175842-010 You Can't Hu...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1175842-010
You Can't Hurry Love -
Son-Of-A-Preacher Man -
Stand By Me - Think.
Arranged by Richard
Johnsen. DHP Pop, Film
and Show. Pop & Rock. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175842-010. Published by
De Haske Publications
(BT.DHP-1175842-010).
The 1960s is
one of the most
fascinating eras in the
history of popular music.
Many great hits from then
have been turned into new
versions during later
decades after initial
success. But everyone,
both young and old,
remembers the original
songs well. Richard
Johnsen has made great
arrangements of You
Can't Hurry Love,
Son-of-A-Preacher
Man, Stand By
Me and Think,
for this spectacular
medley, The Golden
Sixties.
De
jaren zestig: een
fascinerend tijdperk uit
de geschiedenis van de
popmuziek. Veel grote
hits uit die periode zijn
in de decennia die erop
volgden verschillende
keren in een nieuw jasje
gestoken, maar iedereen
jong en oud kent ook de
originele songs. Richard
Johnsen bewerkte You
Can't Hurry Love,
Son-Of-A-Preacher
Man, Stand By
Me en Think,
waarmee hij deze fraaie
en spectaculaire medley
The Golden Sixties
in het leven
riep.
Die 1960er
Jahre gehören zu den
faszinierendsten Zeiten
in der Geschichte der
Popmusik. Viele bekannte
Hits aus dieser Zeit
erschienen in den
Jahrzehnten nach ihrem
ursprünglichen Erfolg
mehrmals in neuen
Versionen. Aber jeder,
sowohl die Jungen als
auch die Alten, erinnert
sich auch noch an die
Originalversion der
Songs. Richard Johnsen
hat tolle Arrangements
von You Can't Hurry
Love,
Son-Of-A-Preacher
Man, Stand By
Me und Think
geschrieben und das
fantastische Medley
The Golden Sixties
erstellt.
Gli anni
’60 sono uno dei
periodi più
affascinanti per la
musica pop. Molte hit di
quegli anni, dopo il
successo inziale, sono
state riviste in nuove
versioni negli ultimi
decenni. Ma proprio
tutti, sia giovani che
meno giovani, ricordano
molto bene la versione
originale. Richard
Johnsen ha sapientemente
arrangiato per questo
spettacolare medley i
brani You Can't Hurry
Love,
Son-Of-A-Preacher
Man, Stand By
Me e
Think.
Uniquely You Orchestre d'harmonie - Facile MakeMusic
Concert Band - Grade 2 SKU: AP.51024 Composed by Adrian B. Sims. Concert ...(+)
Concert Band - Grade 2
SKU: AP.51024
Composed by Adrian B.
Sims. Concert Band;
Performance Music
Ensemble; Single Titles.
MakeMusic Young Band.
Score and Part(s).
Duration 3:50. MakeMusic
#00-51024. Published by
MakeMusic (AP.51024).
ISBN 9781470668020.
UPC: 038081586908.
English.
Written to
celebrate the unique
voice of every
individual, Uniquely You
is the perfect work to
bring themes of unity and
beauty into your music
classroom. Adrian B. Sims
uses complex
interweavings of melodic
and harmonic material to
create a colorful and
inspiring sound palette.
A truly powerful message
and musically mature
work. (3:50).
Uniquely You Orchestre d'harmonie - Facile MakeMusic
Concert Band - Grade 2 SKU: AP.51024S Composed by Adrian B. Sims. Concert...(+)
Concert Band - Grade 2
SKU: AP.51024S
Composed by Adrian B.
Sims. Concert Band;
Performance Music
Ensemble; Single Titles.
MakeMusic Young Band.
Score. Duration 3:50.
MakeMusic #00-51024S.
Published by MakeMusic
(AP.51024S).
ISBN
9781470668037. UPC:
038081586915.
English.
Written to
celebrate the unique
voice of every
individual, Uniquely You
is the perfect work to
bring themes of unity and
beauty into your music
classroom. Adrian B. Sims
uses complex
interweavings of melodic
and harmonic material to
create a colorful and
inspiring sound palette.
A truly powerful message
and musically mature
work. (3:50).
By Jerry Williams. Lighter. Young concert band. Command. Level: Grade 2.5. Score...(+)
By Jerry Williams.
Lighter. Young concert
band. Command. Level:
Grade 2.5. Score and set
of parts. Composed 1999.
Duration 0:02:33.
Published by C.L.
Barnhouse.
Grade 1 SKU: CL.023-4670-01 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 37 seconds. C.L.
Barnhouse #023-4670-01.
Published by C.L.
Barnhouse
(CL.023-4670-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Pre 1 SKU: CL.023-4647-01 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 17 seconds. C.L.
Barnhouse #023-4647-01.
Published by C.L.
Barnhouse
(CL.023-4647-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Pre 1 SKU: CL.023-4647-00 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 17
seconds. C.L. Barnhouse
#023-4647-00. Published
by C.L. Barnhouse
(CL.023-4647-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Grade 1 SKU: CL.023-4670-00 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 37
seconds. C.L. Barnhouse
#023-4670-00. Published
by C.L. Barnhouse
(CL.023-4670-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
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your program highly
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instrumental music!
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.