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.
Grade 1 SKU: CL.023-4811-01 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 1
SKU:
CL.023-4811-01
Composed by Robert W.
Smith. Young Concert
Band. Extra full score.
C.L. Barnhouse
#023-4811-01. Published
by C.L. Barnhouse
(CL.023-4811-01).
Trans-America
March, composed in
classic style, is
inspired by the westward
development of the United
States of America.
Beginning with a quote
from the opening phrase
of The Star Spangled
Banner, we are taken on a
journey westward across
the great divide. The
first strain ascends
melodically to the peak
in center of the phrase.
The melody then descends
to the other side of the
great divide representing
the journey across the
country from sea to
shining sea. The trio is
based on America, My
Country Tis Of Thee,
leading to a rousing
conclusion. Perfect for
patriotic programming or
in any concert/festival
setting, Trans-America
March is a wonderful
choice for your next
performance.
Grade 1 SKU: CL.023-4811-00 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 1
SKU:
CL.023-4811-00
Composed by Robert W.
Smith. Young Concert
Band. Score and set of
parts. C.L. Barnhouse
#023-4811-00. Published
by C.L. Barnhouse
(CL.023-4811-00).
Trans-America
March, composed in
classic style, is
inspired by the westward
development of the United
States of America.
Beginning with a quote
from the opening phrase
of The Star Spangled
Banner, we are taken on a
journey westward across
the great divide. The
first strain ascends
melodically to the peak
in center of the phrase.
The melody then descends
to the other side of the
great divide representing
the journey across the
country from sea to
shining sea. The trio is
based on America, My
Country Tis Of Thee,
leading to a rousing
conclusion. Perfect for
patriotic programming or
in any concert/festival
setting, Trans-America
March is a wonderful
choice for your next
performance.
Composed by Romeyn.
Concert Band. Oversized,
spiral-bound score.
Composed 2007. Opus III
Wind Orchestra
Publications
#012-3584-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3584-75).
Concert Band/Harmonie - Grade 2.5 SKU: BT.CMP-0164-97-010 Composed by Jam...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.CMP-0164-97-010
Composed by James Curnow.
Passport Plus Series. Set
(Score & Parts). Composed
1997. Curnow Music #CMP
0164-97-010. Published by
Curnow Music
(BT.CMP-0164-97-010).
In A Day at the
Museum the renowned
composer James
Curnowpresents four
contrasting types of art
that will be found in an
artexhibition. The work
is divided into five
movements, Promenade
(walking between
exhibits), Landscape (Van
Gough and Rubens),
Portrait (Manet),
Seascapes (Monet) and
Sculpture. Take a walk
through the
world’s greatest
museum and let your mind
recall the pleasure of
seeing works by the great
masters of the art world.
Concert Band - Grade 2.5 SKU: BT.CMP-0164-97-040 Composed by James Curnow...(+)
Concert Band - Grade 2.5
SKU:
BT.CMP-0164-97-040
Composed by James Curnow.
Passport Plus Series. Set
(Score & Parts). Composed
1997. Curnow Music #CMP
0164-97-040. Published by
Curnow Music
(BT.CMP-0164-97-040).
In A Day at the
Museum the renowned
composer James
Curnowpresents four
contrasting types of art
that will be found in an
artexhibition. The work
is divided into five
movements, Promenade
(walking between
exhibits), Landscape (Van
Gough and Rubens),
Portrait (Manet),
Seascapes (Monet) and
Sculpture. Take a walk
through the
world’s greatest
museum and let your mind
recall the pleasure of
seeing works by the great
masters of the art world.
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed...(+)
SKU: GI.G-10580
Philosopher and
Practitioner in
Dialogue. Composed by
William Perrine. Music
Education. 430 pages. GIA
Publications #10580.
Published by GIA
Publications
(GI.G-10580).
ISBN
9781622776375.
Cont
ributors: Travis J. Cross
(University of
California–Los
Angeles) • David J.
Elliott (New York
University) •
Marissa Silverman
(Montclair State
University) • Jacob
Wallace (South Dakota
State University) •
Randall Everett Allsup
(Teachers College,
Columbia University)
• Cynthia Johnston
Turner (Wilfrid Laurier
University) •
Carolyn Barber
(University of
Nebraska-Lincoln) •
John Kratus (Independent
Scholar) • Vincent
C. Bates (Weber State
University) •
Thomas G. Warner, Jr.
(North Carolina
Agricultural and
Technical State
University) • Ben
Hawkins (Transylvania
University) •
Thomas A. Regelski (SUNY
Fredonia School of Music,
Helsinki University of
Finland) • Paul
Woodford (Western
University) •
Charles Peltz (New
England Conservatory of
Music) In the wind band
profession—as in
every great
discipline—it is
critical to take stock in
the big questions about
where we are heading, and
why, as we move through
the twenty-first century.
This thought-provoking
book contains seven
high-level exchanges
between a leading wind
band practitioner and a
music education
philosopher. Each section
of The Future of the Wind
Band grapples with the
most profound issues
facing the music
education profession and
the path of instrumental
music education in our
schools: Relevance: What
relevance, if any, does
the wind band have both
to today’s
students and to culture
more broadly in the
twenty-first century?
What relevance does the
band experience hold for
students’ everyday
life? Repertoire: What is
the relationship between
the repertoire performed
by wind ensembles and the
larger musical world?
Pedagogy: What
constitutes best practice
in terms of musical
pedagogy and rehearsal
technique within the
large-ensemble
experience? Creativity:
Can the wind band
function as a vehicle for
enhancing the individual
creativity of its
members? Economic
Justice: How do issues of
social class and the
distribution of wealth
relate to broader
questions of social
justice within the
context of instrumental
music education?
Professional Ethics: What
are the primary ethical
responsibilities of the
wind band conductor?
Democratic Citizenship:
What relationship, if
any, can be drawn between
membership in the wind
band and citizen
participation in
democracy? Such exchanges
can only strengthen our
profession and pay rich
dividends in our musical
and educational work with
the students we serve.
Editor of this book,
William (Bill) M. Perrine
is Associate Professor of
Music and Director of
Instrumental Activities
at Concordia University
in Ann Arbor, Michigan,
where he directs the wind
ensemble, marching band,
and community
orchestra.
School's Cool Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 1.5 SKU: BT.DHP-1053829-015 (+)
Concert
Band/Harmonie/Fanfare
Band - Grade 1.5
SKU:
BT.DHP-1053829-015
Little Suite for
Flexible Band.
Composed by Jacob De
Haan. Flexible 4 Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053829-015.
Published by De Haske
Publications
(BT.DHP-1053829-015).
9x12 inches.
English-German-French-Dut
ch.
This short,
“cool†suite
in three movements can be
performed with a variety
of instruments from a
handful of players to a
complete concert band.
The first movement
radiates joy with a
powerful 3/4 beat. The
second movement is in the
style of a pavane, which
gives a sense of
nostalgia and the final
movement forms a cheerful
and high-spirited closing
with a really funky beat.
This wonderful suite has
been composed especially
for youth musicians and
they will all gain great
pleasure from performing
it.Because of the
four-part
instrumentation, School's
Cool is suitable for
smaller strengths, taking
into account that it is
important to divide parts
evenly among the players.
Alsoincludes an ad-lib
keyboard/piano part to
support the ensemble.
Deze korte suite
is uitvoerbaar in elke
denkbare bezetting
(eventueel inclusief
piano).
School’s
Cool is gecomponeerd
in opdracht van de Yamaha
Bläserklasse van de
Frauenwaldschule in
Nieder-Mörlen
(Duitsland), ter
gelegenheidvan de
verhuizing naar een ander
gebouw. De leerlingen van
het orkest vonden de
voormalige school
‘cool’,
omdat ze er fijn konden
musiceren. Het eerste
deel straalt deze vreugde
uit met een krachtige
beat in driekwartsmaat.
Hettweede deel is een
soort pavane, waarin even
wat weemoed doorklinkt.
Het derde deel vormt een
levenslustig slot in een
lekkere funkbeat. Een
heerlijke suite voor
jeugdige
musici.
Diese
kurze, coole“ Suite
in drei Sätzen wurde
speziell für eine hoch
motivierte
Bläserklasse
komponiert und kann
deshalb in jeder
denkbaren Spielstärke
(optional mit Klavier)
gespielt werden. Der
erste Satz strahlt
Spielfreude in einem
kraftvollen Rhythmus im
1/2-Takt aus. Der zweite
Satz ist eine Art Pavane,
in welcher einen Moment
lang Nostalgie
widerklingt. Der dritte
Satz bildet ein
fröhliches, in
Hochstimmung endendes
Finale in einem
ansprechenden Funk-Beat.
Kurz gesagt, ist
School’s
Cool eine wunderbare
Suite, ganz besonders
für junge
Musiker.
Questa piccola
suite in tre movimenti,
fluida e rilassante, è
adatta ad ogni tipo di
organico a strumentazione
variabile (parte per il
piano opzionale).
School’s Cool è
un brano commissionato a
Jacob de Haan per la
classe di musica
Essential Elements della
Scuola Frauenwald di
Nieder-Mörlen in
Germania. Il primo
movimento evoca
musicalmente la gioia di
vivere. Il secondo
movimento è una specie
di pavane impregnata di
nostalgia. Vivace e
brillante, il terzo
movimento chiude il brano
su un trascinante ritmo
funk. Questa piccola
suite piena di charme
è perfetta per giovani
musicisti.
School's Cool Orchestre d'harmonie - Débutant De Haske Publications
Concert Band - Grade 1.5 SKU: BT.DHP-1053829-040 Little Suite for Flex...(+)
Concert Band - Grade 1.5
SKU:
BT.DHP-1053829-040
Little Suite for
Flexible Band.
Composed by Jacob De
Haan. Flexible 4 Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053829-040.
Published by De Haske
Publications
(BT.DHP-1053829-040).
9x12 inches.
English-German-French-Dut
ch.
This short,
“cool†suite
in three movements can be
performed with a variety
of instruments from a
handful of players to a
complete concert band.
The first movement
radiates joy with a
powerful 3/4 beat. The
second movement is in the
style of a pavane, which
gives a sense of
nostalgia and the final
movement forms a cheerful
and high-spirited closing
with a really funky beat.
This wonderful suite has
been composed especially
for youth musicians and
they will all gain great
pleasure from performing
it.Because of the
four-part
instrumentation, School's
Cool is suitable for
smaller strengths, taking
into account that it is
important to divide parts
evenly among the players.
Alsoincludes an ad-lib
keyboard/piano part to
support the ensemble.
Deze korte suite
is uitvoerbaar in elke
denkbare bezetting
(eventueel inclusief
piano).
School’s
Cool is gecomponeerd
in opdracht van de Yamaha
Bläserklasse van de
Frauenwaldschule in
Nieder-Mörlen
(Duitsland), ter
gelegenheidvan de
verhuizing naar een ander
gebouw. De leerlingen van
het orkest vonden de
voormalige school
‘cool’,
omdat ze er fijn konden
musiceren. Het eerste
deel straalt deze vreugde
uit met een krachtige
beat in driekwartsmaat.
Hettweede deel is een
soort pavane, waarin even
wat weemoed doorklinkt.
Het derde deel vormt een
levenslustig slot in een
lekkere funkbeat. Een
heerlijke suite voor
jeugdige
musici.
Diese
kurze, coole“ Suite
in drei Sätzen wurde
speziell für eine hoch
motivierte
Bläserklasse
komponiert und kann
deshalb in jeder
denkbaren Spielstärke
(optional mit Klavier)
gespielt werden. Der
erste Satz strahlt
Spielfreude in einem
kraftvollen Rhythmus im
1/2-Takt aus. Der zweite
Satz ist eine Art Pavane,
in welcher einen Moment
lang Nostalgie
widerklingt. Der dritte
Satz bildet ein
fröhliches, in
Hochstimmung endendes
Finale in einem
ansprechenden Funk-Beat.
Kurz gesagt, ist
School’s
Cool eine wunderbare
Suite, ganz besonders
für junge
Musiker.
Symphony No. 3 for
Wind Orchestra CD.
Composed by Franco
Cesarini. Editions Franco
Cesarini. Classical,
Concert. Softcover. Hal
Leonard #EFC019-CD.
Published by Hal Leonard
(HL.4008672).
ISBN
9798350115215. UPC:
196288190028.
A CD
that includes four great
works by Franco Cesarini
performed by the Civica
Filarmonica di Lugano
under the direction of
the Maestro. Passacaglia
and Fugue in C-minor BWV
582 In Franco
CesariniÂ’s
arrangement for large
wind orchestra, the
particularly careful
interpretation of the
original piece enables
him to exploit all the
sound colors at his
disposal, and in this
sumptuous guise Bach's
work also takes on a
grandiose dimension,
albeittinged with
late-Romanticism. A
masterpiece by Johann
Sebastian Bach superbly
arranged for wind
orchestra. Sinfonietta
No. 3
“Zwölfmalgreien
Sketchesâ€, Op. 56
In composing the
Sinfonietta No. 3 ,
Franco Cesarini was
inspired by the history
of the municipality of
Zwölfmalgreien, made
up of various towns,
villages and scattered
districts which were
incorporated to the City
of Bolzano (Italy) over
one hundred years ago.
The peculiarity of these
places, different from
each other, but all
characterized by rare
beauty, have contributed
to create this
3-mouvement work (City
Life, Mountain Shadows
and Classic Wineyards),
which translates into
music the activities of
the villages, the winter
days and the lively
atmosphere in the wine
regions. A perfect trip
to this wonderful part of
Italy! Suite Siciliana,
Op. 57b The Suite
Siciliana, a 7-movement
piece - Intrada , Pavana,
Gavotta, Barcarola ,
Tambourin , Sicilianaand
Tarantella - is
characterised by
contrasting rhythms and
tempo and consists of
these 7 dances. The
musical form, typical of
the Baroque period,
refers to some
traditional expressions
of art from the land of
Sicily: ranging from the
rich architecture of the
Sicilian Baroque to the
colorful majolica
ceramics and the
characteristic puppets,
the “pupiâ€,
which narrate a secular
tradition. A full
immersion into ancient
traditions of this
beautiful island!
Symphony No. 3
“Urban
Landscapesâ€, Op. 55
Fascinated by the beauty
of Chicago, Franco
Cesarini has translated
his emotions into music:
this is how was born
Symphony No. 3
“Urban
Landscapes†, a
musical portrait of this
metropolis overlooking
Lake Michigan. The
composition is divided
into three movements -
The Wrigley Building from
Dawn to Noon , Blue
Silhouette and Cloud Gate
- which by sharing the
same thematic material
arranged in cyclical
form, strengthen the
overall cohesion of the
piece. Symphony No. 3
“Urban
Landscapesâ€, a
sumptuous musical
portrait of the
“Windy Cityâ€.
Civica Filarmonica di
Lugano Since its
foundation in 1830,
Civica Filarmonica di
Lugano has performed at
diverging events, varying
from large gatherings to
international jury
performances. The Civica
Filarmonica di Lugano is
one of SwitzerlandÂ’s
oldest and most
prestigious music
societies and consists of
approximately 70
musicians.The Civica
Filarmonica gives about
20 concerts a year, both
at the city's concert
halls and the Piazza
della Riforma, the square
in Lugano that.
Festive Music Orchestre d'harmonie EMB (Editio Musica Budapest)
Score and Parts Concert Band; Symphonic Band (Score) SKU: HL.50606831 ...(+)
Score and Parts Concert
Band; Symphonic Band
(Score)
SKU:
HL.50606831
For
Symphonic Band, 11:20
Score and Parts.
Composed by Laszlo
Dubrovay. EMB. Classical,
Festival. Softcover.
Duration 680 seconds.
Editio Musica Budapest
#Z15176. Published by
Editio Musica Budapest
(HL.50606831).
ISBN
9798350114454. UPC:
196288188315.
This
work of festive
atmosphere was written in
2000 for symphonic band,
then the composer
arranged it for symphony
orchestra. In this piece,
László Dubrovay
(*1943) parts with his
special, hallmark concert
band effects; rather,
lively vibrations
enriched with colliding
seconds and distant
overtones are brought to
the foreground. The
special sound is coloured
by ornamental trills,
appearingeven in batches,
and vibrating collisions
in the high registers.
The performance is
rendered even more unique
by the outer trumpets on
both sides of the space.
The trumpets and the
flugelhorns can be
divided into ten parts
altogether, thus, the
piece can be played by
one ensemble or several
bands together, as it is
usual at the conclusion
of large-scale festivals.
This composition may be a
great choice for festive
concerts, since it is a
solemn, innovative, and -
by virtue of the free
arrangement of the
performing space- special
work at the same
time.
Festive Music Orchestre d'harmonie EMB (Editio Musica Budapest)
Concert Band; Symphonic Band (Score) SKU: HL.50606654 For Symphonic Ba...(+)
Concert Band; Symphonic
Band (Score)
SKU:
HL.50606654
For
Symphonic Band Score.
Composed by Laszlo
Dubrovay. EMB. Classical,
Festival. Softcover. 40
pages. Duration 680
seconds. Editio Musica
Budapest #Z15176SC.
Published by Editio
Musica Budapest
(HL.50606654).
ISBN
9781705199916. UPC:
196288154242.
This
work of festive
atmosphere was written in
2000 for symphonic band,
then the composer
arranged it for symphony
orchestra. In this piece,
László Dubrovay
(*1943) parts with his
special, hallmark concert
band effects; rather,
lively vibrations
enriched with colliding
seconds and distant
overtones are brought to
the foreground. The
special sound is coloured
by ornamental trills,
appearingeven in batches,
and vibrating collisions
in the high registers.
The performance is
rendered even more unique
by the outer trumpets on
both sides of the space.
The trumpets and the
flugelhorns can be
divided into ten parts
altogether, thus, the
piece can be played by
one ensemble or several
bands together, as it is
usual at the conclusion
of large-scale festivals.
This composition may be a
great choice for festive
concerts, since it is a
solemn, innovative, and -
by virtue of the free
arrangement of the
performing space- special
work at the same
time.
Festive Music Orchestre d'harmonie EMB (Editio Musica Budapest)
Score and Parts Concert Band; Symphonic Band (Score & Parts) SKU: HL.50606653...(+)
Score and Parts Concert
Band; Symphonic Band
(Score & Parts)
SKU:
HL.50606653
For
Symphonic Band Score and
Parts. Composed by
Laszlo Dubrovay. EMB.
Classical, Festival.
Softcover. 328 pages.
Duration 680 seconds.
Editio Musica Budapest
#Z15176SET. Published by
Editio Musica Budapest
(HL.50606653).
ISBN
9781705199909. UPC:
196288154235.
This
work of festive
atmosphere was written in
2000 for symphonic band,
then the composer
arranged it for symphony
orchestra. In this piece,
László Dubrovay
(*1943) parts with his
special, hallmark concert
band effects; rather,
lively vibrations
enriched with colliding
seconds and distant
overtones are brought to
the foreground. The
special sound is coloured
by ornamental trills,
appearingeven in batches,
and vibrating collisions
in the high registers.
The performance is
rendered even more unique
by the outer trumpets on
both sides of the space.
The trumpets and the
flugelhorns can be
divided into ten parts
altogether, thus, the
piece can be played by
one ensemble or several
bands together, as it is
usual at the conclusion
of large-scale festivals.
This composition may be a
great choice for festive
concerts, since it is a
solemn, innovative, and -
by virtue of the free
arrangement of the
performing space- special
work at the same
time.
(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
Heavy Metal Orchestre d'harmonie - Débutant C.L. Barnhouse
Grade 1 SKU: CL.015-2568-00 Composed by A. Clark. Young Concert Band. Nor...(+)
Grade 1
SKU:
CL.015-2568-00
Composed by A. Clark.
Young Concert Band.
Norman Lee Series. Score
and set of parts.
Composed 1993. C.L.
Barnhouse #015-2568-00.
Published by C.L.
Barnhouse
(CL.015-2568-00).
This great
arrangement features all
of those Heavy Metal
instruments like the
trombones, baritones,
tubas, bass clarinets and
baritone saxophones in a
cheerful setting that is
sure to build confidence
in your younger players.
Designed to build
technical proficiency as
well as enthusiasm in
those sections that
don’t often get
the spotlight, Heavy
Metal will pay big
dividends to your program
in the years to come.
Heavy Metal Orchestre d'harmonie - Débutant C.L. Barnhouse
Grade 1 SKU: CL.015-2568-01 Composed by A. Clark. Young Concert Band. Ext...(+)
Grade 1
SKU:
CL.015-2568-01
Composed by A. Clark.
Young Concert Band. Extra
full score. Composed
1993. C.L. Barnhouse
#015-2568-01. Published
by C.L. Barnhouse
(CL.015-2568-01).
This great
arrangement features all
of those Heavy Metal
instruments like the
trombones, baritones,
tubas, bass clarinets and
baritone saxophones in a
cheerful setting that is
sure to build confidence
in your younger players.
Designed to build
technical proficiency as
well as enthusiasm in
those sections that
don’t often get
the spotlight, Heavy
Metal will pay big
dividends to your program
in the years to come.
A Hymn of Peace Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2.5 SKU: CL.011-2803-01 Composed by Chisham. Young Concert Band. Co...(+)
Grade 2.5
SKU:
CL.011-2803-01
Composed by Chisham.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR183). Extra full
score. Composed 1996.
Duration 2 minutes, 34
seconds. C.L. Barnhouse
#011-2803-01. Published
by C.L. Barnhouse
(CL.011-2803-01).
An inspiring
composition that starts
softly and builds
steadily to an impressive
climax. Reflective in
nature, A Hymn For Peace
will challenge your
developing students while
providing a program
number which has great
audience appeal. Will pay
big dividends for your
mid-level band.
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Concert Band Symphonic Band - Grade 4; Grade 4.5 SKU: FJ.B1336S Score ...(+)
Concert Band Symphonic
Band - Grade 4; Grade 4.5
SKU: FJ.B1336S
Score Only.
Composed by Roland
Barrett. Concert Band.
FJH Symphonic Band.
Score. Duration 5:30. The
FJH Music Company Inc
#98-B1336S. Published by
The FJH Music Company Inc
(FJ.B1336S).
English.
All of
us are taught to have big
dreams and to pursue
those dreams. In the
spirit of this ideal,
Roland Barrett salutes
all great dreamers by
examining the connection
between thought and deed,
contemplation and action.
Divided into six main
sections, each dream
passage leads to an
ensuing proclamation.
Powerful, emotional, and
energetic, the work moves
to a fantastic close.
Breathtaking!
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
