| Sound Innovations for Concert Band, Book 1 Clarinette Basse [Partition + CD + DVD] Alfred Publishing
(A Revolutionary Method for Beginning Musicians (B-Flat Bass Clarinet)). By Robe...(+)
(A Revolutionary Method
for Beginning Musicians
(B-Flat Bass Clarinet)).
By Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For B-Flat Bass
Clarinet. Band Method;
Book; CD; DVD;
Method/Instruction. Sound
Innovations. Beginner. 48
pages
$11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Innovations for Concert Band, Book 1 Clarinette [Partition + CD + DVD] Alfred Publishing
(A Revolutionary Method for Beginning Musicians (B-Flat Clarinet)). By Robert Sh...(+)
(A Revolutionary Method
for Beginning Musicians
(B-Flat Clarinet)). By
Robert Sheldon, Peter
Boonshaft, Dave Black,
and Bob Phillips. Concert
Band. For B-Flat
Clarinet. Band Method;
Book; CD; DVD;
Method/Instruction. Sound
Innovations. Beginner. 48
pages
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Foundations For Superior Performance, Alto Clarinet Clarinette [Partition] Kjos Music Company
By Jeff King. Edited by Richard Williams. For Alto Clarinet. Band Methods. Instr...(+)
By Jeff King. Edited by
Richard Williams. For
Alto Clarinet. Band
Methods. Instructional
method. Book A,1. Method
book
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Foundations For Superior Performance, Clarinet Clarinette [Partition] Kjos Music Company
By Jeff King. Edited by Richard Williams. For Clarinet. Band Methods. Level: Boo...(+)
By Jeff King. Edited by
Richard Williams. For
Clarinet. Band Methods.
Level: Book A,1. Method
Book. Published by Neil
A. Kjos Music Company.
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 24 Varied Scales And Exercises For Clarinet
Clarinette Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pop for Clarinet Book 1 Clarinette [Partition + Accès audio] Schott
Book with Online Audio Clarinet SKU: HL.49046200 12 Pop-Hits in Easy A...(+)
Book with Online Audio
Clarinet SKU:
HL.49046200 12
Pop-Hits in Easy
Arrangements with 2nd
additional part.
Composed by Various.
Edited by Uwe Bye.
Woodwind Solo. Classical,
Pop, Traditional.
Softcover Audio Online.
32 pages. Schott Music
#ED22422. Published by
Schott Music
(HL.49046200). ISBN
9781540051806. UPC:
888680938826. This
edition contain the
latest pop songs and
movie soundtracks along
with timeless classics
all in easy arrangements
for clarinet that sound
great. Happy (Pharrell
Williams), Shake It Off
(Taylor Swift) and
Walking On Sunshine
(Katrina and the Waves)
are among the
chart-topping titles
included in the series.
All tunes are arranged
for one player with an
optional duet part. $22.99 - Voir plus => Acheter | | |
| Sound Off Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS212
March. Composed by
John Philip Sousa.
Arranged by Andrew
Balent. Concert Band
(CPS). This early Sousa
march demonstrates his
melodic gift and his use
of counter melodies. Good
ensemble balance, dynamic
contrast, and proper
articulation are vital
for a good
performance.Performance
Time: 2:00. Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+1+1+4+
2+4+20 pages. Duration 3
minutes, 8 seconds. Carl
Fischer Music #CPS212.
Published by Carl Fischer
Music (CF.CPS212).
ISBN 9781491152386.
UPC:
680160909889. This
early Sousa march
demonstrates his melodic
gift and his use of
counter melodies. It
contains his signature
style, but in a different
an unique was from him
more well-know
marches. $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sound Off Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Clarinet 3, Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone 1, Trombone 2
and more. - Grade 3
SKU: CF.CPS212F
March. Composed by
John Philip Sousa.
Arranged by Andrew
Balent. Concert Band
(CPS). This early Sousa
march demonstrates his
melodic gift and his use
of counter melodies. Good
ensemble balance, dynamic
contrast, and proper
articulation are vital
for a good
performance.Performance
Time: 2:00. Full score.
With Standard notation.
20 pages. Carl Fischer
Music #CPS212F. Published
by Carl Fischer Music
(CF.CPS212F). ISBN
9781491153062. UPC:
680160910564. This
early Sousa march
demonstrates his melodic
gift and his use of
counter melodies. It
contains his signature
style, but in a different
an unique was from him
more well-know
marches. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blast Off! Theodore Presser Co.
Orchestra Bass Trombone, Bassoon, Cello, Clarinet, Clarinet 1, Clarinet 2, Contr...(+)
Orchestra Bass Trombone,
Bassoon, Cello, Clarinet,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Narrator, Oboe,
Percussion, Piccolo,
Timpani, Trombone 1,
Trombone 2, Trumpet,
Tuba, Viola and more.
SKU: PR.416412370
For Narrator and
Orchestra - Small Study
Score. Composed by
Daniel Dorff. Premiered
March 31, 2000. Daniel
Hege conducting the
Haddonfield Symphony,
narrated by Astronaut
Kenneth Reightler, Jr.
Study Score. With
Standard notation.
Composed 1999. 40 pages.
Duration 9:30. Theodore
Presser Company
#416-41237. Published by
Theodore Presser Company
(PR.416412370). UPC:
680160092178. 9 x 12
inches. Ideal for
family concerts about
space travel and
adventure, Dorff’s
BLAST OFF! was
commissioned by Lockheed
Martin for narration by
astronaut Kenneth
Reightler; the score
itself was a traveler on
NASA’s mission STS
1000. The travelogue
about a trip to space is
also designed to teach
about the sounds of each
family of instruments; CD
available on Bridge
Records. $35.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Clarinet Connection Ensemble de Clarinettes Advance Music
Clarinet Choir (4 Clarinets & Bass Clarinet) SKU: AP.1-ADV8409 For Cla...(+)
Clarinet Choir (4
Clarinets & Bass
Clarinet) SKU:
AP.1-ADV8409 For
Clarinet Choir.
Composed by Rolf Kuehn. 5
or More; Solo Small
Ensembles; Woodwind -
Clarinet Choir. Advance
Music. Form: Suite. Jazz.
Score and Part(s).
Advance Music
#01-ADV8409. Published by
Advance Music
(AP.1-ADV8409). UPC:
805095084092.
English. This
exciting, three-movement
suite offers a sound
world that is somewhere
between jazz and modern
classical, with floating
tonal centers and
unpredictable rhythmic
movement. $37.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Connection with Clarinet Quintette de Clarinette: Clarinette, Quatuor à Cordes Advance Music
Clarinet & String Quartet SKU: AP.1-ADV6409 Solo Clarinet with String ...(+)
Clarinet & String Quartet
SKU: AP.1-ADV6409
Solo Clarinet with
String Quartet.
Composed by Rolf
Küehn. Quartet; Solo
Small Ensembles; String
Quartet. Advance Music.
Jazz. Score and Part(s).
Advance Music
#01-ADV6409. Published by
Advance Music
(AP.1-ADV6409). ISBN
9783892215400. UPC:
805095064094.
English. String
Connection with Clarinet,
is a three-movement suite
that offers a sound-world
that is somewhere between
jazz and modern
classical, with floating
tonal centers and
unpredictable rhythmic
movement. Recorded by
Andy Miles and the Auryn
Quartet on their CD
Crossing Borders and
arranged for solo
clarinet and string
quarter by Rolf Küehn.
Titles include:
Connection * Contacts *
Encounter. $38.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Premier Performance - Alto Clarinet Book 1 w/CD Ed Sueta Music Publications
Alto Clarinet - 1 SKU: EB.1-930292-03-1 Premier Performance. Instructiona...(+)
Alto Clarinet - 1 SKU:
EB.1-930292-03-1
Premier Performance.
Instructional Method
Book. Ed Sueta Music
Publications
#1-930292-03-1. Published
by Ed Sueta Music
Publications
(EB.1-930292-03-1).
ISBN
9781930292031. Prem
ier Performance(r)is an
innovative and
comprehensive band method
written with one primary
goal:providing band
directors with the most
effective and logically
sequenced instructional
materials for young
instrumentalists.Premier
Performance(r) is
carefully structured to
develop the three
cornerstones of
outstanding musicianship:
superior tone quality,
accurate rhythm reading
skills and technical
facility.Strong emphasis
is placed on rhythmic
development since this
may be the greatest
challenge facing first
and second year
students.
Premier
Performance(r) Book One
and Book Two each offer
instrument specific
downloadable
accompaniments.
Th
e first accompaniment
track features a
professional musician
playing the melody line
so students can hear and
emulate the sound of
their own instrument. The
second track eliminates
the melody line and
provides the background
accompaniment so students
may play independently.
The accompaniments
include solo and solo
accompaniment for each
student method book. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Premier Performance - Clarinet Book 2 w/CD Clarinette Ed Sueta Music Publications
Clarinet - 2 SKU: EB.1-930292-27-9 Premier Performance. Instructional Met...(+)
Clarinet - 2 SKU:
EB.1-930292-27-9
Premier Performance.
Instructional Method
Book. Ed Sueta Music
Publications
#1-930292-27-9. Published
by Ed Sueta Music
Publications
(EB.1-930292-27-9).
ISBN
9781930292277. Prem
ier Performance(r)is an
innovative and
comprehensive band method
written with one primary
goal:providing band
directors with the most
effective and logically
sequenced instructional
materials for young
instrumentalists.Premier
Performance(r) is
carefully structured to
develop the three
cornerstones of
outstanding musicianship:
superior tone quality,
accurate rhythm reading
skills and technical
facility.Strong emphasis
is placed on rhythmic
development since this
may be the greatest
challenge facing first
and second year
students.
Premier
Performance(r) Book One
and Book Two each offer
instrument specific
downloadable
accompaniments.
Th
e first accompaniment
track features a
professional musician
playing the melody line
so students can hear and
emulate the sound of
their own instrument. The
second track eliminates
the melody line and
provides the background
accompaniment so students
may play independently.
The accompaniments
include solo and solo
accompaniment for each
student method book. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Premier Performance - Bass Clarinet Book 1 w/CD Ed Sueta Music Publications
Bass Clarinet - 1 SKU: EB.1-930292-04-X Premier Performance. Instructiona...(+)
Bass Clarinet - 1 SKU:
EB.1-930292-04-X
Premier Performance.
Instructional Method
Book. Ed Sueta Music
Publications
#1-930292-04-X. Published
by Ed Sueta Music
Publications
(EB.1-930292-04-X).
ISBN
9781930292048. Prem
ier Performance(r)is an
innovative and
comprehensive band method
written with one primary
goal:providing band
directors with the most
effective and logically
sequenced instructional
materials for young
instrumentalists.Premier
Performance(r) is
carefully structured to
develop the three
cornerstones of
outstanding musicianship:
superior tone quality,
accurate rhythm reading
skills and technical
facility.Strong emphasis
is placed on rhythmic
development since this
may be the greatest
challenge facing first
and second year
students.
Premier
Performance(r) Book One
and Book Two each offer
instrument specific
downloadable
accompaniments.
Th
e first accompaniment
track features a
professional musician
playing the melody line
so students can hear and
emulate the sound of
their own instrument. The
second track eliminates
the melody line and
provides the background
accompaniment so students
may play independently.
The accompaniments
include solo and solo
accompaniment for each
student method book. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Candy Cane Clarinets Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
By Len Orcino. Concert band. Young Band. Rising Band Series for Developing Bands...(+)
By Len Orcino. Concert
band. Young Band. Rising
Band Series for
Developing Bands!. Audio
recording available
separately (item
CL.WFR374). Grade 2.
Score and set of parts.
Composed 2011. Duration 1
minute, 54 seconds.
Published by C.L.
Barnhouse
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière
(“sound and
light,†a kind of
show staged for tourists
at historic sites or
famous buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. Son et
lumière (“sound
and light,†a kind
of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Semper Gratus - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, ...(+)
Band Bass Clarinet,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe, Percussion
1, Percussion 2 and more.
- Grade 3 SKU:
CF.CPS251 Composed by
Patrick Glenn Harper. Set
of Score and Parts.
28+8+8+4+8+8+8+4+4+4+4+4+
4+8+8+8+4+4+6+6+6+4+8+1+4
+2+2+12+2+8 pages.
Duration 4 minutes, 27
seconds. Carl Fischer
Music #CPS251. Published
by Carl Fischer Music
(CF.CPS251). ISBN
9781491159873. UPC:
680160918461. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Semper Gratus - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Gong, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS251F Composed
by Patrick Glenn Harper.
Full score. 25 pages.
Carl Fischer Music
#CPS251F. Published by
Carl Fischer Music
(CF.CPS251F). ISBN
9781491159880. UPC:
680160918478. About
the Music Semper Gratus
is Latin for always
grateful. The piece was
written in honor of James
E. Champion, who taught
band for thirty-eight
years, twenty-five of
which were spent in
Florence, Alabama, where
he was my elementary
school and high school
band director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in doing
so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a career.
And for that, I will
always be grateful.
Performance Notes
Measures 1-12: The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind cues
should only be used if
absolutely needed during
this section. Measures
41-58: The concert toms
should establish a
presence, but not
overpower the winds. The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A higher
pitched woodblock should
be used for this section.
(A set of claves could be
used in place of the
woodblock if desired.)
Measures 59-94: The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections. The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70. The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm. 92-94,
depending on the size of
the ensemble, you may
want to limit the number
of players (or put one
per part) to achieve the
most delicate sound
possible. Measures
95-End: In mm. 99-107, be
sure that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114-115, the accents
on beats 2 and 4 in the
lower winds should be
exaggerated to contrast
the feel of the previous
four measures. In m. 118,
all winds should cut off
and breathe on beat two
for maximum impact on the
next three
measures. About the
MusicSemper Gratus is
Latin for “always
grateful.†The
piece was written in
honor of James E.
Champion, who taught band
for thirty-eight years,
twenty-five of which were
spent in Florence,
Alabama, where he was my
elementary school and
high school band
director. His bands
consistently achieved
superior ratings
throughout his career. He
holds
multi-decade-spanning
memberships in
professional music
education organizations,
continues to serve in
helping with Alabama
Bandmasters Association
events, and conducts and
performs in various
community bands and
ensembles. As my band
director at Bradshaw High
School, Mr. Champion
encouraged me to perform
one of my first
compositions, a clarinet
quartet, at solo/ensemble
festival. He taught his
students the fundamentals
of music, the technical
aspects of performance,
and exposed them to the
great standards of band
literature. But in
doing so, he also modeled
leadership, work-ethic,
good character, and
fostered the love of the
activity of band that led
me to choose music
education as a
career. And for that,
I will always be
grateful.Performance
NotesMeasures
1-12:Â Â The
beginning of the piece
should be performed in a
majestic, fanfare-like
style. The woodwind
cues should only be used
if absolutely needed
during this
section.Measures
41-58:Â Â The
concert toms should
establish a presence, but
not overpower the
winds.  The
triangle and woodblock
parts should be heard
distinctly over the
concert toms. A
higher pitched woodblock
should be used for this
section. (A set of
claves could be used in
place of the woodblock if
desired.)Â Measures
59-94:Â Â The
entirety of the middle
section should be played
in a rubato style to
maximize musical
expression, exaggerating
dynamics and ritardando
sections.  The
quarter-note triplets in
the middle and low winds
should be emphasized at
m. 70.  The molto
ritardando that begins at
m. 70 should be allowed
to build as long as
possible in m. 71 before
reaching the musical apex
of the middle section at
m. 72. At mm.
92–94, depending
on the size of the
ensemble, you may want to
limit the number of
players (or put one per
part) to achieve the most
delicate sound
possible.Measures
95-End:Â Â In mm.
99–107, be sure
that the eighth-note
running mallet parts are
heard as a background
texture, but do not
overpower the winds. In
mm. 114–115, the
accents on beats 2 and 4
in the lower winds should
be exaggerated to
contrast the feel of the
previous four measures.
 In m. 118, all winds
should cut off and
breathe on beat two for
maximum impact on the
next three measures. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Courage of the Cossacks Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Tambourine and more. -
Grade 4 SKU:
CF.SPS74 Composed by
Ed Kiefer. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
2+8+8+4+8+8+8+4+4+4+4+4+4
+6+6+6+4+4+6+6+6+4+6+8+2+
1+4+4+24 pages. Duration
3 minutes, 56 seconds.
Carl Fischer Music
#SPS74. Published by Carl
Fischer Music (CF.SPS74).
ISBN 9781491147696.
UPC: 680160905195. 9 x 12
inches. Key: F
minor. Courage of
the Cossacks is a
refreshing march in the
style of Russian folk
music, offering a break
from the standard
American march style for
festival performance.
Composer Ed Kiefer has
scored this piece to
sound sonorous throughout
while highlighting all
sections of the band.
Directors looking for a
unique march need look no
further. Courage of
the Cossacks was written
for my friends in Union
County, NC . Based on
several Cossack folk
tunes it is a very dark
sounding march which
features almost every
section of the band . The
trio is one of the most
beautiful oppressive
melodies I have ever
heard, and it is set in
stark contrast to the
upbeat, Russian sounding
opening strains . After
the trio comes to a halt,
the piece restarts
slowly, gradually
accelerating to the final
strain, much like many
Cossack dances . A
combination of March and
Dance, this piece is not
too difficult to perform
and is very rewarding for
both students and
audiences . Courage of
the Cossacks is a great
piece to begin or end any
concert and a perfect
march for showing off
your group at festival
. $125.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233 Composed by
Zachary Cairns. Folio.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+2+2+4+4+2+2+8
+8+8+4+4+3+3+3+2+4+4+4+2+
1+6+3+20 pages. Duration
2 minutes, 36 seconds.
Carl Fischer Music
#CPS233. Published by
Carl Fischer Music
(CF.CPS233). ISBN
9781491156322. UPC:
680160914869. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233F Composed
by Zachary Cairns. Sws.
Cps. Full score. 20
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS233F.
Published by Carl Fischer
Music (CF.CPS233F).
ISBN 9781491156339.
UPC: 680160914876. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Overture to a Small Town - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet 1, Clarine...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crotales, English Horn,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion 1 and
more. - Grade 4 SKU:
CF.SPS94 Composed by
Cooper Minnis. Sps. Set
of Score and Parts.
1+8+8+4+1+8+8+8+2+2+2+2+2
+2+2+3+3+3+2+2+2+2+3+3+3+
3+2+3+1+2+2+1+2+2+24
pages. Duration 7:48.
Carl Fischer Music
#SPS94. Published by Carl
Fischer Music (CF.SPS94).
ISBN 9781491161449.
UPC:
680160920037. On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America's cities and
towns. The opening
moments of this piece
should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being aggressive.
The textural layering in
mm. 48-53 should be
executed with
machine-like precision of
both rhythm and
articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte dynamic.
In mm. 65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal. In mm. 69-73:
If there is no English
Horn available to the
ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.
This impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection.  . On
November 5th, 2017, a
mass shooting took place
at the First Baptist
Church in Sutherland
Springs, Texas.
Twenty-six innocent
people lost their lives
that day, including an
unborn child. Overture to
a Small Town is dedicated
to these victims and the
loved ones they left
behind. From the biggest
cities to the smallest
towns, the senseless
bloodshed must end.
Despite the darkness of
this tragedy, it is my
intent through this music
to portray a sense of
hope, dignity, and
innocence deserved by all
America’s cities
and towns.  The
opening moments of this
piece should be treated
delicately, ensuring that
the brass section moves
together in one unified
voice, and that the
crotales evoke distant
flickers of light.
Similarly, in mm.
120-127, articulations in
the flutes, trumpets and
mallets should be strong
enough to be heard, but
without being
aggressive.  The
textural layering in mm.
48-53 should be executed
with machine-like
precision of both rhythm
and articulation. This
passage should evoke the
sound of many voices
rising together. There
should be a great
contrast between the
opening Piano dynamic and
the final Forte
dynamic.  In mm.
65-69, both mallet
percussionists may play
the indicated notes in
any octave they choose.
Both players should move
rapidly between notes in
any order. This passage
should sound fluid and
ethereal.  In mm.
69-73: If there is no
English Horn available to
the ensemble, the Trumpet
should play this passage
solo. If there is an
English Horn, both
instruments should play
the passage together.This
impressionistic
composition about these
vanished structures,
although written for more
advanced ensembles, has
only one flute, clarinet,
trumpet, horn and
trombone part. As a
result, smaller bands can
play this composition
without having to look
for a flex-band
arrangement. Use this to
develop the essential
skills of syncopation and
counting while also
offering the security of
only having one part for
each instrument voice. An
exciting contrasting
selection for bands
looking for a
harmonically interesting
composition, this also
works well as a contest
selection. . $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Imaginary Islands Carl Fischer
Scores Bass Clarinet, Bassoon 1, Bassoon 2, Celesta, Clarinet, Clarinet 1, Clari...(+)
Scores Bass Clarinet,
Bassoon 1, Bassoon 2,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Oboe 3,
Percussion 1 and more.
SKU: CF.CY3488F
For Orchestra.
Composed by Paul Lansky.
Spiral. Full score. With
Standard notation.
Composed 2010. Duration
22 minutes. Carl Fischer
Music #CY3488F. Published
by Carl Fischer Music
(CF.CY3488F). ISBN
9780825882937. UPC:
798408082932. 11 x 17
inches. Frank J.
Oteri (NewMusicBox)
reviews the recent Bridge
recording Paul Lansky:
Imaginary Islands,
writing in depth of the
composer's reputation for
electronic music. The
three works included on
the album are, however,
written expressly for
carbon-based life forms,
according to Lansky, and
represent a dramatic
departure. They are his
very first compositions
for orchestra, despite
sounding like they were
written by someone who
has had a lifetime of
experience taming this
behemoth ensemble! While
the title Imaginary
Islands may evoke a
specific mental imagery,
Oteri reminds us, Most
people associate the word
island with isolation and
tranquility, but
it’s important to
remember that Manhattan,
Montreal, Hong Kong, and
Singapore are also all
islands. While
Lansky’s second
island offers
opportunities for
reflective contemplation,
his first and especially
his third are sprawling
urban soundscapes that
offer many reasons for
numerous return trips.
Duration: 21'. $140.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Moon Rocks Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Composed by Robert Sheldon. Concert Band; Part(s); Score. Sound Innovations for ...(+)
Composed by Robert
Sheldon. Concert Band;
Part(s); Score. Sound
Innovations for Concert
Band. Novelty; Rock. 134
pages. Published by
Alfred Music (AP.44968).
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Moon Rocks Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Composed by Robert Sheldon. Concert Band; Score. Sound Innovations for Concert B...(+)
Composed by Robert
Sheldon. Concert Band;
Score. Sound Innovations
for Concert Band.
Novelty; Rock. 12 pages.
Published by Alfred Music
(AP.44968S).
$7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocket Surgery - Intermédiaire Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass
Clarinet, Bass Drum,
Bassoon, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani,
Triangle, Trombone,
Trumpet, Tuba and more. -
Grade 3 SKU:
CF.CPS256F Composed
by Chris Campbell. Full
score. 21 pages. Carl
Fischer Music #CPS256F.
Published by Carl Fischer
Music (CF.CPS256F).
ISBN 9781491159729.
UPC:
680160918317. As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!. As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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