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
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor Full Score.
Duration 9:00
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.
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.
The Snake Pit Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
China Cymbal, Clarinet 1,
Clarinet 2, Congas,
Cowbell, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Gong, Horn, Mallet
Percussion, Maracas,
Oboe, Percussion 1,
Percussion 2, Snare Drum
and more. - Grade 1.5
SKU: CF.FPS151
Composed by Tyler Arcari.
First Plus Band (FPS).
Set of Score and Parts.
With Standard notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+1+1+3+6+12+2 pages.
Duration 1 minute, 36
seconds. Carl Fischer
Music #FPS151. Published
by Carl Fischer Music
(CF.FPS151).
ISBN
9781491152119. UPC:
680160909612.
Every
one remembers the first
time that they saw a
snake. Though fascinating
to some and terrifying to
others, few animals are
as universally
mesmerizing. Composer
Tyler Arcari has crafted
a very fun piece making
use of auxiliary
percussion instruments to
emulate a snake's hiss or
ominous rattle. With very
strong and interesting
melodic material, and
scored to make a
developing band sound
great, this piece is sure
to be a favorite among
students. Everyone
remembers the first time
that they saw a snake.
The majority of people
have a base fear of them,
while others have a
“heebie-jeebiesâ
experience. We all
know how the great
explorer Dr. Indiana
Jones felt about snakes,
especially when he
famously fell into a
snake pit during Raiders
of the Lost Ark. However
you feel about snakes, a
pit of them certainly
sounds like an
adventure.About the
work:Snake Pit uses a lot
of auxiliary percussion
instruments. Some of
these sounds are intended
to subtly mimic the
sounds that snakes make.
The maraca in m. 4, of
course, is a
rattler’s call!
The Chinese cymbal is
intended to sound like
the “hiss†of
a not-so-friendly
serpent. The eighth-note
pattern at m. 9 is used
throughout as a
“creepyâ€
effect using dynamic
contrast so take care to
emphasize this when
present.I enjoy the gong
as a “colorâ€
instrument in the band. I
try to balance it with
the low brass. Take care
that at m. 42 the gong is
not “front-and
center†but more of
a support for the nice
accented chords in the
low brass. Also, the
trumpets can become
spaced too much here. The
accents are more for
emphasis and less
space.
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano -
Grade 0.5
SKU:
CF.BAS84F
Composed by
Lauren Bernofsky. Carl
Fischer Beginning String
Orchestra Series. Full
score. 8 pages. Carl
Fischer Music #BAS84F.
Published by Carl Fischer
Music (CF.BAS84F).
ISBN 9781491159309.
UPC:
680160917884.
Laure
n Bernofsky wants young
string players to love
playing music, from the
very beginning of their
studies. Therefore, she
likes writing early-level
pieces that are fun, yet
pedagogically helpful. On
a Swing is played on only
open strings, so students
can focus on their bow
holds and bowing without
having to think about
left-hand fingers. The
piece gets its harmonic
and rhythmic interest
from the piano part. This
work is dedicated to
Sandy Mutchler, who
fondly remembers her dear
friend, the strings
pedagogue Linda Luebke.
The title and feel of the
piece reflect the times
they spent together on a
porch swing. The
back-and-forth motion of
the swing is imitated in
the up-and-down bows.
Students should think of
a relaxed, swinging
motion with their bodies
as they play this
piece. Lauren
Bernofsky wants young
string players to love
playing music, from the
very beginning of their
studies. Therefore, she
likes writing early-level
pieces that are fun, yet
pedagogically helpful.
“On a Swingâ€
is played on only open
strings, so students can
focus on their bow holds
and bowing without having
to think about left-hand
fingers. The piece gets
its harmonic and rhythmic
interest from the piano
part. This work is
dedicated to Sandy
Mutchler, who fondly
remembers her dear
friend, the strings
pedagogue Linda Luebke.
The title and feel of the
piece reflect the times
they spent together on a
porch swing. The
back-and-forth motion of
the swing is imitated in
the up-and-down bows.
Students should think of
a relaxed, swinging
motion with their bodies
as they play this
piece.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
The Snake Pit Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
China Cymbal, Clarinet 1,
Clarinet 2, Congas,
Cowbell, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Gong, Horn, Mallet
Percussion, Maracas,
Oboe, Percussion 1,
Percussion 2, Snare Drum
and more. - Grade 1.5
SKU: CF.FPS151F
Composed by Tyler Arcari.
First Plus Band (FPS).
Full score. With Standard
notation. 12 pages. Carl
Fischer Music #FPS151F.
Published by Carl Fischer
Music (CF.FPS151F).
ISBN 9781491152799.
UPC:
680160910298.
Every
one remembers the first
time that they saw a
snake. Though fascinating
to some and terrifying to
others, few animals are
as universally
mesmerizing. Composer
Tyler Arcari has crafted
a very fun piece making
use of auxiliary
percussion instruments to
emulate a snake's hiss or
ominous rattle. With very
strong and interesting
melodic material, and
scored to make a
developing band sound
great, this piece is sure
to be a favorite among
students. Everyone
remembers the first time
that they saw a snake.
The majority of people
have a base fear of them,
while others have a
“heebie-jeebiesâ
experience. We all
know how the great
explorer Dr. Indiana
Jones felt about snakes,
especially when he
famously fell into a
snake pit during Raiders
of the Lost Ark. However
you feel about snakes, a
pit of them certainly
sounds like an
adventure.About the
work:Snake Pit uses a lot
of auxiliary percussion
instruments. Some of
these sounds are intended
to subtly mimic the
sounds that snakes make.
The maraca in m. 4, of
course, is a
rattler’s call!
The Chinese cymbal is
intended to sound like
the “hiss†of
a not-so-friendly
serpent. The eighth-note
pattern at m. 9 is used
throughout as a
“creepyâ€
effect using dynamic
contrast so take care to
emphasize this when
present.I enjoy the gong
as a “colorâ€
instrument in the band. I
try to balance it with
the low brass. Take care
that at m. 42 the gong is
not “front-and
center†but more of
a support for the nice
accented chords in the
low brass. Also, the
trumpets can become
spaced too much here. The
accents are more for
emphasis and less
space.
Orchestra Violin I, Violin II, Violin III (Viola T.C.), Viola, Cello, Bass, Pian...(+)
Orchestra Violin I,
Violin II, Violin III
(Viola T.C.), Viola,
Cello, Bass, Piano -
Grade 0.5
SKU:
CF.BAS84
Composed by
Lauren Bernofsky. Carl
Fischer Beginning String
Orchestra Series. Set of
Score and Parts.
8+1+1+5+5+5+2+1 pages.
Duration 1:33. Carl
Fischer Music #BAS84.
Published by Carl Fischer
Music (CF.BAS84).
ISBN
9781491159132. UPC:
680160917716.
Laure
n Bernofsky wants young
string players to love
playing music, from the
very beginning of their
studies. Therefore, she
likes writing early-level
pieces that are fun, yet
pedagogically helpful. On
a Swing is played on only
open strings, so students
can focus on their bow
holds and bowing without
having to think about
left-hand fingers. The
piece gets its harmonic
and rhythmic interest
from the piano part. This
work is dedicated to
Sandy Mutchler, who
fondly remembers her dear
friend, the strings
pedagogue Linda Luebke.
The title and feel of the
piece reflect the times
they spent together on a
porch swing. The
back-and-forth motion of
the swing is imitated in
the up-and-down bows.
Students should think of
a relaxed, swinging
motion with their bodies
as they play this
piece. Lauren
Bernofsky wants young
string players to love
playing music, from the
very beginning of their
studies. Therefore, she
likes writing early-level
pieces that are fun, yet
pedagogically helpful.
“On a Swingâ€
is played on only open
strings, so students can
focus on their bow holds
and bowing without having
to think about left-hand
fingers. The piece gets
its harmonic and rhythmic
interest from the piano
part. This work is
dedicated to Sandy
Mutchler, who fondly
remembers her dear
friend, the strings
pedagogue Linda Luebke.
The title and feel of the
piece reflect the times
they spent together on a
porch swing. The
back-and-forth motion of
the swing is imitated in
the up-and-down bows.
Students should think of
a relaxed, swinging
motion with their bodies
as they play this
piece.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
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.
Written by Christine H. Barden, E. L. Lancaster, Gayle Kowalchyk. Instructional ...(+)
Written by Christine H.
Barden, E. L. Lancaster,
Gayle Kowalchyk.
Instructional book for
easy piano. With easy
piano notation,
fingerings, lyrics,
instructional text and
illustrations. 48 pages.
Published by Alfred
Publishing.
Composed by Quincy C.
Hilliard. Set of Score
and Parts.
21+16+2+8+8+4+2+6+4+4+4+4
+4+4+6+6+4+6+6+2+1+4+3+3
pages. Duration 4
minutes, 25 seconds. Carl
Fischer Music #YPS237.
Published by Carl Fischer
Music (CF.YPS237).
ISBN 9781491159538.
UPC:
680160918126.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas)Â Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi)Â Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota)Â Gamma
Chapter (Indiana)Â Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)Â
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)Â
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014Â David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
Composed
by Quincy C. Hilliard.
Full score. 21 pages.
Carl Fischer Music
#YPS237F. Published by
Carl Fischer Music
(CF.YPS237F).
ISBN
9781491159545. UPC:
680160918133.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas)Â Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi)Â Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota)Â Gamma
Chapter (Indiana)Â Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)Â
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)Â
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014Â David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
SKU: GI.G-J199CS 100 tunes per Cassette...acoustic instrumental arrang...(+)
SKU: GI.G-J199CS
100 tunes per
Cassette...acoustic
instrumental
arrangements...perfect
for classroom and
home. Composed by
Christopher D. Azzara,
Edwin E. Gordon, and
Richard F. Grunow. Jump
Right In. Music
Education. Cassette. GIA
Publications #J199CS.
Published by GIA
Publications
(GI.G-J199CS).
English.
100
tunes per cassette.
Acoustic instrumental
arrangements. Perfect for
classroom and home!
Children should learn as
many songs as possible as
readiness for future
achievement in music.
These high-caliber
recordings are the
perfect place to start.
Each cassette is a
wonderful, purely
instrumental collection
of 100 of the
world’s best-known
folk songs, performed by
the world’s
greatest
musicians—includin
g artist faculty members
and students from the
Eastman School of Music,
members of the Rochester
Philharmonic Orchestra,
and members of Rhythm and
Brass. There are
countless uses for these
recordings: Ever need to
demonstrate the sound of
an instrument? Need quick
access to high-quality
recordings of folk songs
of all different styles,
tempos, and origins?
Interested in exposing
young children to the
rich variety of
instrumental music?
Looking for music to play
as children enter the
classroom? Teachers,
parents, and students
will quickly wonder how
they ever got along
without these essential
recordings!
SKU: GI.G-J201CS 100 tunes per Cassette...acoustic instrumental arrang...(+)
SKU: GI.G-J201CS
100 tunes per
Cassette...acoustic
instrumental
arrangements...perfect
for classroom and
home. Composed by
Christopher D. Azzara,
Edwin E. Gordon, and
Richard F. Grunow. Jump
Right In. Music
Education. Cassette. GIA
Publications #J201CS.
Published by GIA
Publications
(GI.G-J201CS).
English.
100
tunes per cassette.
Acoustic instrumental
arrangements. Perfect for
classroom and home!
Children should learn as
many songs as possible as
readiness for future
achievement in music.
These high-caliber
recordings are the
perfect place to start.
Each cassette is a
wonderful, purely
instrumental collection
of 100 of the
world’s best-known
folk songs, performed by
the world’s
greatest
musicians—includin
g artist faculty members
and students from the
Eastman School of Music,
members of the Rochester
Philharmonic Orchestra,
and members of Rhythm and
Brass. There are
countless uses for these
recordings: Ever need to
demonstrate the sound of
an instrument? Need quick
access to high-quality
recordings of folk songs
of all different styles,
tempos, and origins?
Interested in exposing
young children to the
rich variety of
instrumental music?
Looking for music to play
as children enter the
classroom? Teachers,
parents, and students
will quickly wonder how
they ever got along
without these essential
recordings!
Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Beginning SKU: GI.G-9025S Enhancing the Sound and Confidence of Mature...(+)
Beginning
SKU:
GI.G-9025S
Enhancing the Sound
and Confidence of Mature
Choirs. This edition:
Singer's edition. Music
Education. Book. 12
pages. GIA Publications
#9025S. Published by GIA
Publications
(GI.G-9025S).
ISBN
9781622771622. English.
Text by Michael
Kemp.
How can
choirs maintain and
improve their sound and
performance skills when
they have more mature
members? Can older
singers learn new
techniques? Of course!
Here’s a
much-needed, timely
resource for directors of
volunteer choirs. Instead
of telling members
they’re “too
old to sing,†now
you can teach them to
have better singing
posture, more reliable
breath support, more
accurate intonation,
improved blend, greater
expressivity…and a
wonderful sound. With a
wealth of information and
exercises that will
elevate the skill and
sound of your senior
members, Michael Kemp
shows how all voices can
continue to be valuable
contributors to the
success and enjoyment of
the ensemble. Michael
Kemp founded and conducts
the Philadelphia-area
Academy Chorale and
Academy Chamber Society.
During his long career,
Kemp built numerous
prestigious church,
community, and school
choral programs. He has
taught more than 400
workshops throughout the
United States and Canada,
focusing on enhancing the
skills of volunteer
choirs. His book The
Choral Challenge:
Practical Paths to
Solving Problems (GIA
Publications, Inc.) has
become a staple for
choral directors.
Kemp’s recent book
Innovative Warm-ups for
the Volunteer Choir (GIA)
offers purposeful,
creative exercises that
are simple to learn and
fun to sing. Also
available: A Director's
Edition (G-9025).
SKU: GI.G-J229CS 100 tunes per Cassette...acoustic instrumental arrang...(+)
SKU: GI.G-J229CS
100 tunes per
Cassette...acoustic
instrumental
arrangements...perfect
for classroom and
home. Composed by
Christopher D. Azzara,
Edwin E. Gordon, and
Richard F. Grunow. Jump
Right In. Music
Education. CD. GIA
Publications #J229CS.
Published by GIA
Publications
(GI.G-J229CS).
English.
100
tunes per cassette.
Acoustic instrumental
arrangements. Perfect for
classroom and home!
Children should learn as
many songs as possible as
readiness for future
achievement in music.
These high-caliber
recordings are the
perfect place to start.
Each cassette is a
wonderful, purely
instrumental collection
of 100 of the
world’s best-known
folk songs, performed by
the world’s
greatest
musicians—includin
g artist faculty members
and students from the
Eastman School of Music,
members of the Rochester
Philharmonic Orchestra,
and members of Rhythm and
Brass. There are
countless uses for these
recordings: Ever need to
demonstrate the sound of
an instrument? Need quick
access to high-quality
recordings of folk songs
of all different styles,
tempos, and origins?
Interested in exposing
young children to the
rich variety of
instrumental music?
Looking for music to play
as children enter the
classroom? Teachers,
parents, and students
will quickly wonder how
they ever got along
without these essential
recordings!
Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137).
ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Baritone horn (treble clef) SKU: GI.G-J214 The Instrumental Series...(+)
Baritone horn (treble
clef)
SKU:
GI.G-J214
The
Instrumental Series.
Composed by Christopher
D. Azzara, Edwin E.
Gordon, and Richard F.
Grunow. Band Method. Jump
Right In. Music
Education. Book. 32
pages. GIA Publications
#J214. Published by GIA
Publications (GI.G-J214).
English.
A
revision of this
beginning band series
makes Jump Right In
easier to use and more
musical than ever before!
Includes high-quality CDs
of folk songs that:
• Comprise many
styles, tonalities, and
meters • Span many
cultures and many
centuries • Are
ideal for listening and
playing along Features
performances by some of
the world’s
greatest performers:
• Artist faculty
members from Eastman
School of Music •
Members of Rochester
Philharmonic Orchestra
• Rhythm and Brass
Helps develop
musicianship beyond
instrumental classroom
with: • Progress
from sound to sight in
logical, common sense
sequence •
Opportunities for
improvisation from early
stages of instruction
• Tools to help
students learn to read
and write with better
comprehension •
Arrangements of familiar
songs in each book
Sequential and proven
materials are: •
Designed specifically to
attend to individual
differences • Based
on current experimental
and practical research
• Based on the
music learning theories
of Edwin E. Gordon
• Relevant to
National Standards and
include suggestions for
measurement and
evaluation Extensive
Teacher’s Guide:
• Contains lesson
plans • Includes
teaching procedures
• May be used
independently or in
conjunction with Jump
Right In: The Music
Curriculum and Developing
Musicianship through
Improvisation.
Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S).
UPC:
680160681006.
A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten.
SKU: GI.G-006700 Sacred. Book. GIA Publications #006700. Published by GIA...(+)
SKU: GI.G-006700
Sacred. Book. GIA
Publications #006700.
Published by GIA
Publications
(GI.G-006700).
UPC:
641151067001.
English.
America is
aging. Some of our most
faithful and dedicated
members are not with us
every Sunday. They may
have moved to a
retirement community or
may be confined at home,
and yet they are still
vital members of our
parish communities. With
Hearts and Voices helps
to bridge this gap in our
Sunday assemblies with
the songs and prayers our
senior parishioners hold
dear. This prayer book is
a welcome resource for
retirement and nursing
homes, hospitals, and
especially ministers of
care. Jerry Galipeau has
compiled and composed
prayers of the heart,
home, and church to
enable our ministers of
the sick to do more than
distribute the Holy
Eucharist. They can bring
our worship to the
homebound and provide a
resource one can return
to again and again. The
more than 80 classic
Catholic hymns and songs
are those your people
have taken into their
hearts and made their
own. Each is supported by
a supplemental recording,
recorded in
age-appropriate keys and
enhanced by a four-part
choir. Features: ‚
Convenient 7in. x 10in.
size with clean white
pages ‚ Over 80
classic Catholic hymns
and songs ‚ Large
14-point type without
musical scoring, easier
to read and participate
‚ Large collection
of personal and
devotional prayers
‚ Prayers for
before and after the
reception of communion
‚ Communal prayers
like the Way of the Cross
and the Rosary.
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches.
Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!
Tuba SKU: GI.G-J311 The Instrumental Series. Composed by Christoph...(+)
Tuba
SKU:
GI.G-J311
The
Instrumental Series.
Composed by Christopher
D. Azzara, Edwin E.
Gordon, and Richard F.
Grunow. Band Method. Jump
Right In. Music
Education. Book. 48
pages. GIA Publications
#J311. Published by GIA
Publications (GI.G-J311).
ISBN 9781579994423.
English.
A revision
of this beginning band
series makes Jump Right
In easier to use and more
musical than ever before!
Includes high-quality CDs
of folk songs that:
• Comprise many
styles, tonalities, and
meters • Span many
cultures and many
centuries • Are
ideal for listening and
playing along Features
performances by some of
the world’s
greatest performers:
• Artist faculty
members from Eastman
School of Music •
Members of Rochester
Philharmonic Orchestra
• Rhythm and Brass
Helps develop
musicianship beyond
instrumental classroom
with: • Progress
from sound to sight in
logical, common sense
sequence •
Opportunities for
improvisation from early
stages of instruction
• Tools to help
students learn to read
and write with better
comprehension •
Arrangements of familiar
songs in each book
Sequential and proven
materials are: •
Designed specifically to
attend to individual
differences • Based
on current experimental
and practical research
• Based on the
music learning theories
of Edwin E. Gordon
• Relevant to
National Standards and
include suggestions for
measurement and
evaluation Extensive
Teacher’s Guide:
• Contains lesson
plans • Includes
teaching procedures
• May be used
independently or in
conjunction with Jump
Right In: The Music
Curriculum and Developing
Musicianship through
Improvisation.
SKU: GI.G-J148CD The Instrumental Series. Composed by Christopher ...(+)
SKU: GI.G-J148CD
The Instrumental
Series. Composed by
Christopher D. Azzara,
Edwin E. Gordon, and
Richard F. Grunow. Band
Method. Jump Right In.
Music Education. Book and
CD. GIA Publications
#J148CD. Published by GIA
Publications
(GI.G-J148CD).
English.
Buildin
g a repertoire of songs
by ear is fundamental to
developing musicianship.
These CDs include 100
songs performed by superb
musicians. Among those
are many artist faculty
members and students from
the Eastman School of
Music and members of the
Rochester Philharmonic
Orchestra. The solos are
performed on a variety
of wind, string, and
percussion instruments.
Musicians of all ages and
abilities will enjoy
singing, moving, and
playing their instruments
with the varied acoustic
accompaniments that
follow each performance.
The accompaniments
comprise many
combinations of pinao,
bass, winds, strings,
guitar, and
percussion.
Oboe SKU: GI.G-J152 The Instrumental Series. Composed by Christoph...(+)
Oboe
SKU:
GI.G-J152
The
Instrumental Series.
Composed by Christopher
D. Azzara, Edwin E.
Gordon, and Richard F.
Grunow. Band Method. Jump
Right In. Music
Education. Book. 36
pages. GIA Publications
#J152. Published by GIA
Publications (GI.G-J152).
English.
A
revision of this
beginning band series
makes Jump Right In
easier to use and more
musical than ever before!
Includes high-quality CDs
of folk songs that:
• Comprise many
styles, tonalities, and
meters • Span many
cultures and many
centuries • Are
ideal for listening and
playing along Features
performances by some of
the world’s
greatest performers:
• Artist faculty
members from Eastman
School of Music •
Members of Rochester
Philharmonic Orchestra
• Rhythm and Brass
Helps develop
musicianship beyond
instrumental classroom
with: • Progress
from sound to sight in
logical, common sense
sequence •
Opportunities for
improvisation from early
stages of instruction
• Tools to help
students learn to read
and write with better
comprehension •
Arrangements of familiar
songs in each book
Sequential and proven
materials are: •
Designed specifically to
attend to individual
differences • Based
on current experimental
and practical research
• Based on the
music learning theories
of Edwin E. Gordon
• Relevant to
National Standards and
include suggestions for
measurement and
evaluation Extensive
Teacher’s Guide:
• Contains lesson
plans • Includes
teaching procedures
• May be used
independently or in
conjunction with Jump
Right In: The Music
Curriculum and Developing
Musicianship through
Improvisation.