Band concert band - Grade 1 SKU: CF.BPS135F March. Composed by Jos...(+)
Band concert band - Grade
1
SKU: CF.BPS135F
March. Composed by
Joseph Compello. Sws.
Bps. Full score. 12
pages. Carl Fischer Music
#BPS135F. Published by
Carl Fischer Music
(CF.BPS135F).
ISBN
9781491158067. UPC:
680160916665. 9 x 12
inches.
Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics. Thank you for
choosing this
composition. Joseph
Compello. Cuckoo for
Quarter Notes is intended
for first-year band
students. The pun on the
familiar phrase Cuckoo
for Cocoa Puffs will
convey the lighthearted
nature of the music. The
familiar cuckoo bird call
consisting  of a
descending third is the
basis for the melodies.
The percussion interludes
are intended to give
young wind players an
opportunity to rest.
These interludes may be
omitted or repeated as
the director sees fit.
Additionally, directors
may wish to add eighth
notes to the percussion
interludes. Eighth notes
have not been included in
order to keep the meaning
of the title intact. At
m. 47 students will have
an excellent opportunity
to begin the study of
dynamics.Thank you for
choosing this
composition.Joseph
Compello.
(31 Duets That Can Be Played by Any Combination of String Instruments). By Larry...(+)
(31 Duets That Can Be
Played by Any Combination
of String Instruments).
By Larry Clark. Arranged
by Larry Clark. For
cello. Part book
(softcover). Published by
Carl Fischer
Arkansas Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band (Score & Parts) - Grade 4 SKU: HL.44011053 Suite based on...(+)
Concert Band (Score &
Parts) - Grade 4
SKU:
HL.44011053
Suite
based on a folk song from
Arkansas. Composed by
Jacob De Haan. De Haske
Concert Band. Concert
Piece. Set (Score &
Parts). Composed 2011. De
Haske Publications
#1114824010. Published by
De Haske Publications
(HL.44011053).
The American
state of Arkansas is
often called 'the natural
state' and 'the land of
opportunity.' This piece
belongs to Jacob de
Haan's series of musical
montages depicting
various states in the
USA, including Dakota,
Oregon and Virginia.
Arkansas is a suite in
three movements based on
a well-known native
American folk song. It
appears as a ballade,
variations and finally
accompanies a jazzy
rhythm. The folk song
helps provide continuity
throughout the three
movements. A perfect
addition to any
concert.
Arkansas
kent meerdere bijnamen.
Zo verwijst 'The Natural
State', maar ook 'The
Land of Opportunity' naar
deze staat. Na Dakota,
Oregon en Virginia voegt
Jacob de Haan met het
concertwerk Arkansas
wederom een titel toe aan
zijn serieover
Amerikaanse staten. Het
is een suite uit drie
delen, gebaseerd op een
bekend volkslied uit deze
contreien. Iedere keer
weer verschijnt het
herkenbare lied als een
rode draad. Helemaal,
fragmentarisch, als
ballad maar ookin
variaties en jazzritmes.
Arkansas: drie delen vol
afwisseling en
speelplezier!
Der
amerikanische Bundesstaat
Arkansas tragt den
Spitznamen The Natural
State oder The Land of
Opportunity. Dieses
Konzertwerk fügt
sich in die Reihe der von
Jacob de Haan vertonten
amerikanischen Staaten
und Landschaften,
darunter Dakota, Oregon
und Virginia. Es ist eine
Suite in drei Satzen auf
der Grundlage von einem
bekannten Volkslied aus
Arkansas, die sich - mal
vollstandig, mal
fragmentarisch, als
Ballade, in Variationen
oder auch in jazzigen
Rhythmen als roter Faden
durch die drei Satze
dieser
abwechslungsreichen
Komposition
zieht.
Arkansas,
oeuvre de concert en
trois mouvements, signee
Jacob de Haan, s'inscrit
dans la lignee des autres
oeuvres du compositeur
consacrees a la
description d'etats
americains (Dakota,
Oregon et Virginia). La
trame de cette suite
s'articule autour d'une
celebre melodie
traditionnelle qui sera
reprise sous la forme
d'une ballade, d'un canon
et d'une variation jazzy.
Lo stato
americano dell'Arkansas e
anche chiamato The
Natural State o anche The
Land of Opportunity. Un
nuovo brano firmato Jacob
de Haan, nello spirito di
grandi brani da concerto
come Dakota, Oregon e
Virginia. Arkansas e una
suite in tre movimenti
che prende spunto da una
nota canzone folk di
questo stato del sud
degli Stati Uniti. Una
canzone che viene
proposta nel corso
dell'intero brano sotto
forme diverse, in
variazioni o anche con
accenti di musica jazz e
che agisce da filo
conduttore per tutto il
brano.
Composed by Richard
Summers. Bps. Set of
Score and Parts.
8+2+8+2+5+2+2+8+3+2+2+6+2
+3+1+1+2+2+16 pages.
Duration 2:15. Carl
Fischer Music #BPS145.
Published by Carl Fischer
Music (CF.BPS145).
ISBN 9781491161258.
UPC:
680160919840.
Datin
g back to the 13th
century, the clock tower
was located in the center
of a town and used by
townspeople to hear the
time through bells and
chimes ringing out. There
are clock towers all over
the world and they are
wonderful landmarks to
towns and communities.
This work begins and ends
with the Westminster
Chimes theme, which is
used by many clocks and
clock towers, including
Big Ben, the famous clock
tower in London. Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. Dating back to
the 13th century, the
clock tower was located
in the center of a town
and used by townspeople
to hear the time through
bells and chimes ringing
out. There are clock
towers all over the world
and they are wonderful
landmarks to towns and
communities. This work
begins and ends with the
Westminster Chimes theme,
which is used by many
clocks and clock towers,
including Big Ben, the
famous clock tower in
London.  Clock
Tower contains many
essential musical and
technical skills for a
beginning level band
piece. The tick of the
clock mechanism is
imitated by pitched
woodblocks, and the main
theme is based on
ascending and descending
scale patterns,
reinforcing note-reading
ability for the beginning
student. There are layers
of new countermelodies
and contrasting sections
with dynamics and legato
passages, giving the
students an opportunity
to play in different
musical styles. There is
a low brass and woodwind
feature and a section
introducing eighth notes
to the upper winds. The
sound between the
woodwinds and the brass
are also important, but
many woodwind passages
are cued in the brass in
case a beginning band
might need extra players
to help with the balance
and blend. This gives the
director the opportunity
to experiment with these
cues and add a few other
instruments when
needed. .
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
Composed by
Peter Sciaino. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+2+16 pages. Duration
2 minutes, 25 seconds.
Carl Fischer Music
#BPS128. Published by
Carl Fischer Music
(CF.BPS128).
ISBN
9781491156223. UPC:
680160914760. 9 x 12
inches.
Program
Notes Start Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band revs up
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
Gentlemen, Start Your
Engines became a
tradition of the
Indianapolis Motor
Speedway in the early
1950s. The Greatest Race
Course in the world has
celebrated over 100 years
of competition in
motorsports. Note to the
Conductor Measures 37-40
require staggered and
independent entrances.
This is especially the
case for the flute,
clarinet and trumpet
sections. Students should
be challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45. For some younger
students, the use of
repeat signs and phrases
like 2nd time only may
not be familiar. This
piece presents an
excellent opportunity to
become familiar with this
common device. Program
NotesStart Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band
“revs upâ€
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
“Gentlemen, Start
Your Enginesâ€
became a tradition of the
Indianapolis Motor
Speedway in the early
1950s. The
“Greatest Race
Course in the
world†has
celebrated over 100 years
of competition in
motorsports.Note to the
Conductor Measures
37–40 require
staggered and independent
entrances. This is
especially the case for
the flute, clarinet and
trumpet sections.
Students should be
challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45.For some younger
students, the use of
repeat signs and phrases
like “2nd time
only†may not be
familiar. This piece
presents an excellent
opportunity to become
familiar with this common
device.
Composed
by Peter Sciaino. Sws.
Bps. Full score. 16
pages. Duration 2
minutes, 25 seconds. Carl
Fischer Music #BPS128F.
Published by Carl Fischer
Music (CF.BPS128F).
ISBN 9781491156230.
UPC: 680160914777. 9 x 12
inches.
Program
Notes Start Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band revs up
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
Gentlemen, Start Your
Engines became a
tradition of the
Indianapolis Motor
Speedway in the early
1950s. The Greatest Race
Course in the world has
celebrated over 100 years
of competition in
motorsports. Note to the
Conductor Measures 37-40
require staggered and
independent entrances.
This is especially the
case for the flute,
clarinet and trumpet
sections. Students should
be challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45. For some younger
students, the use of
repeat signs and phrases
like 2nd time only may
not be familiar. This
piece presents an
excellent opportunity to
become familiar with this
common device. Program
NotesStart Your Engines
is an exciting concert
selection for young band
that features the
percussion section (with
opportunities for
doubling parts if
needed). The band
“revs upâ€
right from the beginning
as the opposing eighth
notes in the drums evoke
a race car engine at the
starting line. As the
piece continues, the
winds have opportunities
to shine in comfortable
ranges with reasonable
technical demands. The
use of the phrase
“Gentlemen, Start
Your Enginesâ€
became a tradition of the
Indianapolis Motor
Speedway in the early
1950s. The
“Greatest Race
Course in the
world†has
celebrated over 100 years
of competition in
motorsports.Note to the
Conductor Measures
37–40 require
staggered and independent
entrances. This is
especially the case for
the flute, clarinet and
trumpet sections.
Students should be
challenged to enter
confidently while
performing at a softer
dynamic so as to allow
for an effective
crescendo leading into m.
45.For some younger
students, the use of
repeat signs and phrases
like “2nd time
only†may not be
familiar. This piece
presents an excellent
opportunity to become
familiar with this common
device.
For Trombone. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Cle...(+)
For Trombone. Composed by
O. Blume, Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907). SWS.
Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF109. Published
by Carl Fischer Music
For Trumpet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi...(+)
For Trumpet in Bb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF107. Published
by Carl Fischer Music
Character Orchestre à Cordes - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1.5-2 SKU: CF.FAS21 Composed by Larry ...(+)
Orchestra String
Orchestra - Grade 1.5-2
SKU: CF.FAS21
Composed by Larry Clark.
Edited by Amy Rosen. SWS
- FS. Carl Fischer First
Plus String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 8+8+2+5+5+5+2+8
pages. Carl Fischer Music
#FAS21. Published by Carl
Fischer Music (CF.FAS21).
ISBN 9780825853067.
UPC: 798408053062. 8.5 X
11 inches. Key: B
minor.
Characte
r was composed to
introduce young string
players to contemporary
harmonic techniques while
still being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece. As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation. It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your program.
-Larry Clark New York, NY
2003. Character was
composed to introduce
young string players to
contemporary harmonic
techniques while still
being within the
technical limitations of
the developing student.
Quartal and quintal
harmonies open the
composition with a
fanfare gesture that ties
the piece together. This
is followed by an
ostinato in the first
violins that contains a
tricky figuration between
G and A that will work
the pinky finger on the
D-string. Players who are
not capable of
maneuvering their pinky
at this brisk tempo
should play the lower
part. The main theme is
given to the inner voice
for a change! After the
main theme there is a
development section that
combines fragments of the
fanfare material with
fragments of the main
theme. A grand pause and
then a stronger statement
of the main theme then
follow this with the
first violins up an
octave. The piece is then
completed with a short
coda containing fragments
of the ostinato and
fanfare material. It
feels natural for the
tempo to speed up
slightly at this point in
the piece.As with all of
my pieces at this level,
the tempo is merely a
suggestion and should be
adjusted slower or faster
to fit the needs of your
students and the
performance situation.It
has been my pleasure to
have the opportunity to
write this piece. I hope
you and your students
enjoy it and find it
useful for your
program.-Larry ClarkNew
York, NY 2003.
For Horn in F. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Cl...(+)
For Horn in F. Composed
by O. Blume, Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF108. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Trombone
/ Euphonium B.C. /
Bassoon. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Clarinet
/ Trumpet / Euphonium
T.C. / Tenor Saxophone in
Bb. Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
Composed by Kathryn
Griesinger. Carl Fischer
Beginning String
Orchestra Series. Set of
Score and Parts.
8+8+5+5+5+1+1+8 pages.
Carl Fischer Music
#BAS85. Published by Carl
Fischer Music (CF.BAS85).
ISBN 9781491160381.
UPC:
680160918973.
This
rocking piece for
Beginning Strings is
based on the interval of
a perfect fifth - thus
the title! Beginning
students can practice
easy string crossings
utilizing open strings,
while the mostly unison
rhythms consist of only
quarter-and eighth-note
durations. The stepwise
finger patterns of the
melody strengthen
note-reading and
intonation. With violin 2
doubling viola and cello
doubling bass, each
section of the orchestra
is given the opportunity
to play the melody. The
provided piano part fills
in during rests and can
support students in
maintaining a steady
beat, particularly in
pizzicato sections. An
optional drum set part
completes this upbeat
first concert
selection. This
rocking piece for
beginning strings is
based on the interval of
a perfect fifth - thus
the title! Beginning
students can practice
easy string crossings
utilizing open strings,
while the mostly unison
rhythms consist of only
quarter-and eighth-note
durations. The stepwise
finger patterns of the
melody strengthen
note-reading and
intonation. With violin 2
doubling viola and cello
doubling bass, each
section of the orchestra
is given the opportunity
to play the melody. The
provided piano part fills
in during rests and can
support students in
maintaining a steady
beat, particularly in
pizzicato sections. An
optional drum set part
completes this upbeat
first concert
selection. This
rocking piece for
beginning strings is
based on the interval of
a perfect fifth –
thus the title! Beginning
students can practice
easy string crossings
utilizing open strings,
while the mostly unison
rhythms consist of only
quarter-and eighth-note
durations. The stepwise
finger patterns of the
melody strengthen
note-reading and
intonation. With violin 2
doubling viola and cello
doubling bass, each
section of the orchestra
is given the opportunity
to play the melody. The
provided piano part fills
in during rests and can
support students in
maintaining a steady
beat, particularly in
pizzicato sections. An
optional drum set part
completes this upbeat
first concert
selection.
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
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Flute /
Oboe. Compatible Trios
for Winds. Part book. 48
pages. Published by Carl
Fischer
Composed by James Murray.
Arranged by Caryn Wiegand
Neidhold. Carl Fischer
First Plus String
Orchestra Series. Set of
Score and Parts.
8+8+5+5+5+1+2+8 pages.
Carl Fischer Music
#FAS122. Published by
Carl Fischer Music
(CF.FAS122).
ISBN
9781491160398. UPC:
680160918980.
Have
some toe-tapping fun with
this rocking arrangement
of Jolly Old St. Nicholas
for Young String
Orchestra. All sections
get to play the melody,
and students have the
opportunity to practice
easy chromatic finger
patterns with foot
stomps, finger snaps, and
bass spins for added
entertainment. Lots of
bow retakes help students
gain confidence playing
near the frog, and jazzy
accompaniments notated on
the G string and A string
(basses) will help
develop reading skills.
The optional piano and
drum set parts add
rhythmic support and
festive spirit to a
rocking holiday concert
performance. Have some
toe-tapping fun with this
rocking arrangement of
Jolly Old St. Nicholas
for young string
orchestra. All sections
get to play the melody,
and students have the
opportunity to practice
easy chromatic finger
patterns with foot
stomps, finger snaps, and
bass spins for added
entertainment. Lots of
bow retakes help students
gain confidence playing
near the frog, and jazzy
accompaniments notated on
the G string and A string
(basses) will help
develop reading skills.
The optional piano and
drum set parts add
rhythmic support and
festive spirit to a
rocking holiday concert
performance. Have some
toe-tapping fun with this
rocking arrangement
of Jolly Old St.
Nicholas for young string
orchestra. All sections
get to play the melody,
and students have the
opportunity to practice
easy chromatic finger
patterns with foot
stomps, finger snaps, and
bass spins for added
entertainment. Lots of
bow retakes help students
gain confidence playing
near the frog, and jazzy
accompaniments notated on
the G string and A string
(basses) will help
develop reading skills.
The optional piano and
drum set parts add
rhythmic support and
festive spirit to a
rocking holiday concert
performance.
For Clarinet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clement...(+)
For Clarinet in Bb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF105. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Instruments). By Larry Clark....(+)
(32 Trios That Can Be
Played by Any Combination
of Instruments). By Larry
Clark. Edited by Doris
Gazda. Arranged by Larry
Clark. For bass. Bass
part. 48 pages. Published
by Carl Fischer
For Alto Saxophine in Eb. Composed by Johann Sebastian Bach (1685-1750), Muzio C...(+)
For Alto Saxophine in Eb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907). SWS.
Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF106. Published
by Carl Fischer Music
For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1...(+)
For Flute. Composed by
Johann Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF104. Published
by Carl Fischer Music
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Tuba.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
(32 Trios That Can Be Played by Any Combination of Wind Instruments). By Larry C...(+)
(32 Trios That Can Be
Played by Any Combination
of Wind Instruments). By
Larry Clark. Arranged by
Larry Clark. For Alto /
Baritone Saxophone.
Compatible Trios for
Winds. Part book. 48
pages. Published by Carl
Fischer
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Composed
by Todd Parrish. Sws.
Carl Fischer Young String
Orchestra Series. Full
score. 8 pages. Duration
2 minutes, 56 seconds.
Carl Fischer Music
#YAS193F. Published by
Carl Fischer Music
(CF.YAS193F).
ISBN
9781491154946. UPC:
680160913497. 9 x 12
inches. Key: D
major.
Canzone,
pronounced can-zone-ay,
is the Italian word for
song. It offers young
students the opportunity
to work on tone
production, 3/4 time,
staccato to legato
articulations and dynamic
contrasts. The staccato
eighth notes found in all
sections give a vitality
to the lyrical melodies
around it. Violin 2 and
Viola are given
opportunities to practice
high third finger C
sharps while cellos are
practicing extensions to
C sharp. Violin 1 has an
optional 8va at the end,
which will work for
advancing students. The
elegance and beauty of
this work will allow
students to practice
improving their tone
quality. Special
attention should be made
to bring out the melody
as it occurs throughout
the various
sections. Canzone,
pronounced
“can-zone-ay,â€
is the Italian word for
“song.†It
offers young students the
opportunity to work on
tone production, 3/4
time, staccato to legato
articulations and dynamic
contrasts. The staccato
eighth notes found in all
sections give a vitality
to the lyrical melodies
around it. Violin 2 and
Viola are given
opportunities to practice
high third finger C
sharps while cellos are
practicing extensions to
C sharp. Violin 1 has an
optional 8va at the end,
which will work for
advancing students. The
elegance and beauty of
this work will allow
students to practice
improving their tone
quality. Special
attention should be made
to bring out the melody
as it occurs throughout
the various sections.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels