(Heavy Metal Guitar Meets the Blues). By Dave Martone. For Guitar. Book; DVD; Gu...(+)
(Heavy Metal Guitar Meets
the Blues). By Dave
Martone. For Guitar.
Book; DVD; Guitar Method
or Supplement;
Method/Instruction;
Technique Musicianship.
Blues; Metal; Rock. 96
pages. Published by
Alfred Music Publishing
Taiko! Orchestre [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By William Windham. By William Windham. For Full Orchestra. Full Orchestra. Belw...(+)
By William Windham. By
William Windham. For Full
Orchestra. Full
Orchestra. Belwin
Intermediate Full
Orchestra. Level: Easy to
Medium Easy (grade
II-III). Conductor Score,
Parts & CD. Duration
2:05. Published by Alfred
Publishing.
Don't Try This At Home! Ensemble Jazz [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Jazz ensemble - Grade 2 SKU: CL.032-4135-00 Composed by L. Barton. Jazz E...(+)
Jazz ensemble - Grade 2
SKU:
CL.032-4135-00
Composed by L. Barton.
Jazz Ensemble. Audio
recording available
separately (item
CL.991-2012-00). Score
and set of parts.
Composed 2012. Duration 4
minutes, 16 seconds. C.L.
Barnhouse #032-4135-00.
Published by C.L.
Barnhouse
(CL.032-4135-00).
Warning:
Don’t try this
tune anywhere unless you
are ready to rock! This
hard driving rock tune
kicks in the afterburners
in the first measure and
doesn’t let up.
Written solidly at the
medium easy level, this
tune features repetitive
rhythms and patterns that
guarantee you will be
performance ready with
the absolute minimum of
rehearsal time. Scored
for limited
instrumentation with
careful attention to
instrument ranges, and
written out solos over
super easy changes,
Don’t Try This at
Home will be accessible
to the smallest and
youngest ensembles.
Loaded with student and
audience appeal, this
tune is a great
contest/concert
selection. Go on, try it,
we dare you!
By William Bay and Mike Christiansen. For Guitar (All). Methods. Mastering Guita...(+)
By William Bay and Mike
Christiansen. For Guitar
(All). Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 9x11.75. 144 pages.
Published by Mel Bay
Publications, Inc.
Rockin' Ol' St. Nick Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Robert W. Smith and Michael Story. Concert Band. Concert Band; Part(s); Score...(+)
By Robert W. Smith and
Michael Story. Concert
Band. Concert Band;
Part(s); Score. Band
Expressions Book 1.
Christmas; Rock; Secular;
Winter. Grade 1. 138
pages. Published by
Alfred Music Publishing
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
DVD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. 136 pages.
Published by Alfred Music
Publishing
Composed by
Gustav Holst. Arranged by
Robert Rainford.
Beautifully contrasted 3
mvmt Suite. Classical.
Score and Parts. Forton
Music #FM863. Published
by Forton Music
(FT.FM863).
ISBN
9790570487622. 21 x 30 cm
inches.
The Brook
Green Suite was written
in 1933 during Holst's
stay in the hospital
(where he was to die in
May 1934). It was written
for his pupils, the
junior orchestra at St
Paul's Girls School; He
wanted to write a piece
in a contemporary, mature
style that was easy
enough for his pupils to
perform; he felt they
deserved better than
simple orchestrations
from keyboard originals
or 'watered down' pieces.
It was probably named
after Brook Green because
that was the location of
his wedding to his wife,
Isobel, in 1901. it could
have also been named
after the Brook because
of it's proximity to the
school. The Prelude is
based on the descending C
major scale; while the
Air sounds as if it was
based on English folk
song, but most likely it
was not. Holst had become
so acquainted with folk
song during his life that
a lot of his melodies
were very similar to
them. The structure of
the Air is reminiscent of
the counterpoint of The
Lyric Movement, full of
enharmonic relations and
somewhat austere. This is
a trait of most of his
later works. The Dance is
based on a melody heard
in a puppet show while he
was on holiday in
Sicily. This
arrangement has been
crafted so that flute 1
has the hardest part and
flute 4 the easiest. All
parts contribute to the
piece, with solos for
everyone.
(The Inspirational Guide for Instrumental and Singing Teachers). By Paul Harris....(+)
(The Inspirational Guide
for Instrumental and
Singing Teachers). By
Paul Harris. Book;
Reference Textbooks;
Textbook - General. Faber
Edition: Improve Your
Teaching!. Published by
Faber Music
Fanfare Band - Grade 5 SKU: BT.AMP-274-120 Stramproy Centennial. C...(+)
Fanfare Band - Grade 5
SKU:
BT.AMP-274-120
Stramproy
Centennial. Composed
by Philip Sparke. Elite
Series. Concert Piece.
Score Only. Composed
2009. 80 pages. Anglo
Music Press #AMP 274-120.
Published by Anglo Music
Press (BT.AMP-274-120).
9x12 inches.
English-German-French-Dut
ch.
Philip Sparke's
Sinfonietta No. 4
is comprised of three
parts that are played as
an uninterrupted whole.
The _x001F_first movement
begins with a lyrical
fugato passage, framing a
brisker and more
rhythmical middle
section. The second
movement is slower and
contains a long and
expressive euphonium
solo. The third movement
is a salute to the
sponsor of this
commission: various
percussion instruments
conjure up sounds
reminiscent of a
carpenter's workshop,
accompanied by a unison
orchestral passage in a
scat
style.
Sinfonie
tta No. 4 bestaat uit
drie in elkaar
overlopende delen. Het
eerste deel bestaat uit
een lyrische fugato dat
overgaat in een sneller
en ritmisch gedeelte. In
het tweede, trage deel,
komt een prachtige
euphoniumsolo aan bod.
Het derde deel bevat een
muzikale knipoog naar de
opdrachtgever van het
werk waarin de componist
diverse slagwerk
instrumenten geluiden na
laat bootsen die uit een
timmermanswekplaats
lijken te komen.
Philip Sparkes
Sinfonietta No. 4
besteht aus drei Teilen,
die ohne Unterbrechung
gespielt werden. Der
erste Satz beginnt mit
einer lyrischen
Fugato-Passage, die einen
schnelleren und
rhythmischeren Mittelteil
umrahmt. Der zweite Teil
ist langsamer und enthalt
ein langes, expressives
Euphoniumsolo. Der dritte
Teil ist ein Salut an den
Sponsor dieses
Kompositionsauftrags:
Diverse Schlaginstrumente
erinnern an die Klange
aus einer Schreinerei,
unisono begleitet von
einer Orchesterpassage im
Scat-Stil.
Sinf
onietta Ndeg 4 est
une oeuvre en trois
mouvements qui
s'enchainent sans
interruption. Le premier
mouvement decrit le
village de Stramproy. Il
s'ouvre avec un passage
lyrique en style fugue
qui enserre un passage
central plus rapide et
plus rythme. Dans le
second mouvement, la
musique est plus apaisee.
Un magni_x001C_fique solo
d'euphonium traverse la
trame musicale. Le
troisieme et dernier
mouvement illustre les
activites de l'entreprise
commanditaire de
l'oeuvre. On entend les
bruits de l'atelier dans
un passage pour
multi-percussions, qui
ornemente une texture
orchestrale a l'unisson,
proche du
scat.
Sinfoniet
ta No. 4 si compone
di tre parti da eseguire
senza interruzione. Il
primo movimento inizia
con un lirico passaggio
fugato, che fa da cornice
a una parte centrale piu
veloce e ritmica. Nel
secondo movimento la
musica e piu calma. Un
magni_x001E_fico assolo
di eufonio attraversa la
trama musicale. Il terzo
movimento descrive in
musica le attivita
dell'azienda che ha
commissionato il brano
(un laboratorio di
falegnameria), attraverso
un passaggio per le
percussioni che ornano un
andamento orchestrale
all'unisono.
Sinfonietta No. 4 Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie and Euphonium Solo - Grade 5 SKU: BT.AMP-274-140 (+)
Concert Band/Harmonie and
Euphonium Solo - Grade 5
SKU:
BT.AMP-274-140
Stramproy
Centennial. Composed
by Philip Sparke. Elite
Series. Score Only.
Composed 2011. 76 pages.
Anglo Music Press #AMP
274-140. Published by
Anglo Music Press
(BT.AMP-274-140).
9x12
inches.
English-German-French-Dut
ch.
Philip
Sparke’s
Sinfonietta No. 4
is comprised of three
parts that are played as
an uninterrupted whole.
The _x001F_first movement
begins with a lyrical
fugato passage, framing a
brisker and more
rhythmical middle
section. The second
movement is slower and
contains a long and
expressive euphonium
solo. The third movement
is a salute to the
sponsor of this
commission: various
percussion instruments
conjure up sounds
reminiscent of a
carpenter’s
workshop, accompanied by
a unison orchestral
passage in a scat
style.
Philip
Sparke schreef
Sinfonietta No 4
voor de Fanfare St.
Willibrordus Stramproy
ter gelegenheid van het
honderdjarig bestaan van
het orkest in 2009. De
opdracht kwam van Math en
Nol Palmen van
Timmerfabriek Palmen, die
inhetzelfde jaar maar
liefst tweehonderd jaar
bestond. De compositie
was een geschenk aan het
fanfareorkest als symbool
van de dubbele
feestelijkheden.Sinfon
ietta No 4 werd voor
het eerst ten gehore
gebracht toen het
orkestop 28 juni 2009
zijn honderdjarig
jubileum vierde. De
eerste openbare
première vond op 18
oktober plaats tijdens
het bondsconcours van de
LBM te Venlo. Het werk
bestaat uit drie
aaneengesloten delen. Het
eerste deel beschrijft
hetdorp Stramproy - een
lyrische fugato passage
omsluit hier een sneller
en ritmischer gedeelte.
Het tweede deel is
langzamer en bevat een
lange, expressieve
euphoniumsolo. Tot slot
is het derde deel een
muzikale groet aan
TimmerfabriekPalmen: het
opent met geluiden uit de
werkplaats op diverse
slagwerkinstrumenten, die
een unisono passage in
scatstijl in het orkest
begeleiden.In 2010 heeft
de componist het werk
voor harmonieorkest
bewerkt. Deze versie
werdin november 2010 voor
het eerst ten gehore
gebracht door de Osaka
Municipal Symphonic
Band.
Philip
Sparkes Sinfonietta
No. 4 besteht aus
drei Teilen, die ohne
Unterbrechung gespielt
werden. Der erste Satz
beginnt mit einer
lyrischen Fugato-Passage,
die einen schnelleren und
rhythmischeren Mittelteil
umrahmt. Der zweite Teil
ist langsamer und
enthält ein langes,
expressives
Euphoniumsolo. Der dritte
Teil ist ein Salut an den
Sponsor dieses
Kompositionsauftrags:
Diverse Schlaginstrumente
erinnern an die Klänge
aus einer Schreinerei,
unisono begleitet von
einer Orchesterpassage im
Scat-Stil.
Sinfoniet
ta No. 4 si compone
di tre parti da eseguire
senza interruzione. Il
primo movimento inizia
con un lirico passaggio
fugato, che fa da cornice
a una parte centrale
più veloce e ritmica.
Nel secondo movimento la
musica è più calma.
Un magni_x001E_fico
assolo di eufonio
attraversa la trama
musicale. Il terzo
movimento descrive in
musica le attivit
dell’azienda che
ha commissionato il brano
(un laboratorio di
falegnameria), attraverso
un passaggio per le
percussioni che ornano un
andamento orchestrale
all’unisono.
Budget Books. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano an...(+)
Budget Books. By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. 352 pages.
Published by Hal Leonard.
Sinfonietta No. 4 Fanfare [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Fanfare Band - Grade 5 SKU: BT.AMP-274-020 Stramproy Centennial. C...(+)
Fanfare Band - Grade 5
SKU:
BT.AMP-274-020
Stramproy
Centennial. Composed
by Philip Sparke. Elite
Series. Concert Piece.
Set (Score & Parts).
Composed 2009. Anglo
Music Press #AMP 274-020.
Published by Anglo Music
Press (BT.AMP-274-020).
9x12 inches.
English-German-French-Dut
ch.
Philip
Sparke’s
Sinfonietta No. 4
is comprised of three
parts that are played as
an uninterrupted whole.
The _x001F_first movement
begins with a lyrical
fugato passage, framing a
brisker and more
rhythmical middle
section. The second
movement is slower and
contains a long and
expressive euphonium
solo. The third movement
is a salute to the
sponsor of this
commission: various
percussion instruments
conjure up sounds
reminiscent of a
carpenter’s
workshop, accompanied by
a unison orchestral
passage in a scat
style.
Sinfonie
tta No. 4 bestaat uit
drie in elkaar
overlopende delen. Het
eerste deel bestaat uit
een lyrische fugato dat
overgaat in een sneller
en ritmisch gedeelte. In
het tweede, trage deel,
komt een prachtige
euphoniumsolo aan bod.
Het derde deel bevat een
muzikale knipoog naar de
opdrachtgever van het
werk waarin de componist
diverse slagwerk
instrumenten geluiden na
laat bootsen die uit een
timmermanswekplaats
lijken te komen.
Philip Sparkes
Sinfonietta No. 4
besteht aus drei Teilen,
die ohne Unterbrechung
gespielt werden. Der
erste Satz beginnt mit
einer lyrischen
Fugato-Passage, die einen
schnelleren und
rhythmischeren Mittelteil
umrahmt. Der zweite Teil
ist langsamer und
enthält ein langes,
expressives
Euphoniumsolo. Der dritte
Teil ist ein Salut an den
Sponsor dieses
Kompositionsauftrags:
Diverse Schlaginstrumente
erinnern an die Klänge
aus einer Schreinerei,
unisono begleitet von
einer Orchesterpassage im
Scat-Stil.
Sinfoniet
ta No. 4 si compone
di tre parti da eseguire
senza interruzione. Il
primo movimento inizia
con un lirico passaggio
fugato, che fa da cornice
a una parte centrale
più veloce e ritmica.
Nel secondo movimento la
musica è più calma.
Un magni_x001E_fico
assolo di eufonio
attraversa la trama
musicale. Il terzo
movimento descrive in
musica le attivit
dell’azienda che
ha commissionato il brano
(un laboratorio di
falegnameria), attraverso
un passaggio per le
percussioni che ornano un
andamento orchestrale
all’unisono.
Concert Band - Grade 1 SKU: AP.39500S Composed by Franz von Suppe. Arrang...(+)
Concert Band - Grade 1
SKU: AP.39500S
Composed by Franz von
Suppe. Arranged by Victor
Lopez. Concert Band;
Masterworks; Performance
Music Ensemble; Single
Titles. Belwin Beginning
Band. Form: Overture;
Waltz. Masterwork
Arrangement; Romantic.
Score. 12 pages. Duration
1:45. Belwin Music
#00-39500S. Published by
Belwin Music (AP.39500S).
String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and pi...(+)
String Orchestra string
orchestra (88555) with
opt. 3rd Violin/Viola TC
3 and piano - Grade 2
SKU: KN.09221S
Composed by Franz von
Suppe. Arranged by Carl
Strommen. Solo or
Ensemble. Voyager String
Orchestra. Kendor Music
Inc #09221S. Published by
Kendor Music Inc
(KN.09221S).
Light Cavalry March Orchestre [Conducteur et Parties séparées] - Facile Kendor Music Inc.
String orchestra (88555) with optional 3rd violin/viola TC (3) and piano - Grade...(+)
String orchestra (88555)
with optional 3rd
violin/viola TC (3) and
piano - Grade 2
SKU:
KN.9221
Composed by
Franz von Suppe. Arranged
by Carl Strommen. Solo or
Ensemble. Voyager String
Orchestra. Score and set
of parts. Duration 1
minute, 45 seconds.
Kendor Music Inc #9221.
Published by Kendor Music
Inc (KN.9221).
Composed
by Richard Summers. Sws.
Cps. Full score. 24
pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #CPS240F.
Published by Carl Fischer
Music (CF.CPS240F).
ISBN 9781491157879.
UPC: 680160916474. 9 x 12
inches.
Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
itas like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it's like planting a seed
that starts to grow and
develop. I got a snippet
of a western idea and
then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue is
called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The 3,000
mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its conclusion.
Divisi parts that are
optional can be utilized
to add a richer sound.
Feel free to experiment
with octave changes in
the woodwinds in the
fuller sections, if
students are comfortable
playing up an octave.
Always be aware of the
musicality, blend, and
especially legato playing
when
required. Composing
this piece was an
interesting process. A
piece of a melody or an
idea takes shape, and
after writing it down,
it’s like planting
a seed that starts to
grow and develop. I got a
snippet of a western idea
and then thought of a
monument in my hometown
of Wheeling, West
Virginia. The statue
is called Madonna of the
Trail. The history part
of this piece started to
take shape as I
researched this statue.
There are twelve of them
located in twelve states
where the Old Trail Road,
or National Road, passes
through. As the piece
developed, I started to
think about the travel of
a pioneer woman and her
family passing through
various areas of our
early country. The
3,000 mile coast-to-coast
National road was
realized in the early
1900s but was based on
six trails that date back
to the 1700s. After
developing the
introduction and theme to
this concert band piece,
the story began to take
shape. The slower 3/4
section melody hints at
Greensleeves (What Child
Is This) which
appropriately weaves
itself into the mix.Â
Finally heading further
west into New Mexico,
Arizona, and California,
the melody takes on a
Spanish flavor and
returns to the main theme
before its
conclusion. Divisi
parts that are optional
can be utilized to add a
richer sound. Feel free
to experiment with octave
changes in the woodwinds
in the fuller sections,
if students are
comfortable playing up an
octave. Always be aware
of the musicality, blend,
and especially legato
playing when
required.
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Volume 2:
Twelve Classic Young-Band
Marches Plus Innovative
March Style Warm-up
Exercises. Composed
by Harold Bennett.
Arranged by Larry Clark.
SWS. Collection - Part.
With Standard notation.
16 pages. Carl Fischer
Music #JB144. Published
by Carl Fischer Music
(CF.JB144).
ISBN
9780825899805. UPC:
798408099800. 9 x 12
inches.
The Bennett
Band Books published in
four volumes starting in
1923 were used to teach
the march form and style
to literally millions of
young band musicians in
the middle of the
twentieth century. These
delightful marches
composed by famous march
composer Henry Fillmore
(using the pseudonymn
Harold Bennett) have been
given new life by
arranger Larry Clark.
This second collection
includes an additional
twelve Bennett marches.
Also included is a
helpful march warm-up
section composed by Larry
Clark to help teach march
form and style to young
students. There is also
the added benefit of a
full, professional
recording of each
selection available for
download at
www.carlfischer.com. This
is a valuable collection
for any level band to use
for marches at
contest/festival
performance or for
sight-reading
purposes.
About The New
Bennett Band Book
Series
The
Bennett Band Books
published in four volumes
starting in 1923 were
used to teach the march
form and style to
millions of young band
musicians in the middle
of the twentieth century.
Twelve of the legendary
Henry Fillmore's tuneful
band gems (written using
the pseudonym Harold
Bennett) have been
collected together by
Larry Clark to form the
first volume of The New
Bennett Band Books. This
volume concentrates on
2/4 time and the keys of
Bb major, Eb major, and
Ab major. In addition, a
helpful march warm-up
section, composed by
Larry Clark, is included
to help you teach the
march form and style to
young students. There is
also the added benefit of
a full recording of each
march performed by a
professional band on the
CD that is included in
the full score. This is a
valuable collection for
any level band to use for
marches at
contest/festival
performance or for
sight-reading
purposes.
Volume 2:
Twelve Classic Young-Band
Marches Plus Innovative
March Style Warm-up
Exercises. Composed
by Harold Bennett.
Arranged by Larry Clark.
SWS. Collection - Part.
With Standard notation.
16 pages. Carl Fischer
Music #JB152. Published
by Carl Fischer Music
(CF.JB152).
ISBN
9780825899881. UPC:
798408099886. 9 x 12
inches.
The Bennett
Band Books published in
four volumes starting in
1923 were used to teach
the march form and style
to literally millions of
young band musicians in
the middle of the
twentieth century. These
delightful marches
composed by famous march
composer Henry Fillmore
(using the pseudonymn
Harold Bennett) have been
given new life by
arranger Larry Clark.
This second collection
includes an additional
twelve Bennett marches.
Also included is a
helpful march warm-up
section composed by Larry
Clark to help teach march
form and style to young
students. There is also
the added benefit of a
full, professional
recording of each
selection available for
download at
www.carlfischer.com. This
is a valuable collection
for any level band to use
for marches at
contest/festival
performance or for
sight-reading
purposes.
About The New
Bennett Band Book
Series
The
Bennett Band Books
published in four volumes
starting in 1923 were
used to teach the march
form and style to
millions of young band
musicians in the middle
of the twentieth century.
Twelve of the legendary
Henry Fillmore's tuneful
band gems (written using
the pseudonym Harold
Bennett) have been
collected together by
Larry Clark to form the
first volume of The New
Bennett Band Books. This
volume concentrates on
2/4 time and the keys of
Bb major, Eb major, and
Ab major. In addition, a
helpful march warm-up
section, composed by
Larry Clark, is included
to help you teach the
march form and style to
young students. There is
also the added benefit of
a full recording of each
march performed by a
professional band on the
CD that is included in
the full score. This is a
valuable collection for
any level band to use for
marches at
contest/festival
performance or for
sight-reading
purposes.