PARTITIONS GRATUITES : VIOLON, ALTO, PIANO
- Jubilation!

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS137F

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.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS137

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.

SKU: GI.G-CD-465

Composed by James Chepponis. Mass. Sacred. CD. GIA Publications #465. Published by GIA Publications (GI.G-CD-465).

After ten years of praying, writing, and revising, James Chepponis has emerged with a mass setting that is musically spectacular, liturgically complete, and totally accessible! Whether resources are abundant or limited, whether you prefer a traditional or a contemporary sound, all parishes will feel comfortable with this mass!Jubilation Mass can easily be sung in simple form with only melody and accompaniment of choice (piano, organ, guitar, or a combination), with select pieces requiring a cantor and singing presider. Also, this mass need not be sung in its entirety, individual pieces are self-contained and can be used by themselves. For a fuller sound, or perfect for a special occasion, scoring is available for optional SATB choir, two trumpets, two trombones, timpani, flute/oboe, and handbells. Most importantly, no matter what the style used, congregation parts are wonderfully melodic and very easily learned, making this the perfect mass to teach your parish and use over and over again. Jubilation Mass includes Introductory Rites with opening song Sing for Joy, greeting, Litany of Praise for God's Mercy/Kyrie, Gloria, and prayer tone, Liturgy of the Word with scripture affirmation, a responsorial psalm, gospel acclamations, profession of faith, and general intercessions, Liturgy of the Eucharist with complete eucharistic prayer and Communion Rite including communion song Bread of the World, and the Concluding Rite with greeting, blessing, dismissal and recessional song Thanks Be to God..

A Cantata for Holy Week (Preview Pack). Composed by John Purifoy. This edition: Preview Pack (SATB Choral Score and Listening CD). Choral (Sacred); Choral Worship Cantata; Larger Works; Performance Music Ensemble; Worship Resources. Jubilate Music. Easter; Holy Week; Lent; Sacred; Spring. CD; Score. Jubilate Music Group #00-46244. Published by Jubilate Music Group (AP.46244).

(A Jubilant Gloria). Composed by Claren D. Wilson. For 3-part choir. Octavo. 16 pages. Duration 2 minutes, 20 seconds. Published by Carl Fischer

SATB Choir and Organ

SKU: HL.14032959

Composed by Herbert Howells. Music Sales America. Classical. Book [Softcover]. 40 pages. Music Sales #NOV291654. Published by Music Sales (HL.14032959).

ISBN 9780711994850. 6.5x9.75x0.11 inches.

Howells 'Te Deum, Benedictus And Jubilate' for mixed voice choir SATB with Organ accompaniment. Edited by James Eggleston.

Alleluia! Jubilate! (Discovery Level 2). Edited by Patrick M. Liebergen. Arranged by Patrick M. Liebergen. 2-Part. Discovery Choral. 8 pages. Published by Hal Leonard

Composed by Ruth Morris Gray. Choral (Sacred); Choral Octavo; Worship Resources. Alfred Choral Designs. Sacred. 12 pages. Published by Jubilate Music Group (AP.45649).