| Christmas Carol Trilogy - Facile Carl Fischer
Band Bass, Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarine...(+)
Band Bass, Bass Clarinet,
Bass Drum, Bassoon,
Bells, Chimes, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Sleigh Bells, Snare
Drum, Suspended Cymbal
and more. - Grade 2.5
SKU: CF.YPS223
Composed by Traditional
Christmas Songs. Arranged
by Russell Robinson
Michael J. Miller. Folio.
Yps. Set of Score and
Parts.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+4+1+2+6+24 pages.
Duration 4 minutes, 10
seconds. Carl Fischer
Music #YPS223. Published
by Carl Fischer Music
(CF.YPS223). ISBN
9781491156643. UPC:
680160915187. 9 x 12
inches. Notes to
the Conductor This
adaptation of Christmas
Carol Trilogy was
arranged to accompany the
choral arrangement of the
same title by Russell
Robinson. It can be
played with Robinson's
vocal arrangements with
band and chorus together
or as a stand-alone piece
for band. If performed
together with a chorus,
it is recommended that
the performers play one
to two dynamic levels
lower than written
(depending on the size of
the chorus) so as not to
overpower the singers.
Please see the chart
below for further
explanation.
Written Dynamic (To be
used if band alone) Large
Chorus (1 dynamic lower)
Small Chorus (2 dynamics
lower) mf f ff mp mf f
p mp mf
Another
possibility for
performance is for a
small group of wind
instruments with chorus.
Here, performers would
play the written
dynamics. Below are a few
recommended chamber
ensembles that would work
with a variety of
choruses, though there
are several other
alternatives. In any
case, the conductor
should be careful to
choose a set of
instruments that is both
balanced in register
(soprano, alto, tenor,
bass) and in role
(melody, countermelody,
bass line, etc.) Option 1
(Woodwind Sextet) Flute
(Oboe) Clarinet 1
Clarinet 2 Alto Saxophone
Tenor Saxophone (Bassoon)
Baritone Saxophone (Bass
Clarinet) Option 2 (Brass
Quintet) Trumpet 1
Trumpet 2 Horn Trombone
(Baritone) Tuba (Baritone
Saxophone) A final option
is to perform with one
player per instrumental
part. In all instances,
the conductor should pay
close attention to the
balance of the percussion
instruments. Notes to
the Conductor This
adaptation of Christmas
Carol Trilogy was
arranged to accompany the
choral arrangement of the
same title by Russell
Robinson. It can be
played with
Robinson’s vocal
arrangements with band
and chorus together or as
a stand-alone piece for
band. If performed
together with a chorus,
it is recommended that
the performers play one
to two dynamic levels
lower than written
(depending on the size of
the chorus) so as not to
overpower the singers.
Please see the chart
below for further
explanation. Written
Dynamic(To be used if
band alone)Large Chorus(1
dynamic lower)Small
Chorus(2 dynamics
lower)mffffmpmff pmpmf
  Another
possibility for
performance is for a
small group of wind
instruments with chorus.
Here, performers would
play the written
dynamics. Below are a few
recommended chamber
ensembles that would work
with a variety of
choruses, though there
are several other
alternatives. In any
case, the conductor
should be careful to
choose a set of
instruments that is both
balanced in register
(soprano, alto, tenor,
bass) and in role
(melody, countermelody,
bass line, etc.)Option 1
(Woodwind Sextet)Flute
(Oboe)Clarinet 1Clarinet
2Alto SaxophoneTenor
Saxophone
(Bassoon)Baritone
Saxophone (Bass
Clarinet)Option 2 (Brass
Quintet)Trumpet 1Trumpet
2HornTrombone
(Baritone)Tuba (Baritone
Saxophone)A final option
is to perform with one
player per instrumental
part. In all instances,
the conductor should pay
close attention to the
balance of the percussion
instruments. $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christmas Carol Trilogy [Conducteur] - Facile Carl Fischer
Band Bass, Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarine...(+)
Band Bass, Bass Clarinet,
Bass Drum, Bassoon,
Bells, Chimes, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Sleigh Bells, Snare
Drum, Suspended Cymbal
and more. - Grade 2.5
SKU: CF.YPS223F
Composed by Russell
Robinson Michael J.
Miller. Sws. Yps. Full
score. 24+22 pages.
Duration 4 minutes, 10
seconds. Carl Fischer
Music #YPS223F. Published
by Carl Fischer Music
(CF.YPS223F). ISBN
9781491156650. UPC:
680160915194. 9 x 12
inches. Notes to
the Conductor This
adaptation of Christmas
Carol Trilogy was
arranged to accompany the
choral arrangement of the
same title by Russell
Robinson. It can be
played with Robinson's
vocal arrangements with
band and chorus together
or as a stand-alone piece
for band. If performed
together with a chorus,
it is recommended that
the performers play one
to two dynamic levels
lower than written
(depending on the size of
the chorus) so as not to
overpower the singers.
Please see the chart
below for further
explanation.
Written Dynamic (To be
used if band alone) Large
Chorus (1 dynamic lower)
Small Chorus (2 dynamics
lower) F f ff P F f
p P F
Another
possibility for
performance is for a
small group of wind
instruments with chorus.
Here, performers would
play the written
dynamics. Below are a few
recommended chamber
ensembles that would work
with a variety of
choruses, though there
are several other
alternatives. In any
case, the conductor
should be careful to
choose a set of
instruments that is both
balanced in register
(soprano, alto, tenor,
bass) and in role
(melody, countermelody,
bass line, etc.) Option 1
(Woodwind Sextet) Flute
(Oboe) Clarinet 1
Clarinet 2 Alto Saxophone
Tenor Saxophone (Bassoon)
Baritone Saxophone (Bass
Clarinet) Option 2 (Brass
Quintet) Trumpet 1
Trumpet 2 Horn Trombone
(Baritone) Tuba (Baritone
Saxophone) A final option
is to perform with one
player per instrumental
part. In all instances,
the conductor should pay
close attention to the
balance of the percussion
instruments. Notes to
the Conductor This
adaptation of Christmas
Carol Trilogy was
arranged to accompany the
choral arrangement of the
same title by Russell
Robinson. It can be
played with
Robinson’s vocal
arrangements with band
and chorus together or as
a stand-alone piece for
band. If performed
together with a chorus,
it is recommended that
the performers play one
to two dynamic levels
lower than written
(depending on the size of
the chorus) so as not to
overpower the singers.
Please see the chart
below for further
explanation. Written
Dynamic(To be used if
band alone)Large Chorus(1
dynamic lower)Small
Chorus(2 dynamics
lower)FfffPFf pPFÂ
Another possibility
for performance is for a
small group of wind
instruments with chorus.
Here, performers would
play the written
dynamics. Below are a few
recommended chamber
ensembles that would work
with a variety of
choruses, though there
are several other
alternatives. In any
case, the conductor
should be careful to
choose a set of
instruments that is both
balanced in register
(soprano, alto, tenor,
bass) and in role
(melody, countermelody,
bass line, etc.)Option 1
(Woodwind Sextet)Flute
(Oboe)Clarinet 1Clarinet
2Alto SaxophoneTenor
Saxophone
(Bassoon)Baritone
Saxophone (Bass
Clarinet)Option 2 (Brass
Quintet)Trumpet 1Trumpet
2HornTrombone
(Baritone)Tuba (Baritone
Saxophone)A final option
is to perform with one
player per instrumental
part. In all instances,
the conductor should pay
close attention to the
balance of the percussion
instruments. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Many Moons [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet in Bb, Bass Drum), Bassoon, Clarinet 1 in Bb, Clarinet 2 in B...(+)
Band Bass Clarinet in Bb,
Bass Drum), Bassoon,
Clarinet 1 in Bb,
Clarinet 2 in Bb,
Clarinet 3 in Bb, Crash
Cymbals), Euphonium,
Euphonium T.C. in Bb,
Flute 1, Flute 2, Horn 1
in F, Horn 2 in F, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe and more. - Grade
3.5 SKU:
CF.CPS242F Composed
by Peter Sciaino. Sws.
Cps. Full score. 16
pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS242F.
Published by Carl Fischer
Music (CF.CPS242F).
ISBN 9781491157947.
UPC: 680160916542. 9 x 12
inches. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me amany
moonsa ago. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me many moons
ago. All of us have
experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility.The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible.I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me
“many moonsâ€
ago. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Many Moons - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS242 Composed by
Peter Sciaino. Folio.
Cps. Set of Score and
Parts.
4+4+2+4+4+4+2+2+2+2+2+2+4
+4+4+2+2+3+3+3+2+4+1+1+1+
2+1+16 pages. Duration 4
minutes, 10 seconds. Carl
Fischer Music #CPS242.
Published by Carl Fischer
Music (CF.CPS242).
ISBN 9781491157930.
UPC: 680160916535. 9 x 12
inches. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me amany
moonsa ago. All of us
have experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility. The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible. I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me many moons
ago. All of us have
experienced unique
moments in our lives that
create unforgettable
mental snapshots. These
images can often provide
comfort, a moment of
humor, or can be a source
of inspiration. Years ago
while traveling with (who
are now) old friends, I
witnessed a New Mexico
night sky for the very
first time. We were so
taken with the view that
we pulled our rental car
to the side of the
highway just to stand and
stare skyward. The
clarity and size of the
stars redefined my
understanding of our
place in this vast
universe. To my eye, I
was staring at hundreds
of little moons. In
writing this piece, I
wanted to capture a sense
of beauty, wonder and
humility.The euphonium
solo presents the theme
as a wistful offering to
things beyond our
understanding. Throughout
the selection this theme
is passed throughout the
ensemble, and thicker
textures evolve. The
mallet percussion plays a
vital role in providing
harmonic stability early
in the selection.
Non-pitched percussion is
essential in building
tension and generating
effective impacts at
louder dynamic levels.
Ideally, the two
triangles found in the
Percussion 2 part should
be mounted and of two
distinctly different
pitches. Both should be
played with light beaters
if possible.I sincerely
hope Many Moons provides
years of inspiration for
you and your ensemble
just as that southwestern
sky did for me
“many moonsâ€
ago. $75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tumbleweed Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
Fanfare and Fantasy. Composed by Tyler Arcari. Score and part(s). With St...(+)
Fanfare and
Fantasy. Composed by
Tyler Arcari. Score and
part(s). With Standard
notation. 32 322 pages.
Duration 4 minutes, 6
seconds. Carl Fischer
#CPS0185. Published by
Carl Fischer (CF.CPS185).
$95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zephyr Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Tyler Arcari. Score and part(s). 20 168 pages. Duration 3 minutes,...(+)
Composed by Tyler Arcari.
Score and part(s). 20
168 pages. Duration 3
minutes, 20 seconds. Carl
Fischer #YPS0171.
Published by Carl Fischer
(CF.YPS171).
$70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Carnival Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Concert Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, ...(+)
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Chimes, Clarinet
1, Clarinet 2, Clarinet
3, Claves, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2 and more. - Grade 4 and
up SKU: CF.SPS27F
Composed by Paul Basler.
SWS. Carl Fischer
Symphonic Performance
Series. Full score. With
Standard notation. 40
pages. Carl Fischer Music
#SPS27F. Published by
Carl Fischer Music
(CF.SPS27F). ISBN
9780825864841. UPC:
798408064846. 9 X 12
inches. Key: C
major. A rollicking
romp that will keep a
good high school or
college band on its toes,
Carnival is a tribute to
the sights and sounds of
the small town American
carnival. The few points
of repose in this dynamic
piece are opportunities
to catch one's' breath
amid the joyous bustle of
a superb and
imaginatively scored
piece by a rising star of
the American musical
scene. $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
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
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