PARTITIONS GRATUITES :
- F within a small range

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

SKU: HL.1479055

Black. Hotone Pedals. Guitar/Bass Amplifier. Hal Leonard #AP-30BK. Published by Hal Leonard (HL.1479055).

19.5x10.25x8.5 inches.

Pulze is a modern Bluetooth digital modeling amplifier with a minimalist exterior design, suitable for a variety of electric and acoustic instruments. Meticulously designed enclosure and speakers ensure high-quality audio playback performance and professional instrument tones within a portable form factor, faithfully reproducing classic sounds found on records. With a fully touchscreen operation combined with Bluetooth 5.0 module and a companion mobile app, Pulze offers a user-friendly, intelligent operating experience. It integrates recording, live streaming, and more features to inspire and capture your musical creativity at any time. For a long time, Hotone's comprehensive effects, have been acclaimed by many musicians for their excellent sound quality and authentic feel. Hotone's signature CDCM HD and F.I.R.E. digital modeling technology has continually evolved. Now, our experienced team has injected our digital modeling technology into the all-new Pulze Amplifier. With a high-quality dual-core digital processing platform, powerful algorithms can be fully utilized. Pulze strikes a perfect balance between tone and size. With a carefully designed ABS enclosure and a pair of custom 3.5-inch full-range speakers, everything is tailored to provide dynamic, rich, detailed, and exceptional tones during your performances. Typically, tube amplifiers require ample space to unleash their immense volume. However, Pulze delivers outstanding sound performance at any volume level, making it the ideal choice for both practice and home performances. Additionally, the stereo Class D amplifier, combined with 30 watts of output power, allows Pulze to shine in small-scale live venues. “It's a professional instrument amplifier and a portable audio system for enjoying music” -- That's the initial concept behind Pulze's design. Engineered with precision, Pulze not only faithfully reproduces the characteristics of musical instruments but also serves as a stunning stereo speaker. With multiple connectivity options like USB, Bluetooth, and Aux In, Pulze allows you to play high-quality music from your computer and smartphone anytime, anywhere. Its transparent highs and well-defined lows provide a live music experience wherever you are. Building upon true stereo signal processing and audio playback, Pulze incorporates the innovative Space+ stereo enhancement technology. It creates a broader soundstage, more realistic presence, and richer sound depth, whether you're playing or listening to music. Pulze surrounds you with an immersive listening experience. A wealth of tones 46 amps simulations 48 cabs simulations 60+ classic effects simulations 20 user IR slots with 5 built-in Celestion-authorized classic speaker IRs.

Concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, Euphonium , (TC Baritone), Tuba, Timpani, Percussi) - grade 1.5

SKU: CN.S11169

2nd Movement. Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score only. Duration 2:20. Published by G & M Brand Music Publishers (CN.S11169).

Schubert's 5th Symphony is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Schubert's delightful 5th Symphony in Bb Major, written in 1816, is a miniature, perhaps consciously avoiding comparison with Beethoven's Fifth, written just 10 years earlier. Schubert's Great was to come later! The work is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, Euphonium , (TC Baritone), Tuba, Timpani, Percussi) - grade 1.5

SKU: CN.R10169

2nd Movement. Composed by S. Johnson. Arranged by Stuart Johnson. Band Music. Score and parts. Duration 2:20. Published by G & M Brand Music Publishers (CN.R10169).

Schubert's 5th Symphony is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Schubert's delightful 5th Symphony in Bb Major, written in 1816, is a miniature, perhaps consciously avoiding comparison with Beethoven's Fifth, written just 10 years earlier. Schubert's Great was to come later! The work is sunny, Viennese, scored originally for small classical orchestra and positively effervesces with ideas. Stuart Johnson has taken the theme from the 2nd movement - Andante con moto - and brought this gem within the reach of technically less advanced players without diminishing the musical quality.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Concert Band Concert Band - Grade 2

SKU: FJ.B1141S

Score Only. Arranged by Craig Alberty. Concert Band. FJH Young Band. Christmas; Holiday Pops. Score. Duration 2:30. The FJH Music Company Inc #98-B1141S. Published by The FJH Music Company Inc (FJ.B1141S).

English.

Perfect for the holiday season, Quietly Come and Whisper is a beautiful and sensitive setting of a famous holiday carol. Well within the range and rhythmic abilities of young bands, this piece offers beautiful lyrical lines and suspensions. A key change from E-flat to F leads to a soft conclusion. (2:30).

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5