| Ninja - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Gong,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal
and more. - Grade 2
SKU: CF.YPS228
Composed by Michael Boo.
Folio. Yps. Set of Score
and Parts.
4+2+2+2+4+4+2+2+5+5+2+2+4
+4+4+2+2+3+3+3+2+3+2+1+1+
1+2+16 pages. Duration
2:30. Carl Fischer Music
#YPS228. Published by
Carl Fischer Music
(CF.YPS228). ISBN
9781491157961. UPC:
680160916566. 9 x 12
inches. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ninja [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, E...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Flute 3, Gong,
Horn 1, Horn 2, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal
and more. - Grade 2
SKU: CF.YPS228F
Composed by Michael Boo.
Sws. Yps. Full score. 16
pages. Duration 2:30.
Carl Fischer Music
#YPS228F. Published by
Carl Fischer Music
(CF.YPS228F). ISBN
9781491157978. UPC:
680160916573. 9 x 12
inches. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you donat
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
wonat suffer if you donat
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments wonat be
missed if you donat have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldnat be
treated as staccatos.
Being aware of not
accenting notes that
donat have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the next.
Flute 3 is not essential
as it doubles the oboes,
but is useful in case you
have a lot of flutes or
due to a limited number
of oboes. If you don't
have a bass clarinet,
baritone saxophone or
bassoons, those parts are
covered in the low brass.
The timpani part is
optional, and the piece
won't suffer if you don't
have access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won't be
missed if you don't have
them available. The
tom-tom part can be
played on a snare drum
with the snares off or
may be played on a tenor
drum. Care should be
taken that accented notes
are emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering. At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly shouldn't be
treated as staccatos.
Being aware of not
accenting notes that
don't have accents will
make the accents at m. 49
more dramatic. Please
note that the legato
notes at mm. 58 and 60
are not to be
accented. Ninja is a
Grade 2 piece playable by
any young band, due to
extensive doublings
throughout. The mood of
the piece is mysterious,
reflecting the image of
ninjas being seen one
moment and gone the
next.Flute 3 is not
essential as it doubles
the oboes, but is useful
in case you have a lot of
flutes or due to a
limited number of oboes.
If you don’t have
a bass clarinet, baritone
saxophone or bassoons,
those parts are covered
in the low brass. The
timpani part is optional,
and the piece
won’t suffer if
you don’t have
access to that
percussion. The optional
F-chime and gong only
play in the final measure
of the piece. While
adding a notable effect
at the end, those
instruments won’t
be missed if you
don’t have them
available. The tom-tom
part can be played on a
snare drum with the
snares off or may be
played on a tenor
drum.Care should be taken
that accented notes are
emphasized, but never
become ponderous. The
half notes at the
beginning of the piece
should not be accented.
The theme is introduced
in the first twelve
measures, and at m. 13
many of the instruments
trade the melody for half
notes and vice-versa. Be
careful that the
percussion section never
becomes overpowering.At
m. 25, care should be
taken that there is quite
a volume difference
between ff and mp. Think
of this representing the
ninjas being seen one
moment and being hidden
the next. The double
staccato figures at m. 33
should not be accented.
Trumpets and trombones at
m. 37 should not be
overly legato, but
certainly
shouldn’t be
treated as staccatos.
Being aware of not
accenting notes that
don’t have accents
will make the accents at
m. 49 more dramatic.
Please note that the
legato notes at mm. 58
and 60 are not to be
accented. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Appunti di un flautista. Riflessioni sulla musica, schede interpretative e repertorio ragionato Ut Orpheus
SKU: UT.LB-47 Mario Ancillotti Collection. Classical. Books and Journals....(+)
SKU: UT.LB-47
Mario Ancillotti
Collection. Classical.
Books and Journals. Ut
Orpheus #LB 47. Published
by Ut Orpheus (UT.LB-47).
ISBN 9788881095360.
6.5 x 9.5
inches. Vi è
nella formazione di ogni
adepto un periodo
fondamentale in cui la
musica può essere
percepita solo come la
realizzazione di una
splendida tecnica
strumentale, oppure come
l’espressione
delle più intime
sensibilità :
Appunti di un
flautista indirizza
verso questa seconda
attitudine, quella più
significativa per chi
sceglie di coltivare
un’arte profonda e
certamente ineffabile.
Il libro è la
raccolta di tantissime
esperienze maturate
durante un’intera
carriera che ha visto
Mario Ancillotti nelle
più diverse
attività di solista,
camerista, orchestrale,
insegnante,
organizzatore, direttore:
tutte attività che
derivano da una sete mai
saziata di conoscenze
nell’immenso campo
della musica. Da queste
nasce e si fonda dapprima
la parte dedicata ai
segreti
dell’interpretazio
ne e dell’ascolto,
con esempi pratici
corredati da esecuzioni
ad opera dello stesso
Ancillotti;
successivamente ci si
indirizza verso la parte
più tecnica e
strumentale, e poi verso
i suggerimenti preziosi
che l’esperienza
di flautista e musicista
eclettico ha dettato
all’autore. Sempre
nella consapevolezza che
la musica è arte
sublime ma sfuggente ad
ogni rigida prescrizione
e che tutto è
determinato soltanto dal
buon gusto raggiungibile
solo con studio e
sacrificio. Il lavoro
presenta infine un
Repertorio
ragionato denso di
indicazioni,
anch’esso
suggerimento personale su
tutti quei brani
fondamentali per la
formazione musicale e
tecnica di ogni flautista
che vuole divenire un
interprete di
quest’arte
indagatoria e rivelatrice
della sfera emotiva. $40.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| I Shall Love But Thee Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1185844-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.DHP-1185844-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2018.
De Haske Publications
#DHP 1185844-010.
Published by De Haske
Publications
(BT.DHP-1185844-010).
English-German-French-
Dutch. I Shall
Love But Thee is an
occasional work in the
literal sense of the
word, since it was
originally written on the
occasion of the
composer’s
youngest son’s
wedding. The texts, by
William Shakespeare,
inspired Jan Van der
Roost to compose profound
and appealing music,
largely in the style of
Henry Purcell (in the
first part) and Georg
Friedrich Handel (in the
second
part)—although no
literal quotations have
been used. The rather
rare combination of
soprano and concert band
makes this piece a unique
addition to the
repertoire!
I
Shall Love But Thee
is in de letterlijke zin
van het woord een
gelegenheidswerk, want
het werd oorspronkelijk
geschreven naar
aanleiding van het
huwelijk van de jongste
zoon van de componist. De
teksten zijn van William
Shakespeare: Jan Van der
Roost werd erdoor ge
nspireerd tot het
creëren van
indringende en
aansprekende muziek, die
in stilistisch opzicht
doet denken aan Henry
Purcell (in het eerste
deel) en Georg Friedrich
Händel (in het tweede
deel), twee componisten
die op teksten van
Shakespeare hebben
gecomponeerd ook al zijn
er geen letterlijke
citaten gebruikt. De vrij
zeldzame combinatie van
sopraan en harmonieorkest
maakt dit werk een unieke
aanwinst voor
hetrepertoire!
I Shall Love
But Thee ist ein
Gelegenheitswerk im
eigentlichen Sinn, denn
der Komponist hat es
ursprünglich aus
Anlass der Hochzeit
seines jüngsten Sohnes
geschrieben. Die Texte
stammen von William
Shakespeare und haben Jan
Van der Roost dazu
inspiriert, eine
tiefgründige und
ansprechende Musik im
Stil der großen
Meister zu komponieren.
Stilistisch erinnert sie
an Henry Purcell (im
ersten Teil) und an Georg
Friedrich Händel (im
zweiten Teil), auch wenn
keine literarischen
Zitate verwendet wurden.
Durch die eher seltene
Kombination von Sopran
und Blasorchester stellt
das Stück eine
einzigartige Bereicherung
für das Repertoire
dar!
I Shall
Love But Thee est une
« œuvre
d’occasion »
dans l’un des sens
littéraux du mot,
puisqu’elle fut
écrite
l’occasion du
mariage du fils cadet du
compositeur. Les textes
de William Shakespeare
ont inspiré Jan Van
der Roost écrire de la
musique profonde et
attrayante qui, au niveau
du style, nous rappelle
Henry Purcell (dans la
première partie) et
Georg Friedrich Haendel
(dans la deuxième
moitié), deux
compositeurs qui ont mis
en musique des textes de
Shakespeare, bien
qu’on n’y
retrouve pas de citations
littérales. Cette
Å“uvre unique au
regroupement plutôt
rare de soprano et
orchestre d'harmonie va
enrichir votre
répertoire !
I
Shall Love But Thee'
(Amerò soltanto
te) è stata
scritta originariamente
in occasione del
matrimonio del figlio
più giovane del
compositore Jan van der
Roost. I testi di William
Shakespeare hanno
ispirato Van der Roost a
comporre musica nello
stile di Purcell e
Händel. La
combinazione di soprano e
banda rende questo pezzo
un'aggiunta unica al
repertorio! $266.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I Shall Love But Thee Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1185844-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.DHP-1185844-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2018. 20
pages. De Haske
Publications #DHP
1185844-140. Published by
De Haske Publications
(BT.DHP-1185844-140).
English-German-French-
Dutch. I Shall
Love But Thee is an
occasional work in the
literal sense of the
word, since it was
originally written on the
occasion of the
composer’s
youngest son’s
wedding. The texts, by
William Shakespeare,
inspired Jan Van der
Roost to compose profound
and appealing music,
largely in the style of
Henry Purcell (in the
first part) and Georg
Friedrich Handel (in the
second
part)—although no
literal quotations have
been used. The rather
rare combination of
soprano and concert band
makes this piece a unique
addition to the
repertoire!
I
Shall Love But Thee
is in de letterlijke zin
van het woord een
gelegenheidswerk, want
het werd oorspronkelijk
geschreven naar
aanleiding van het
huwelijk van de jongste
zoon van de componist. De
teksten zijn van William
Shakespeare: Jan Van der
Roost werd erdoor ge
nspireerd tot het
creëren van
indringende en
aansprekende muziek, die
in stilistisch opzicht
doet denken aan Henry
Purcell (in het eerste
deel) en Georg Friedrich
Händel (in het tweede
deel), twee componisten
die op teksten van
Shakespeare hebben
gecomponeerd ook al zijn
er geen letterlijke
citaten gebruikt. De vrij
zeldzame combinatie van
sopraan en harmonieorkest
maakt dit werk een unieke
aanwinst voor
hetrepertoire!
I Shall Love
But Thee ist ein
Gelegenheitswerk im
eigentlichen Sinn, denn
der Komponist hat es
ursprünglich aus
Anlass der Hochzeit
seines jüngsten Sohnes
geschrieben. Die Texte
stammen von William
Shakespeare und haben Jan
Van der Roost dazu
inspiriert, eine
tiefgründige und
ansprechende Musik im
Stil der großen
Meister zu komponieren.
Stilistisch erinnert sie
an Henry Purcell (im
ersten Teil) und an Georg
Friedrich Händel (im
zweiten Teil), auch wenn
keine literarischen
Zitate verwendet wurden.
Durch die eher seltene
Kombination von Sopran
und Blasorchester stellt
das Stück eine
einzigartige Bereicherung
für das Repertoire
dar!
I Shall
Love But Thee est une
« œuvre
d’occasion »
dans l’un des sens
littéraux du mot,
puisqu’elle fut
écrite
l’occasion du
mariage du fils cadet du
compositeur. Les textes
de William Shakespeare
ont inspiré Jan Van
der Roost écrire de la
musique profonde et
attrayante qui, au niveau
du style, nous rappelle
Henry Purcell (dans la
première partie) et
Georg Friedrich Haendel
(dans la deuxième
moitié), deux
compositeurs qui ont mis
en musique des textes de
Shakespeare, bien
qu’on n’y
retrouve pas de citations
littérales. Cette
Å“uvre unique au
regroupement plutôt
rare de soprano et
orchestre d'harmonie va
enrichir votre
répertoire !
I
Shall Love But Thee'
(Amerò soltanto
te) è stata
scritta originariamente
in occasione del
matrimonio del figlio
più giovane del
compositore Jan van der
Roost. I testi di William
Shakespeare hanno
ispirato Van der Roost a
comporre musica nello
stile di Purcell e
Händel. La
combinazione di soprano e
banda rende questo pezzo
un'aggiunta unica al
repertorio! $52.95 - Voir plus => AcheterDélais: 2 to 3 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
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - 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.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. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Lion and the Mouse Chorale SATB Carl Fischer
Composed by Darmon Meader. Sws. Octavo. 20 pages. Duration 4 minutes, 7 se...(+)
Composed by Darmon
Meader.
Sws. Octavo. 20 pages.
Duration 4 minutes, 7
seconds. Carl Fischer
Music
#CM9649. Published by
Carl
Fischer Music
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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