SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: HL.49045014
ISBN 9790001202114. 9.0x12.0 inches.
The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'.
SKU: CF.CPS256F
ISBN 9781491159729. UPC: 680160918317.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!
SKU: CF.CPS256
ISBN 9781491159712. UPC: 680160918300.
SKU: AP.42754
UPC: 038081485348. English.
Here is a terrific compilation of some of the very best from the popular Shorties series by Victor López. This collection contains 18 short, time-out length charts perfect for any occasion. Keyboard, electric bass, and drumset parts make these charts perfect for pep band too! Titles: All Star * Any Way You Want It * Batman Theme * Blitzkrieg Bop * Celebration * Conga * Dynamite * Gonna Fly Now * Gonna Make You Sweat * Heavy Action (Theme from Monday Night Football) * Hey! Baby! * Hips Don't Lie * Jungle Boogie * Shake, Rattle and Roll * Sing, Sing, Sing * The Star-Spangled Banner * Sweet Georgia Brown * We Are Family.
SKU: AP.42760
UPC: 038081485409. English.
SKU: AP.42764
UPC: 038081485447. English.
SKU: AP.42773
UPC: 038081485539. English.
SKU: AP.42767
UPC: 038081485478. English.
SKU: AP.42759
UPC: 038081485393. English.
SKU: AP.42761
UPC: 038081485416. English.
SKU: AP.42770
UPC: 038081485508. English.
SKU: AP.42757
UPC: 038081485379. English.
SKU: AP.42763
UPC: 038081485430. English.
SKU: AP.42758
UPC: 038081485386. English.
SKU: AP.42752
UPC: 038081485324. English.
SKU: AP.42768
UPC: 038081485485. English.
SKU: AP.42771
UPC: 038081485515. English.
SKU: AP.42751
UPC: 038081485317. English.
SKU: AP.42755
UPC: 038081485355. English.
