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.49019730
ISBN 9790001194341. 9.0x12.0x0.1 inches.
'African Patchwork' was created for the European 'Albert Schweitzer Year 2013' in remembrance of the foundation of the hospital in Lambarene 100 years ago (1913). The organ sound, thought of as an ideal here, is the typical 'Albert Schweitzer sound': romantic, soft diapasons and string parts, hardly any mixtures, cymbals and tongues. This dark fundamental sound is joined by the djembe with its richness of high harmonics and its ability of modulation (the best-known of the African drums can be used in different sizes). Depending on the percussionist's creativity, the percussion part, notated in a quite rudimentary way, can be extended by various playing techniques, drum changes and pitch modulations of the drumhead. The notated percussion part can also be used as a basis for intuitive and improvisational playing.
SKU: LO.10-5739MD
ISBN 9780787777883.
The traditional carol, THE FIRST NOWELL, has been given a modern treatment by arranger Jay Rouse. Choir-driven, the anthem begins simply as it expands in texture. Creative and expertly executed modulations and key changes give this arrangement direction and ever-developing energy as it arrives at its climactic and powerful ending.
SKU: GI.G-8679
UPC: 785147867906. English. Text Source: Text I: John of Damascus, ca. 675-ca. 749, tr. John Mason Neale, 1818-1866, alt., Text II: Ernest W. Shurtleff, 1862-1917. Text by Ernest W. Shurtleff.
This majestic arrangement of LANCASHIRE by Robert Powell, with innovative modulations and interludes, will engage and inspire your congregation. The addition of optional brass quintet and timpani makes this a triumphant complement to any celebration. A second text is included, which can expand the usefulness of the piece to other occasions. Trombone I can be substituted for Horn in F.
SKU: OU.9780193524385
ISBN 9780193524385. 6.9 x 10.5 inches.
For SATB and organ or orchestra This is an arrangement of the 19th-century hymn by Philip Bliss, with words by Horatio Spafford following several personal tragedies. Wilberg keeps the first two verses in unison, before allowing fuller textures to take over, with two upward modulations leading to a triumphant close.
SKU: KN.43374S
UPC: 822795433746.
Commi ssioned by the Pennsylvania Unit of IAJE for the 2000 All-State Jazz Ensemble, this ambitious chart features two open solo sections (one for brass, one for saxes), several dramatic modulations, and some solo trades between the drummer and band that'll bring the house down. Rhythm section parts are partially notated with chords cued, and supplements with chord changes for both open solos sections are included. Duration 6:30.
SKU: HL.14029581
ISBN 9780711952287.
Salv ador Segui Perez (1939-2004) was a Spanish musician, academic and composer, who studied in Spain, Italy and France. For many years he was the professor of music theory, and later director, at the Valencia conservatory. Teoria Musical - Volume 2 is suitable for any musician of grade 4 or 5 standard, and covers all aspects of musical theory, including the following: musical syntax, acoustic theory, sound production, instrumental families and ensembles, keys and scales (including tetrachords and modulations), intervals, enharmonics, and more! There are also sections on various eras of musical history, from ancient Greece and the Gregorian chants of the Middle Ages, to modernatonal music and electronic music. A comprehensive volume, this book is ideal for any inquisitive music student.
SKU: HL.48188417
UPC: 888680866266. 9.0x12.0x0.53 inches.
“Ital ian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this second volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The second volume, comprising Sonatas 53-103, includes the popular and recognised Sonatas in F minor (K. 69) and B minor (K. 87). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. â€.
SKU: LO.60-1126H
UPC: 000308066586.
Belie ve it or not, wicked is in, while keen, boss, and even groovy are out! Call it whatever you want, but this solid chart starts swingin' from bar one and never looks back. It's got all the ingredients you'll need to create a real showstopper: a great shout chorus, modulations galore and plenty of well-crafted ensemble writing. All this and it's easy too!
SKU: LP.OR-9125
UPC: 765762089709.
Twent y-seven inspirational classics arranged for SATB choir in a flexible 4-part format designed for large or small choirs. A sequel to Tom Fettke's classic choral songbook Great Is the Lord . Along with its finest features Carry the Light offers individual song selections choral arrangements that are more fully realized written-out introductions modulations and endings. Sample songs: Carry the Light; The Strength of the Lord; Awesome God; His Strength Is Perfect; When I Look into Your Holiness; God and God Alone; Lamb of God..
SKU: LO.20-1622L
ISBN 9780787706777.
Leve l 2 • Cascading peals, confident harmonies, and uplifting modulations add to this celebration of glory to the newborn King. Shakes, martellato lifts, and LVs are utilized throughout.
SKU: GI.G-003120
ISBN 9781622774449. Scripture: Psalm 25, Psalm 31, Psalm 85, Psalm 95, Psalm 97, Psalm 145.
The final collaboration with WLP from the distinguished composer, choral conductor, and organist Colin Mawby before his passing, this collection contains pieces reflecting Mawby’s signature styles: plaintive melodies, seventh and ninth chords, modulations, and propulsive rhythms. Several of these psalms lend themselves to the organ. As preludes, postludes, or performed together as a concert piece, the Psalms in this collection are an excellent addition to any pianist’s repertoire. Contents: Psalm 25 “To you, O Lord, I lift my soulâ€, Psalm 31 “I trust in you, O Lord, you are my Godâ€, Psalm 85 “For he will speak peace to his peopleâ€, Psalm 95 “Come let us sing with joy to the Lordâ€, Psalm 97 “The Lord reigns, let the earth be gladâ€, Psalm 145 “I will extol you, my God and kingâ€.
SKU: HL.49044283
ISBN 9781627219839. UPC: 888680031329. 8.5x11.0x0.25 inches.
SKU: HL.35031291
UPC: 888680646325. 5.0x5.0x0.155 inches. Folliott Pierpoint/Conrad Kocher/Heather Sorenson.
Uses: Creation, General, Thanksgiving Scripture: Psalm 33:1-6; Psalm 95:1-6; Isaiah 6:3 Music of scope and authority brings to glorious splendor one of Christendom's most celebrated texts in this anthem full of sweeping harmonies. Like an impressionistic painting, this sacred tone poem musically displays the various colors of the beauty of creation. Some divisi and modulations throughout, combined with excellent part-writing, will make choirs sound their very best. Stunning! Score and Parts (fl 1-2, ob, cl, hn 1-2, tpt 1-3, tbn 1-2, tba, chm, timp, perc, solo vn, vn 1-2, va, vc, db) available as a digital download. An alternative accompaniment for Organ is also available as a digital download.
SKU: HL.51483303
UPC: 196288207146. 9.25x12.0x0.072 inches.
The serenade flourished in Mozart's era, but with Brahms the genre experienced a new surge in popularity in the 19th century. Dvorák's cheerful and relaxed op. 22 came into being in 1875, during a very happy time for him both professionally and privately. Heput his personal stamp on the five-movement composition by incorporating stylized Slavonic dances. The spirited finale captivates by restating themes from the previous movements. Since its premiere in 1876 the work, with its melodic richness and particular harmonic modulations, has enjoyed great acclaim from audiences and critics alike. Today it is among Dvorák's most popular and most frequently performed compositions. As well as the autograph and printed editions, the composer's copy of the printed score with autograph corrections and additions has been consulted for Henle's Urtext edition.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.48188514
UPC: 888680872649. 9.0x12.0x0.562 inches.
â??Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this first volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. This first volume, comprising Sonatas 1-52, includes the popular and recognised Sonatas in D minor (K. 9), E major (K. 20) and B minor (K. 27). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. â?.