SKU: CF.CPS205
ISBN 9781491147610. UPC: 680160905119. 9 x 12 inches.
Vanguard is an energetic piece that shifts between dynamic brass fanfare gestures and sweeping melodic lines. With his experience as a music educator, composer Chris Bernotas consistently provides bands with bold and beautiful compositions that lift the energy of all who play and hear his pieces. Vanguard is the perfect concert opener for your next concert.
SKU: CF.YAS205F
ISBN 9781491159354. UPC: 680160917938.
Get your superstar bass section out of the back row and into the spotlight with Vanguard, an exciting section feature. They'll get to showcase their skills with hooked bowings, dotted rhythms and exciting, driving melodies. Meanwhile, the rest of the orchestra gets to experience playing mixed C naturals and C sharps, counting challenging rhythms, and taking the spotlight with some fun melodies of their own. All students will love the fast cut-time tempo and dark E-minor tonality, but basses will especially appreciate this exciting chance to finally take center stage!.Get your superstar bass section out of the back row and into the spotlight with Vanguard, an exciting section feature. They’ll get to showcase their skills with hooked bowings, dotted rhythms and exciting, driving melodies. Meanwhile, the rest of the orchestra gets to experience playing mixed C naturals and C sharps, counting challenging rhythms, and taking the spotlight with some fun melodies of their own. All students will love the fast cut-time tempo and dark E-minor tonality, but basses will especially appreciate this exciting chance to finally take center stage!
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS205
ISBN 9781491159187. UPC: 680160917761.
SKU: CF.CPS205F
ISBN 9781491148310. UPC: 680160905812. 9 x 12 inches.
SKU: CL.024-4761-01
Vanguard Fanfare is a bold and regal concert opener for young band. A proud, heroic opening statement is followed by a regal, flowing melody. As the melody develops, a countermelody is introduced, and we then move into a delicate section of lighter texture. The music ends as it began, proud, heroic and strong. Changing styles and textures offer valuable teaching opportunities. This one is a real winner for concert or festival performance!
SKU: XC.HCB2106FS
UPC: 812598036244. 9 x 12 inches.
Inspired by the composer's love of video games, specifically Destiny, this piece is a great introduction to the ABA form. The middle section, lyrical yet still driving, is an opportunity for expressive playing. Whether for contest and festival or for their spring concert, your students will love playing Guardians of the Vanguard.
SKU: CL.024-4761-00
SKU: XC.HCB2106
UPC: 812598036787. 9 x 12 inches.
SKU: KN.64046S
UPC: 822795640465.
This new advanced level edition is taken directly from the original ink parts that were on the stands at the Thad Jones-Mel Lewis Jazz Orchestra (now the Vanguard Jazz Orchestra) debut performance in February 1966 and continues to be played by the group Monday nights at the Village Vanguard in New York City. Originally commissioned by Count Basie for an entire album of Thad Jones' music, however Basie never made the record, instead suggesting that Thad start his own band. Low Down still maintains that swinging Basie mindset and is a 32- measure AABA form. Its basic foundations are a relaxed but powerful rhythm section with a driving ride cymbal beat and crisp hi-hat, underpinning saxes and brass that are tight, and always on the back of the beat. Duration 3:40.
SKU: KN.64044S
UPC: 822795640441.
This classic chart is taken directly from the original ink parts that were on the stands at the Thad Jones-Mel Lewis Jazz Orchestra (now the Vanguard Jazz Orchestra) debut performance in February 1966 and continue to be played by the group Monday nights at the Village Vanguard in New York City. Originally commissioned by Count Basie for an entire album of Thad Jones' music, but Basie never made the record, and suggested that Thad start his own band instead. From that advice, Thad formed the Thad Jones-Mel Lewis Orchestra. Based on the chord changes to I Got Rhythm, this uptempo advanced level chart maintains the swinging Basie mindset and is in a 32-measure AABA form. Duration 8:50.
SKU: KN.64044
SKU: KN.64006S
UPC: 822795640069.
This advanced level edition is taken directly from the original ink parts that were on the stands at the Thad Jones-Mel Lewis Jazz Orchestra (now the Vanguard Jazz Orchestra) debut performance in February 1966 and continues to be played by the group Monday nights at the Village Vanguard in New York City. Originally commissioned by Count Basie for an entire album of Thad Jones' music, however Basie never made the record, instead suggesting that Thad start his own band. This extended 16-bar blues still maintain that swinging Basie mindset in a straight-ahead blues style. Its basic foundations are a relaxed but powerful rhythm section with a driving ride cymbal beat and crisp hi-hat, underpinning saxes and brass that are tight, and always on the back of the beat. Duration 4:40.
SKU: KN.64006
SKU: KN.64046
SKU: KN.64065
UPC: 822795640656. 9 x 12 inches.
Our 4th offering in the Vanguard Jazz Orchestra Signature Editions, is Once Around. This fast swing advanced level chart was among the first charts Thad Jones wrote for the new band in 1966, as a more modern contrast to the Basie-oriented arrangements that were in the band's early repertoire. Early 1960's forays into more open, modal jazz forms by Miles Davis and John Coltrane had turned the jazz world upside down in just a few years, prompting many artists to expand from bebop-oriented ii-V-I chord structures. This arrangement was one of Thad Jones' responses to that trend. This piece is a wide-open vehicle for improvisation. There are multiple open solo sections, each with extended improvisation opportunities. Duration 3:00.
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: KN.64065S
UPC: 822795640656.
SKU: CL.SCM-1093-00
This chart was written when Thad lived in Denmark and was named after jazz organist Rhoda Scott. This writing is typical Thad that was a favorite of the Mel Lewis Orchestra and it is still played by the Village Vanguard Orchestra. This medium tempo AABA composition displays the classic Thad Jones harmonic and melodic approach to writing for a big band. Not as well known as Don’t Get Sassy or Tip Toe as it was first recorded in Denmark and then again with the Mel Lewis Orch on the The Definitive Thad Jones CD’s recorded in the US in 1988, but it is a great one. Written solos. Written ranges: Trp. 1 (A), Trb. (G) , Alto (D).
SKU: GI.G-10777
ISBN 9781574635584.
The contributing authors of this publication are internationally recognized as percussion artists and pedagogues. They share their own thoughts and strategies to help the reader deliver more engaging rehearsals and performances that focus on the percussion ensemble. The authors’ inspiring stories will help each reader lead their own ensembles to higher degrees of understanding and musical accomplishment. The percussion ensemble is in many ways at the heart of my curriculum. —Michael Burritt   Eastman School of Music My hope is that the hours spent in rehearsal serve the whole person and all of their music making experiences, regardless of the marching or concert setting. —Julie Davila   Middle Tennessee State University The percussion experience is so unique in its combination of precision, expression, and uniformity. —Thom Hannum   University of Massachusetts Amherst   DCI Hall of Fame As I’ve gained more experience as an ensemble director, I realize I spend considerable time on the mental game of excellence. —Colin McNutt   Boston Crusaders Drum and Bugle Corps In addition to learning great music, Percussion Ensemble is an important laboratory for the essential musical skills of accountability, leadership, and teamwork. —Doug Perkins   University of Michigan I find any percussion ensemble to be a great vehicle to teach some fundamental concepts and principles of music. —Paul Rennick   University of North Texas   Santa Clara Vanguard, DCI Hall of Fame Rehearsals should be focused, efficient, and (most importantly) fun. —David Skidmore   Third Coast Percussion Utilizing the percussion ensemble to teach technique and musicianship is a great approach for any program—and the music is amazing! —Brian A. West   Texas Christian University Music is my conduit to develop the individual, and percussion ensemble allows me to develop musical and personal growth in a group setting. —Eric Willie   University of North Carolina Greensboro This book will provide valuable insights for musical directions, stylistic interpretations, rehearsal technique, color blending, programming, and much more! —She-e Wu   Northwestern University.
SKU: IS.V7308EM
ISBN 9790365073085.
Loui s deLise was arranger and conductor for Robert Hazard (writer of Girls Just Wanna Have Fun) and Grammy winners Patti LaBelle and the rock band, Halestorm, in concert performances and recordings. For many years, he was an arranger for Grammy winner, Peter Nero’s Philly Pops orchestra. deLise has produced, arranged and conducted for pop and concert music recordings released on many labels, including EMI, Vanguard, Def-Jam, Centaur, SoulJazz, EM, BBE, Mercury and CBS records. He arranged and conducted for Patti LaBelle’s top 20 album, Timeless Journey and her number one hit, The Gospel According to Patti LaBelle.
