Dynamic Winds

SKU: HL.4003789

UPC: 884088989316. 9x12 inches.

The turbulence and intensity of a major wind storm is effectively recreated in Richard Saucedo's Of Gale Force Winds. Based around rhythmic figures that create a wind-like effect, and combined with a playful melody, the piece alternates between 6/8 and 9/8 staying rhythmically dynamic throughout. A very brief moment of repose hints at the period of calm that comes in the middle or “eye” of bigger storms. The fury of the storm then returns with darker sonorities and increased energy as this descriptive work comes to an exciting conclusion. Duration: 4:00.

SKU: CL.012-2343-00

Driving syncopation and a unique combination of changing meter and dynamic contrasts make composition the ideal selection for contest, festival or concert. Very playable, yet dramatically dynamic.

About Heritage of the March

Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

SKU: CL.012-3022-75

An exciting and dynamic composition by James Swearingen that is certain to become one of his most popular and often performed pieces. Beginning with a slow expressive introduction, it soon segues into an Allegro Con Brio section which is impressive and spirited. Solidly scored in the patented Swearingen manner, this exceptional work will help inspire mid-level bands to new musical heights. Outstanding choice for almost any performance situation!

SKU: HL.1117980

UPC: 847986001436. 8.0x10.0x4.25 inches.

Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Tailored vocal sound The MTP 550 DM features clear and powerful live sound. Your voice sits well in the mix, and you'll hear yourself clearly on the monitors. It's easy to connect with your audience when you know that they'll hear you. Highly feedback proof The MTP 550 DM features a consistent cardioid pattern so that your monitor signal can be as loud as you desire. You don't have to worry about feedback, and you can perform confidently delivering a solid show. Durable materials for longevity To assure your beloved microphone survives even the roughest touring routines, the enclosure is made out of durable zinc die-cast parts. A rubber-suspension protects the capsule while minimizing unwanted handling noise. The built-in wind- and pop-filter prevents hissing sounds and plosives. On top of that, the capsule is protected from moisture. Cardioid polar pattern The cardioid polar pattern picks up sound coming mainly from the front of the microphone, sound from directly behind the MTP 550 DM is dampened effectively. Because the pattern is very consistent, it's hard to find a mic with better rear-rejection. What's in the box? The MTP 550 DM comes with a snap-in mic clip, a windscreen and a transport bag.

SKU: 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.

SKU: HL.49045997

ISBN 9781540033918. UPC: 888680787004. 9.5x12.0x0.681 inches.

Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano.The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added.- Pierre Jalbert.

SKU: CF.BPS128F

ISBN 9781491156230. UPC: 680160914777. 9 x 12 inches.

Program Notes Start Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band revs up right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase Gentlemen, Start Your Engines became a tradition of the Indianapolis Motor Speedway in the early 1950s. The Greatest Race Course in the world has celebrated over 100 years of competition in motorsports. Note to the Conductor Measures 37-40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45. For some younger students, the use of repeat signs and phrases like 2nd time only may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.
Program NotesStart Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band “revs up” right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase “Gentlemen, Start Your Engines” became a tradition of the Indianapolis Motor Speedway in the early 1950s. The “Greatest Race Course in the world” has celebrated over 100 years of competition in motorsports.Note to the Conductor Measures 37–40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45.For some younger students, the use of repeat signs and phrases like “2nd time only” may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.

SKU: HL.364989

SKU: HL.4005146

UPC: 888680694821. 10.5x14.0x0.085 inches.

Under orders from General George Washington at the height of the Revolutionary War, a spy ring was organized for the purpose of providing critical information on the movement of British forces in the New York area. This dynamic work for band hints at the sense of danger and intrigue at the heart of this operation. The opening strains are propelled by an underlying rhythmic layer with flashes of color from the winds and percussion. A reflective middle section features soloistic passages with lush harmonies, and offers a calming mood before the fast tempo returns for the dynamic finish. Dur: c. 7:45 (MusicWorks).

SKU: HL.364988

SKU: CF.CPS200

ISBN 9781491152355. UPC: 680160909858.

Although some stories in Greek mythology reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicating joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and the performer.
Program NotesAmong the many stories in Greek mythology, Apollo holds a unique place as a complex Olympian god known for truth, prophecy, healing, poetry, plague, knowledge, light and music. Although some stories reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicated joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band, ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and performer. From the dynamic opening fanfare to the soaring motifs and rhythms that follow, Apollo Arise provides a wonderful opportunity for the ensemble to reach for new musical heights in their performance!    Rehearsal Notes and SuggestionsThe opening twenty-four measures of the work are important for the rest of the work to unfold successfully. Encourage the ensemble to play with a unified articulation style, maintain a proper balance, and establish a consistent tempo through this section as several recurring rhythms must be performed consistently. Measure 38 features a trumpet solo, so be sure that the rest of the ensemble balances their line to support the solo instrument. In the section that begins at m. 67, there is an optional solo opportunity for trumpet and trombone. Both of these sections provide nice contrast against the full ensemble sections that are present in the work. The section at m. 81 includes a call-and-response section between woodwind, brass and percussion groups. Be sure that as groups enter, the tempo remains consistent and that the winds articulation style is unified and complimentary to the percussion. As the opening fanfare returns at m. 101, remind the ensemble to play with consistent style, balance and tempo as they did in the opening. As the ensemble begins the part of the journey with Apollo at m. 110, the music contains unique layers that must work together to be effective and set up the material that begins at m. 127. Encourage the group to play so they can hear all other lines, and allow their energy to grow into a focused musical celebration by the final note. Thank you in advance for your support of this music, and I wish you and your ensemble well as Apollo Arise welcomes the audience to your concert hall.