Festival of Winds and Percussion (Parts)

SKU: KJ.WB264

UPC: 8402700146.

North Winds Festival is a concert/festival piece that is a musical expression of the north winds. An ideal performance piece for beginning bands with its fresh harmonies and playable rhythms. North Winds Festival is correlated with Standard of Excellence Book 1, page 17.

About Standard of Excellence in Concert

The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

SKU: AP.48067S

UPC: 038081556857. English.

Lost Tomb of the Incas by Michael Story will transport your orchestra to the ancient civilization of the Incas. Featuring full-sounding melodies, interesting rhythmic accompaniments, and exciting percussion parts, this piece can be performed by string orchestra alone, or with as many added winds and percussion as possible, up to full orchestra. A perfect piece to open or close any concert or festival! (2:00) This title is available in MakeMusic Cloud.

SKU: AP.48067

UPC: 038081556840. English.

Lost Tomb of the Incas by Michael Story will transport your orchestra to the ancient civilization of the Incas. Featuring full-sounding melodies, interesting rhythmic accompaniments, and exciting percussion parts, this piece can be performed by string orchestra alone, or with as many added winds and percussion as possible, up to full orchestra. A perfect piece to open or close any concert or festival! (2:00) This title is available in MakeMusic Cloud.

SKU: CF.YPS251

ISBN 9781491161340. UPC: 680160919932.

Commissioned by the Midway High School Band, NC Joshua Tew and Jesse Shelton, Directors Commission funded by the Simple Gifts Grant Fund (Clinton, NC) In memory of Deborah Tew, mother of Joshua Tew This composition is a great concert opener or festival selection for a young band. Beginning with a joyful motive and lots of featured percussion, it uses sudden dynamic changes and a dark middle section to create plenty of contrast and excitement. The ending begins very softly, building to a tension filled climax that eventually returns to the joyful motive from the beginning of the piece. Lots of fun for the musicians and the audience! Be sure to keep the tempo moving throughout--don't let it slow down or it will lose energy, especially in the soft sections. Keep articulations crisp and let the horns wail (doubles in altos). Make sure your percussionists observe the marked dynamics and do not cover the winds. Otherwise, this piece is very accessible, with reasonable ranges and rhythmic challenges. It may take a minute or two to balance the dark chords in the middle section, but it will be well worth it for the contrast. Have fun!.
Commissioned by the Midway High School Band, NCJoshua Tew and Jesse Shelton, DirectorsCommission funded by the Simple Gifts Grant Fund (Clinton, NC)In memory of Deborah Tew, mother of Joshua TewThis composition is a great concert opener or festival selection for a young band. Beginning with a joyful motive and lots of featured percussion, it uses sudden dynamic changes and a dark middle section to create plenty of contrast and excitement. The ending begins very softly, building to a tension filled climax that eventually returns to the joyful motive from the beginning of the piece. Lots of fun for the musicians and the audience!Be sure to keep the tempo moving throughout--don’t let it slow down or it will lose energy, especially in the soft sections. Keep articulations crisp and let the horns wail (doubles in altos). Make sure your percussionists observe the marked dynamics and do not cover the winds. Otherwise, this piece is very accessible, with reasonable ranges and rhythmic challenges. It may take a minute or two to balance the dark chords in the middle section, but it will be well worth it for the contrast. Have fun!

SKU: CF.CPS251F

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

SKU: CF.BPS39

ISBN 9780825858611. UPC: 798408058616. 9 X 12 inches. Key: G minor.

Arrival at Normandy depicts the entry into Normandy by our forces on D-Day. The tune uses only the first 6 notes learned in most band method and the most difficult rhythm is quarter note based in the winds. Perfect contest/festival showcase piece for a beginning band. .