Range of Articulation

SKU: KJ.WB529

UPC: 084027053065.

Enhance your bandâ??s articulation technique with this stately march. Articulation Station features simple quarter note rhythms and a limited range, providing a pefect setting to display accented, slurred, and separated notes. Correlates with Tradition of Excellence Book 1, page 12.

About Tradition of Excellence: Excellence in Performance

Excellence in performance is a concert band repertoire series correlated with the Tradition of Excellence Comprehensive Band Method by Bruce Pearson and Ryan Nowlin. The compositions in the series correlate to a specific page in Tradition of Excellence Books 1, 2, or 3 and reinforce and expand on skills and concepts introduced in the method.

/Selections include exciting parts for every player, grade-appropriate cross-cueing, accessible ranges and rhythms, creative percussion writing, electric bass and rehearsal piano parts, and full conductor scores with rehearsal suggestions, program notes and composer biographies. In addition, the Grade 1 works provide an Advanced Snare Drum part for percussionists who have achieved a higher level of ability, playable simultaneously with the more basic Snare Drum part to facilitate differentiated learning.

SKU: AP.26693S

UPC: 038081300085. English.

An exciting work for beginners, Ralph Ford's Strange Pursuit will hit the mark with contrasting styles and a variety of articulations. Best of all, it's a great choice for enhancing your students' knowledge of chromatics. There'll be no question that it's an up-tempo, high-energy crowd pleaser! This title is available in MakeMusic Cloud.

SKU: CF.CPS245F

ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches.

ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo.

SKU: CY.CC3162

ISBN 9790530111321. 8.5 x 11 in inches.

Here is a description of Warming Up Together from the composer, Andrew Friedrichs: Warming Up Together is a book of duets that are designed to provide a musical context as well as a focus on specific areas of technique. There are eight sections in this book that correspond to what I feel are the most fundamental components of trombone technique: tone (long tones), flexibility (slow slurs, wide slurs, and fast slurs), range (high range and low range), and articulation (slow articulation and fast articulation). The idea for this book came out of my own warm up. I was trying to develop a warm up routine that was a series of technical categories rather than a series of exercises, but I also wanted to have the opportunity to be able to play it with someone else. As a trombone player and teacher, I have made specific choices within the duets based on technical challenges that I've observed in my own playing and in the playing of students and colleagues. As a composer, I've focused on addressing various styles in order to keep the duets fun and fresh while allowing the musical contexts to be as far reaching as possible in their application. As a not-to-be-taken-seriously backrow member of the orchestra, I've thrown in the critical element of terrible humor by way of pathetic jokes and ignominious puns.

SKU: HL.49046941

ISBN 9783795722005. UPC: 196288087304. 9.0x12.0x0.163 inches.

The Easy Concert Pieces series presents easy to intermediate pieces for trumpet with piano accompaniment. Pieces typical of their era and suitable for auditions, public performance, competitions or examinations are ordered according to level of difficulty in three volumes. These Easy Concert Pieces also provide appealing additional material for use in trumpet lessons. Each piece has been recorded, both in full and playback versions (piano accompaniment).The audio files can be downloaded with a voucher code (in the book). In addition to the enclosed part for trumpet in Bb, a part for trumpet in C (Schott ED 22555-01) is available for download at www.schott-music.com. Volume 1 (ED 22555) contains very easy to easy pieces with a range up to written c'', with d'' appearing as a short top note in just afew pieces. Simple and memorable rhythms, readily playable note sequences and patterns of articulation that can be mastered quickly and easily make this book ideal for beginners. Volume 2 (ED 22556) contains easy to intermediate pieces with a range no higher than f''. Besides extending rhythmic scope and requiring a little more in terms of phrasing and articulation, these pieces will encourage further exploration of musical contrasts. Volume 3 (ED 22557) is of medium difficulty and intended for players with a well-developed embouchure who can play notes up to written g'', though this note only appears as a short top note. Flexible articulation and legato playing with a well-developed dynamic range are required for pieces that are longer than those in the preceding volumes.

SKU: CF.CPS234

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: CF.CPS252

ISBN 9781491159699. UPC: 680160918287.

America is intended for any intermediate to professional concert band looking to honor the United States of America and/or members of the Armed Forces. It is therefore ideal for performance on or around any patriotic holiday. It is not a typical setting of the tune, in that many liberties are taken to showcase each instrument of the ensemble, with the melodic focus constantly shifting. The conductor and performers should seek out these moments, and bring them to life whenever possible. The introduction, mm. 1-12, should be approached in the style of a fanfare, with an emphasis on syncopation and exaggerated nuance in regards to articulation style. Here, hidden beneath woodwind flourishes and triumphant bugle calls, the low voices play quotes of familiar American tunes such as The Star-Spangled Banner (m. 1, beat 3) and Simple Gifts (m. 3, beat 4). In mm. 15-22 the melody is carefully hidden among counter lines. This should be carefully balanced to highlight the melody, while still shaping the counter melodies appropriately. A brief return to the fanfare style occurs in mm. 33-35 before melding back into the chorale style. In regards to dynamics, performers should be reminded that within any single dynamic exists a range of expressive shades. No two notes should be played at the same volume, ensuring direction in even the simplest of phrases. Generally speaking, the fortissimo dynamic should be approached thoughtfully, with the bulk of the sound coming from the lowest voices, and the least from the highest voices.
America is intended for any intermediate to professional concert band looking to honor the United States of America and/or members of the Armed Forces. It is therefore ideal for performance on or around any patriotic holiday. It is not a typical setting of the tune, in that many liberties are taken to showcase each instrument of the ensemble, with the melodic focus constantly shifting. The conductor and performers should seek out these moments, and bring them to life whenever possible.The introduction, mm. 1–12, should be approached in the style of a fanfare, with an emphasis on syncopation and exaggerated nuance in regards to articulation style. Here, hidden beneath woodwind flourishes and triumphant bugle calls, the low voices play quotes of familiar American tunes such as The Star-Spangled Banner (m. 1, beat 3) and Simple Gifts (m. 3, beat 4). In mm. 15–22 the melody is carefully hidden among counter lines. This should be carefully balanced to highlight the melody, while still shaping the counter melodies appropriately.A brief return to the fanfare style occurs in mm. 33–35 before melding back into the chorale style.In regards to dynamics, performers should be reminded that within any single dynamic exists a range of expressive shades. No two notes should be played at the same volume, ensuring direction in even the simplest of phrases.Generally speaking, the fortissimo dynamic should be approached thoughtfully, with the bulk of the sound coming from the lowest voices, and the least from the highest voices.

SKU: CF.CAS159F

ISBN 9781491165447. UPC: 680160924356. Key: D minor.

Charles Gounod (1818-1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used in frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956-66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CF.CAS159

ISBN 9781491165041. UPC: 680160923953. Key: D minor.

Charles Gounod (1818–1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956–66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians