Showcase

SKU: GI.G-M487

Have a blast with this call-and-response band arrangement that includes opportunities for improvisation in an authentic 12-bar blues context...all at a Grade 1 level! Blues Showcase provides entry-level improvisation opportunities in a setting appropriate for concert performance. The included CD contains two concert band backgrounds, three combo backgrounds for individual or small group improvisation, and 15 call-and-response preparation exercises for entry- to advanced-level improvisation.

SKU: GI.G-M488FS

Have a blast with this call-and-response band arrangement that includes opportunities for improvisation in an authentic 12-bar blues context...all at a Grade 1 level! Blues Showcase provides entry-level improvisation opportunities in a setting appropriate for concert performance. The included CD contains two concert band backgrounds, three combo backgrounds for individual or small group improvisation, and 15 call-and-response preparation exercises for entry- to advanced-level improvisation.

SKU: CF.PPS54

ISBN 9781491158326. UPC: 680160916924. 9 x 12 inches.

Step Up! is a band section feature for beginning instrumental students. The work provides an excellent vehicle to showcase each instrument in the band, providing an ideal selection for recruiting assemblies, parent/grandparentas day programs and first concerts. Each section can stand for the solo feature, at the discretion of the director. If an instrument is not in an ensemble, then that portion of the piece can be omitted. Example: If there are no saxophones in the group, then omit mm. 31a43 and insert percussion (or hand claps) on the first two beats of m. 74. I suggest that if the glissando is to be played in m. 68 that it only be introduced once the students are secure performing the passage without the ornament.
Step Up! is a band section feature for beginning instrumental students. The work provides an excellent vehicle to showcase each instrument in the band, providing an ideal selection for recruiting assemblies, parent/grandparent's day programs and first concerts. Each section can stand for the solo feature, at the discretion of the director. If an instrument is not in an ensemble, then that portion of the piece can be omitted. Example: If there are no saxophones in the group, then omit mm. 31-43 and insert percussion (or hand claps) on the first two beats of m. 74. I suggest that if the glissando is to be played in m. 68 that it only be introduced once the students are secure performing the passage without the ornament.
Step Up! is a band section feature for beginning instrumental students. The work provides an excellent vehicle to showcase each instrument in the band, providing an ideal selection for recruiting assemblies, parent/grandparent’s day programs and first concerts. Each section can stand for the solo feature, at the discretion of the director. If an instrument is not in an ensemble, then that portion of the piece can be omitted. Example: If there are no saxophones in the group, then omit mm. 31–43 and insert percussion (or hand claps) on the first two beats of m. 74. I suggest that if the glissando is to be played in m. 68 that it only be introduced once the students are secure performing the passage without the ornament.

SKU: PR.11442131S

UPC: 680160681006.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

SKU: WD.679143043634

UPC: 679143043634.

Places! Lights! Curtain Up! It's time for The Star Factor and you have a front-row seat! The setting is Camp Heart & Soul, a summer arts camp that features a talent showcase with an exciting twist: the showcase winner earns the opportunity to compete on a national TV show. As everyone excitedly prepares for the performance, their initial group cooperation begins to crumble as their celebrity coach tells them that looking out for yourself is the only way to become a star! A series of zany complications climax at the broadcast of the show when all the would-be stars finally learn that being part of the Body of Christ is what is important, and every person has a special and unique role to play. The Star Factor is another home-run musical from the gifted pen of Christy Semsen, combining humorous characters, clever storytelling, and memorable songs that deliver a solid contemporary spiritual theme the whole audience will appreciate. Daniel Semsen has produced state-of-the-art accompaniment tracks - worthy of any television show - and a comprehensive Teacher's Resource it and performance Instructional DVD will provide all the production help you could ask for. So set your DVR for The Star Factor - it's an experience you'll want to become a part of again and again!

SKU: WD.679143043573

UPC: 679143043573.

Places! Lights! Curtain Up! It's time for The Star Factor and you have a front-row seat! The setting is Camp Heart & Soul, a summer arts camp that features a talent showcase with an exciting twist: the showcase winner earns the opportunity to compete on a national TV show. As everyone excitedly prepares for the performance, their initial group cooperation begins to crumble as their celebrity coach tells them that looking out for yourself is the only way to become a star! A series of zany complications climax at the broadcast of the show when all the would-be stars finally learn that being part of the Body of Christ is what is important, and every person has a special and unique role to play. The Star Factor is another home-run musical from the gifted pen of Christy Semsen, combining humorous characters, clever storytelling, and memorable songs that deliver a solid contemporary spiritual theme the whole audience will appreciate. Daniel Semsen has produced state-of-the-art accompaniment tracks - worthy of any television show - and a comprehensive Teacher's Resource it and performance Instructional DVD will provide all the production help you could ask for. So set your DVR for The Star Factor - it's an experience you'll want to become a part of again and again!