Format : Sheet music + Audio access
SKU: KN.41838S
UPC: 822795418385.
Have you got the Fake News Blues? This chart is the cure! Full ensemble work, an open solo section and a solid swing feel are the cornerstones of this new original at the very easy level. Scored for 4 horns with rhythm section and expandable to full big band, written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F. A written or ad lib open solo section for blowing is included, with solo sheets provided for all. Duration 3:48.
SKU: KN.41838
SKU: CF.WF231
ISBN 9781491153314. UPC: 680160910816.
Stylistic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces†in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes†at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces†in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.
SKU: HL.48185864
Saint Francis of Assisi is an opera in 3 acts by Olivier Messiaen. This first volume is focused on the Act 1 ? 1. La croix, 2. Les laudes, 3. Le baiser au lepreux. It depicts the moments when Saint Francis explains what is the Perfect Joy according to the love of the Christ, his request to God to meet a leper and to be able to love him, and, finally, his meeting with a leper, assisted by an Angel. The leper is cured from this meeting. Based on the life of Saint Francis of Assisi, this opera is set in Italy and is composed as per below: Act I: 1. La croix 2. Les laudes 3. Le baiser au lepreux Act II 4. L?ange voyageur 5. L?ange musicien 6. Le preche aux oiseaux Act II 7. Les stigmates 8. La mort et la nouvelle vie This opera was played at the Paris Opera in 1983. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composers of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the 'Bird Catalogue' in 7 volumes and the 'Treatise on rhythm, colour and ornithology' in 7 volumes..
SKU: GI.G-M187CS
English.
Rhythm is the organizing principle of musical performance—it’s what holds music together. The ability to move to music is an important prerequisite to the development of music listening, reading, writing, and performance. This recording and its accompanying manual are designed to provide the motivation and the instructional sequence necessary for success. Fun, varied music in a variety of styles and meters is accompanied by a manual full of ideas. All activities in the manual are illustrated for students in a seated position, where students are most likely to feel safe and secure. Appropriate for students of all ages. *Has the same contents as the CD (M187CD).
SKU: GI.G-M188
ISBN 9781579997946. English.
Rhythm is the organizing principle of musical performance—it’s what holds music together. The ability to move to music is an important prerequisite to the development of music listening, reading, writing, and performance. This manual and its accompanying recording are designed to provide the motivation and the instructional sequence necessary for success. Fun, varied music in a variety of styles and meters is accompanied by a manual full of ideas. All activities in the manual are illustrated for students in a seated position, where students are most likely to feel safe and secure. Appropriate for students of all ages.
SKU: LO.30-3604L
UPC: 000308150698.
Instrumental Ensemble Score and Parts for I Go to the Rock (10/5184L) Mary McDonald made the ‘70s country Gospel song sparkle as it reminds us that when we need a secure place of shelter, we can Go to the Rock! This lively anthem includes a chorus of the hymn On Christ, the Solid Rock, I Stand..
SKU: CA.336490
ISBN 9790007243975. Language: Spanish.
This composition is a Chilean 'Cueca,' which is a dance found in many South American countries that is de rived from the Spanish 'Jota' and contains several elements from the 'Fandango.' There are many different styles of 'Cuecas', depending on the nature of the texts or the region from which they come. However the rhythm is mostly written in 6/8, alternating sometimes with 3/4, and in minor keys, and it is danced in single and independent couples. Because of its melancholic character, this 'Cueca' is thought to have derived from the Peruvian 'Yaraví' and it comes from the province of Sucre and was composed in the times of the Chaco war (that occured between Bolivia and Paraguay in 1932-1935). Most of the authors who composed texts and popular tunes in this period are anonymous. The instruments that accompany the 'Cueca' are generally guitar, bombo and charango.
SKU: PR.140400670
UPC: 680160023271.
Secret Geometry can be heard as a short piano sonata, with the movements forming a typical fast--slow--fast pattern. The electronic sounds on tape are tightly interworven with the piano, often serving to extend and transform the piano's sound. The goal is to create a hybrid sound world. The phrase secret geometry is used to describe the play of forms in certain paintings, referring to structural patterns that are used to organize the pictorial elements. Since the electronic medium permits a composer to focus on the micro-structure of individual sounds, as well as more customary concerns with patterns of pitch and rhythm, it seemed appropriate to choose a title that emphasizes the careful shaping of every compositional element. But this is not to neglect the spiritual impulse of the work. After all, the obscure motion of the Holy Spirit herself describes a secret geometry, what Thomas Merton called a hidden wholeness. Written for the distinguished pianist Aleck Karis, Secret Geometry was composed with the assistance of a grant from the Pennsylvania Council on the Arts. The tape was realized in the Presser Electronic Music Studio of the University of Pennsylvania.
SKU: CF.CAS79
ISBN 9780825894800. UPC: 798408094805. 9 x 12 inches. Key: D major.
Hold on tight, this is a tour de force for more advanced groups. With a slew of contemporary compositional elements including mixed-meter, extended harmonies, and angular rhythms, this piece contains a fullness that composer George Sweet's works are known for. It's challenging, but the musical rewards abound.A bazaar is an enclosed marketplace or street where various merchants and craftsmen sell their wares. The image of a crowded bazaar in a land far away was the inspiration for the piece. The variety of different people, cultures, and merchandise present in a bazaar allowed for a piece that has many different styles, moods, and characters (both humorous and serious). After the introduction, which represents the grand entrance of the bazaar, the main theme is presented by the violin 1 at m. 15. The meter changes frequently throughout the piece, but the eighth note stays constant. Be careful to subdivide the different time signatures carefully, as these changing meters occur. A melodic and flowing B-theme occurs at m. 37. After a varied restatement of both themes, new material occurs at m. 63. This C-section contrasts with the rhythmic activity thus far and should be played as legato and as sustained as possible. Be careful to time the divisi entrances and the pyramid-style chords in this section correctly, in order to keep the tempo secure. The rhythmic A- and B-themes return at m. 83 in a varied form, and lead to a climactic passage. The tempo changes that occur from mm. 105 to 114 are very slight and are open to the interpretation of the conductor. Feel free to move the tempo throughout this section using the markings as a guideline. The desired effect is one of pushing and pulling the tempo through this section. The introduc- tory material returns at m. 114 and brings the piece to a close.
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:
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
