SKU: KN.60615S
UPC: 822795606157.
Here's a great chart with a catchy montuno groove. You'll find plenty of helpful articulations and notated rhythm parts, and the composer offers detailed rehearsal suggestions designed to streamline preparation. Although scored with accessibility in mind, it will help developing groups master sectional independence, balance, blend, and dynamic contrast. Written or ad lib solos are given to alto, trombone, and drums. Each set includes a guitar chord chart by Jim Greeson. Duration 3:25.
SKU: AP.40503S
UPC: 038081478678. English.
This festive medley combines three joyful melodies into a cheerful Celtic tapestry. Centering on The Sussex Carol, it also takes the listener on a colorful romp through Good Christian Men, Rejoice, as well as an Irish fiddle tune entitled A Merry Christmas. The work can be performed with strings alone, but the addition of hand drum, guitar, and whistle give a distinctive fiddle band sound without significantly increasing rehearsal preparation. This title is available in MakeMusic Cloud.
SKU: LO.99-2649L
UPC: 000308124255.
In this dramatic and powerful work, Ruth Elaine Schram imagines the responses of other witnesses at Calvary, creating short dramatic monologues for each: the contemptuous soldier; the crucified thief's sympathetic sibling; the scornful priest; the anguished shepherd; the grieving mother of Christ; and the heartbroken disciple, searching for answers. Her remarkable score conveys Christ's words deftly and passionately, and the music is both tuneful and easily prepared. Appropriate for choirs of all sizes, it offers a small orchestra accompaniment for larger choirs and an intimate instrumental reduction to accompany smaller choirs. This selection offers additional flexibility with two options for the conclusion. For Lent and Holy Week, performances can end contemplatively with the congregation singing the beloved folk hymn What Wondrous Love Is This, while an alternate triumphant chorus of Alleluias is perfect for Easter worship.
SKU: HL.14004918
ISBN 9780711998278. 5.5x8.5x0.266 inches. English.
This handbook was written in 1920 for private circulaton amongst members of the Conducting Class at the Royal College of Music, and published later. This is the revised version aimed at helping thise who work with choirs, orchestras, wind, military or brass bands, as well as teachers of music in all schools and music colleges.
SKU: CF.BAS5
ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: GI.G-9729
ISBN 9781622775323.
Compiled and Edited by James Mick, David Pope, and Soo Han. Chapter authors: Brenda Brenner, Robert Gillespie, Soo Han, Mark Laycock, James Mick, Christopher Selby, and James Woomert.  This much-anticipated fourth volume in the indispensable Teaching Music through Performance in Orchestra series arrives 13 years after the publication of the previous volume, with a new team of authors and editors, each at the top of the string education profession. But while the team is new, the book remains an essential resource for today’s string teachers and conductors at all levels. Part I features practical chapters by leading educators: “Selecting and Teaching Concert Music†by Christopher Selby, “Preparing for the Podium†by James Mick, “Begin with the Score: Making Notation Come Alive†by Mark Laycock, “From Poof to Portato: A Sequence of Bow Strokes for the Heterogeneous Class†by Brenda Brenner, “NRB (Notes, Rhythm, and Bow): Systematic Ways of Providing Technique in the Orchestra Classroom†by Soo Han, “Bowing Styles for the Ages: What Are They? How Do They Sound? When Do I Use Them? How Do I Get My School Orchestra to Play Them?†by Robert Gillespie, “If Only We Had More Rehearsal Time! Strategies for Optimizing Rehearsal Efficiency and Performance Preparedness that Have Nothing to Do With Conducting†by James Woomert. Part II contains analyses of 92 of the most significant works for string and full orchestra in print, Grades 1 through 6. Like the first three volumes of this series, each Teacher Resource Guide includes essential information on each musical selection, including composer and composition information, historical background, technical requirements, stylistic considerations, musical elements (form and structure), suggestions for additional listening, and a guide to selected references. Click HERE to access a spreadsheet with recommended recordings for works in Volume 4. A Note about Volume 5:  In preparation for Volume 5 of this hallmark series, we welcome your input as we seek to include more repertoire from historically underrepresented composers. For more details, please reivew the following PDF and use the Google Form below to submit your suggested works. PDF: Diversity, Equity, and Inclusion in the TMPO Series Loading….
SKU: GI.G-10679
ISBN 9781622776443.
This collection of motets for SA(T)B voices is the ideal supplement for advanced choral conducting and rehearsal methods courses. Each brief motet incorporates musical characteristics that require conductors to execute a variety of skills and techniques, including dynamic changes, cues and preparations, tempo changes, legato and staccato patterns, the use of the left hand, and more. These original motets feature fragments of standard Latin text with relatively simple but musically interesting construction, flexible tenor and bass voicing, and optional piano accompaniment—making them well suited for standalone performance in church and school settings as well. A brief note for conductors precedes each work, and the booklet concludes with a concise but masterful guide to score study as well as an evaluation rubric for student conductors. A beautiful and versatile collection of motets for any context! Richard Nance brings over forty-five years of teaching experience with public school, church, community, and collegiate choirs to the composition of this collection of motets. He has many years of experience teaching conducting and music methods courses at Pacific Lutheran University, and his choirs have regularly performed at conferences sponsored by ACDA, NAfME, and NCCO. He has also published several choral works and has a featured series with Walton Music.
SKU: CF.BAS5F
ISBN 9780825845093. UPC: 798408045098. 8.5 X 11 inches.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.
SKU: CL.012-4702-00
Excerpted from French composer Jules Massenet’s opera Thais, this beautiful setting of Meditation has been arranged for flute solo with concert band. Feature your outstanding flautist or guest artist with this lovely work. The band accompaniment requires a minimal amount of rehearsal and preparation, and provides a great opportunity to showcase your soloist. Stunning!
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: OU.9780193519602
ISBN 9780193519602. 12 x 8 inches.
Vaughan Williams's romance for solo violin and orchestra is given new life in this beautiful arrangement. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
SKU: CL.012-4702-01
SKU: OU.9780193519619
ISBN 9780193519619. 12 x 8 inches.
Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement, which features the original solo line as part of a string sextet. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
