Start Up the Band

“I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA Idecided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication theevent featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion.A Bulgar is aRomanian Jewish Dance that was very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewishornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba andpercussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majesticconclusion.” --Hankus Netsky

A best selling chart by Tom Wallace based on the techno-rock masterpiece by the Swiss group Yello. Bandistic in every way while covering all the basic needs for your pep band. Starts fast stays fast ends fast. Start your engines and put the pedal to the metal.

Suite for symphonic wind band is a rich orchestral piece that taxes the musicians to the utmost. The first part starts with a lyric melody in the French horn section to be taken over by the full orchestra ending in a kind of 'anarchistic entrada'. The second part starts with a transparently orchestrated polyphonic web slowly passing into a richly arranged wave like movement that stops suddenly leading to the third part's 'attaca' start. This third part is a fragile 'adagio con tenerezza'. The finale is extremely virtuous and feriocious. It is a musical expression of anger fear and despair.

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Compiled and Arranged by Franco Cesarini. During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless "punishing" exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians? awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything without putting the musical aspect in the foreground. 60 Warm-up Chorales for Concert Band: A perfect collection to warm-up and improve tuning of a concert band!

Score-Grade 5 Winner of the prestigious 1999 Schirmer competition for young composers this significant work with expanded instrumentation brings Stephen Beck to the forefront of contemporary literture for bands. TheWild Rumpus was inspired by the childrens book 'Where The Wild Things Are' by Maurice Sendak. Near the middle of the story the hero a young boy named Max discovers the world of the Wild Things and is crowned king ofthe Wild Things. At that point Max shouts Let the wild rumpus start! Composed in two movements - I. Howling Swinging and II. Marching.

Grade 3 - Score Only-The lilting joy of a compound triple meter piece is a great way to add contrast to your concert. “Sketches on an Olde English Song” keeps that wonderful 6/8 momentum rolling along nicely. As bands start moving intomore challenging pieces it's important that the musicians develop facility with 6/8 and 9/8 time. This arrangement is a great way to take your group to the next level. Dur: 4:30

Grade 3 - Score and Parts-The lilting joy of a compound triple meter piece is a great way to add contrast to your concert. “Sketches on an Olde English Song” keeps that wonderful 6/8 momentum rolling along nicely. As bands start moving intomore challenging pieces it's important that the musicians develop facility with 6/8 and 9/8 time. This arrangement is a great way to take your group to the next level. Dur: 4:30

A joyous and exuberant sparkler for your next concert! This bright little bijou from James Curnow is a great way to start the show. It?s as inviting as they get and will engage every listener from start to finish.The easy excitement will motivate your Grade 2 band to their iridescent best. For groups playing regularly at a Grade 3 level EXCURSIONS also works well in the program following any heavy major work you may have chosen to perform. It?s a perfect way to lighten the mood and recapture those listeners who may be new to the art of listening to larger forms.Use it anywhere anytime of the year. It?ll be quick to prepare effective in concert and has much more tooffer educationally than the typical ?pop/movie tune? type of fare.Take a look!

Start Up the Band est une oeuvre de commande pour l’Orchestre d’Harmonie Melodia de Goldach en Suisse. Cette pièce d’ouverture débute avec une introduction en forme de fanfare jouée par les cuivres tandis que les bois développent des phrases florissantes sur un accompagnement puissant des basses et des timbales. La ligne mélodique se décline dans un style rock. Le passage intermédiaire plus calme offre un fond sonore idéal pour l’intervention d’un présentateur.

Start Of Something New: Breaking Free: We?re All In This Together-C?est par millions que l?on compte les fans du téléfilm musical américain High School Musical (Premiers pas sur scène) un divertissement romantique signé Disney Channel dans lequel se mélangent le chant et la danse. John Blanken a choisi trois chansons-culte extraites du premier volet de la série pour créer ce medley : Start of Something New Breaking Free et We?re All in This Together.

The idea behind this work was to create an opening piece something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and by contrasting different instrumental families the work changes into modern clothes.Why not add a little Renaissance splendor to any concert with this unique new work?

Start Up the Band est une oeuvre de commande pour l’Orchestre d’Harmonie Melodia de Goldach en Suisse. Cette pièce d’ouverture débute avec une introduction en forme de fanfare jouée par les cuivres tandis que les bois développent des phrases florissantes sur un accompagnement puissant des basses et des timbales. La ligne mélodique se décline dans un style rock. Le passage intermédiaire plus calme offre un fond sonore idéal pour l’intervention d’un présentateur.