Format : Score and Parts
SKU: KN.05600S
UPC: 822795056006.
Issued in 1966, the enduring popularity of this novelty number for young bands can best be explained by its appealing simplicity and practical flexibility. All that's needed is at least one low instrument to cover the bass part (trombone, baritone, tenor sax, tuba, bass clarinet) and any combination of higher instruments for the treble part. Musically it's a 12-bar blues featuring a staccato walking bass line for low winds punctuated by a rhythmic, repeated-pitch pattern for upper winds. Beginners who can play just two notes can even play along, and the final chorus offers some dramatic options by having the band stand the first time through, then playing it one more time! as an encore after applause. Duration 2:00.
SKU: CF.CPS251F
ISBN 9781491159880. UPC: 680160918478.
About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End: In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
SKU: CF.CAS91F
ISBN 9781491142073. UPC: 680160630134.
This lighthearted quodlibet was commissioned by ASTA and premiered at the 2015 conference. It provides a fabulous tool to introduce your students to key musical themes across time. The score plays off of the musician's nocturnal mind to combine twelve historic themes by condensing and expanding them the way our subconscious mind often toys with daytime experiences. In total, this composition celebrates the string player's full potential: Where loyalty to the written note serves the imagination's creative playground. What is composition, if not a grand improvisation captured in a snapshot?
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: CL.032-4926-01
Jazz music doesn't always have to be higher, faster, & louder – and this chart is proof that you can generate plenty of excitement by laying-back. It's great for teaching your band how to keep a slower tempo without rushing, and the open solo section on Bb blues changes is perfect for building confidence in young improvisers. The background parts sound so full you can play them without the solos if you desire and it will still sound great. A definite winner!
SKU: KN.5600
SKU: KJ.JB105F
UPC: 8402704845.
The opening chorale provides an poignant introduction to the rhythmic vitality of the fast and dance-like exultation. Short punctuated notes over a driving rhythmic background underscore a feeling of rejoicing and jubilance. The chorale melody returns in juxtaposition with the energetic rhythms of the exultation. This is a wonderful concert selection to feature your band's rhythmic skills that will be appreciated by audience and players alike for years to come!
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: KJ.JB105
UPC: 8402704843.
SKU: CF.CAS91
ISBN 9781491142066. UPC: 680160630127. Key: G minor.
This lighthearted quodlibet was commissioned by ASTA and premiered at the 2015 conference. It provides a fabulous tool to introduce your students to key musical themes across time. The score plays off of the musician's nocturnal mind to combine twelve historic themes by condensing and expanding them the way our subconscious mind often toys with daytime experiences. In total, this composition celebrates the string player's full potential: Where loyalty to the written note serves the imagination's creative playground. What is composition, if not a grand improvisation captured in a snapshot?.I am a firm advocate for creative conducting, so I encourage you to experiment with changes in tempi to segue between themes, and/or to take musical liberty with the actual transitions between the themes, as long as there is still a feeling of forward momentum.If you want to fulfill the theatricality of the score, it would be fabulous to look at the audience (with a raised eyebrow, or a smile on your face, or whatever facial expression you think suits these moments in the score) at m. 14 and again at m. 21.In addition, it will help to conduct with wider gestures when themes change or the volume suddenly drops or swells. This will help the audience understand that these sudden changes between themes or dynamics are intended and will also help the students highlight those spots (particularly across the complex thematic shifts between mm. 62 and 94).The grandiosity from m. 110 through the end can be pushed to its zenith, particularly if you control prior forte settings such that the end gets the grand push.CAS91FThemes in String Dreams include:1. Twinkle, Twinkle Little Star2. Second Kreutzer Etude3. Concerto in A Minor, Vivaldi 4. Cello Suite No. 1, Bach5. St. Louis Blues, W.C. Handy 6. Minuet in G, Bach—Julie Lyonn Lieberman,Artistic Director, Strings Without Boundaries www.julielyonn.com | www.stringswithoutboundaries.com.
SKU: KJ.WB493F
ISBN 9788402704870. UPC: 8402704875.
Home Days (Concert March) is inspired by county fairs and town gatherings in which communities come together in celebration and fellowship. Imagine being seated on the Ferris wheel at the center of the fairgrounds, soaking in all the sights, sounds, and smells. Even the livestock barns which show the accomplishments of the local farmers and ranchers create a sense of homecoming and wellbeing. is march embodies music you might hear throughout the hustle and bustle of the fair. Score only -- complete score and parts also available: WB493.
SKU: KJ.WB493
UPC: 8402704873.
Home Days (Concert March) is inspired by county fairs and town gatherings in which communities come together in celebration and fellowship. Imagine being seated on the Ferris wheel at the center of the fairgrounds, soaking in all the sights, sounds, and smells. Even the livestock barns which show the accomplishments of the local farmers and ranchers create a sense of homecoming and wellbeing. is march embodies music you might hear throughout the hustle and bustle of the fair.
SKU: CF.CAS107
ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor.
Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance.An up-tempo 3⁄4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 .
SKU: CL.032-4926-00
SKU: SU.12800062
Goldberg Variations, BWV 988 (3-page Preface, 63 pages, edited for piano, no fingerings). This attractive Urtext of Bach’s popular variation cycle is not only extremely user-friendly and extra-legible, but in addition, presents groundbreaking performance practice research that explains Bach’s never-before-revealed plan of tempo relationships between variations. This discovery is highly significant with regards to the tempi chosen for the 30 variations in a complete performance. The first edition from 1741, engraved by Bach himself, shows fermatas after some, but not all, variations. Most editors assume this was an oversight by Bach, and thus, add fermatas where they do not belong. Virtually all editions of our time add fermatas where Bach did not indicate them. Perhaps the only edition that correctly reproduces Bach’s fermata indications is Peters (ed. Kurt Soldan, 1937). Mapping out Bach’s fermata plan for the complete cycle reveals an ingenious and fascinating symmetrical arrangement of pairs and groups of variations unified by direct tempo relationships. Bach’s tempo plan has never yet been honored by commercial artists because they have been steeped in false, 19th-century tempo traditions, they have been too influenced by Glenn Gould, and they have never been made aware of Bach’s use of fermatas due to faulty editions. Bach’s master plan is beautifully laid out and all the tempo relationships are explained in the three-page Preface, which also contains a tempo hierarchy matrix relevant to Bach performance as well as Bach’s well-known Table of Ornaments. This edition is ideal for pianists from the late-intermediate levels and higher as well as concert artists, scholars, and teachers who seek an informative edition of the Goldberg Variations for the concert hall or teaching studio. Piano/Keyboard Published by: BachScholar.