Mastering the Middle Register of the Clarinet. Crossing the break can be a source of frustration for developing clarinetists. The Break is a logical guide for mastering this important step in clarinet performance. The method is divided into two parts: Part I contents: the clarinet overtone series - how new note names attach to previously learned fingerings - how to incorporate 'right hand down' as a developmental technique - one octave scales across the break - first melodies in the clarion register that teach basic musical concepts needed for advanced performance. Part II contents: studies from Rhythmical Articulation by Pasquale Bona, selected and edited for clarinet to prepare students for upper level performance.Rhythmical Articulation was originally written to assist singers with rhythmical and pitch accuracy. Range: The range is appropriate for developing clarinetists (low B to B just above the treble staff). Third-line B natural is often referred to as the break because it is the note where the register key is added to produce the middle register. These studies and exercises center around third-line B natural and provide a means to develop smooth connections between the lower and middle registers of the clarinet. Technique: The studies have been adapted for clarinet to cover nine key signatures. Appropriate articulations, dynamics, and expressive markings have been added to reflect common practice in the classical style. Advanced rhythms and time signatures are introduced with moderate tempos. Musical terms have been added to identify phrases and suggest expression. The Break also includes an introduction to the altissimo register. / Niveau : 2 / Etudes et exercices / Méthode / Clarinette
SKU: HL.14043546
9.0x12.0x0.088 inches.
Judith Weir 'S Day Break Shadows Flee For Solo Piano. This 10 Minute Work Was Commissioned By Bbc Radio 3. It Was First Performed By Benjamin Grosvenor On 1St September 2014, As Part Of The Proms Chamber Music Series At Cadogan Hall. ' Day Break Shadows Flee , Written For Benjamin Grosvenor, Is A Two-Part Invention, A Piano Solo Composition In Which The Two Hands Work In Close Co-Ordination But Independently. My Intention Was Generally To Avoid Using Thick Chords (Although Octaves And Other Clear Sonorities Are Included) While Allowing Both The Right And Left-Hand Lines To Be Free, Mobile And Expressive. The Treble And Bass Sectors Of The Keyboard Are Clearly Contrasted AndOften Widely Separated. In Atmosphere And Expression The Music Is Another Kind Of Two-Part Invention, Contrasting Bright, Upwards-Arching Phrases (Heard At The Opening And Evoking The Arrival Of Light At The Beginning Of The Day) With Veiled, Mysterious Scurryings, Suggesting The Stranger, More Nervous Life Lived At Night And In The Early Morning. ' - Judith Weir.
SKU: GI.G-4962
Text by Traditional Spiritual.
SKU: HL.4003463
UPC: 884088908416. 9.0x12.0x0.063 inches.
The pursuit is on! In the compelling style of classic spy music, Codebreaker takes your band into the world of intrigue and espionage. Though written for young band, Codebreaker's effective orchestration gives it the sophisticated sound and intensity of a much more advanced piece. A non-stop thrill ride full of suspense and adventure! (Grade 2.5) Dur: 2:40.
SKU: CF.YPS257F
ISBN 9781491161968. UPC: 680160920648.
Break Through is my musical representation of one's struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 'break through' climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor. I hope you and your ensemble enjoy perforinming Break Through.Break Through is my musical representation of one’s struggle to pass through a barrier or move beyond an obstacle. This could be a literal breakthrough or a metaphorical achievement. The composition is centered around the key of G minor to achieve a dark, resonant emotion. The percussion is the heartbeat and pulse for the introduction and should follow all dynamics to match the winds. Soft rolling mallets should be used for the bass drum and gong rolls, creating a dark timbre without overpowering the ensemble. At Rehearsal 13, work to have a balanced section where the clarinets can be heard on the melody and the tenor sax and horn on the countermelody. Rehearsal 21 provides a fully scored variation of the theme and should continue to be as dark as possible. Rehearsal 29 is the final musical struggle before the Rehearsal 38 ‘break through’ climax of the composition. The resolution of the relative major of Bb should be majestic and triumphant. Finally, rehearsal 48 transitions to a recapitulation of the opening theme, moving towards a contemplative ending back to G minor.I hope you and your ensemble enjoy perforinming Break Through.
SKU: AP.50858
ISBN 9781470668211. UPC: 038081587080. English.
Breakthrou gh, by Chris M. Bernotas, is a fun clarinet feature that will have your students climbing over the break with confidence! Artfully crafted both musically and pedagogically, this fantastic piece ensures a thrilling musical journey for every ensemble member. (2:30).
SKU: AP.50858S
ISBN 9781470668228. UPC: 038081587097. English.
SKU: BT.MS0355
Spanish.
Este libro quiere hacerle descubrir, trabajar y sobre todo tocar “en situación” unos breaks y fills a la batería, cuya vocación consiste en vincular una parte de un toque a otra. Tanimportantesde dominar como los ritmos que ellas van a “quebrar” (“break” en inglés), dichas partes de batería son más o menos largas según el papel que tienen quedesempeñar.As&i acute;, por su duración (1 tiempo, 2 tiempos o 1ª medida) vamos a tratar los breaks aquí, tanto en un marco binario como ternario. Son 6 capítulos en total, con, para cada uno, unosejerciciostécn icos preliminares – para engrasar un poco la máquina – antes de poder tocar unos grooves, y sobre todo unos breaks en un marco puramente musical, en unos toques y con un montón deplaybacks amodo de soporte de toque. Para cada una de las aplicaciones musicales Ud dispondrá de cinco grabaciones diferentes en el CD MP3 adjunto, repartidas de la manera siguiente: la batería sola, en aire normal yluegomás lento, la misma parte de batería tocada ahora en su playback, y por último el playback solo, en aire normal y más lento… para que cada uno pueda aprender y tocar a su ritmo, segúnsunivel y sus capacidades. O sea, más de 6 horas de música en total.
SKU: MH.0-931329-76-0
ISBN 9780931329760.
THE STARS ASLEEP, THE BREAK OF DAY is my most instrumentally colorful Grade 1 work and I believe in this area it breaks new ground. Furthermore, the musical content greatly exceeds Grade 1 expectations. Beginning band students have something to study here that presents opportunity for real musical development. Band directors will notice immediately that the scoring does not look like Grade 1 music. The music actually sounds like a Grade 3 work but it is not. The ranges and technical demands are truly only Grade 1, but the variety in the instrumentation is ample. Numerous cues and cross-cues allow less secure bands to rehearse or perform the work. The flexibility of tempo in the first movement presents unique challenges in performance and teaching. The sparkling and dancelike second movement is cinematic in its instrumental colors and pacing, and will be fun to perform. Instrumental sections that are used to being buried in the mix will discover that their roles in band music can be significant. Ensemble instrumentation: 6 Flute 1, 6 Flute 2, 2 Oboe, 2 Bassoon, 6 Bb Clarinet 1, 6 Bb Clarinet 2, 3 Bb Bass Clarinet, 4 Eb Alto Saxophone 1, 4 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 6 Bb Trumpet 1, 6 Bb Trumpet 2, 4 F Horn, 4 Trombone 1, 4 Trombone 2, 4 Euphonium, 2 Euphonium (T.C.), 6 Tuba, 2 Timpani, 2 Percussion 1, 4 Percussion 2, 3 Percussion 3.
