All-Star Celebration Pak - Flute

SKU: CF.O88X

ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.

These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.
IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.

SKU: CF.BPS128F

ISBN 9781491156230. UPC: 680160914777. 9 x 12 inches.

Program Notes Start Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band revs up right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase Gentlemen, Start Your Engines became a tradition of the Indianapolis Motor Speedway in the early 1950s. The Greatest Race Course in the world has celebrated over 100 years of competition in motorsports. Note to the Conductor Measures 37-40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45. For some younger students, the use of repeat signs and phrases like 2nd time only may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.
Program NotesStart Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band “revs up” right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase “Gentlemen, Start Your Engines” became a tradition of the Indianapolis Motor Speedway in the early 1950s. The “Greatest Race Course in the world” has celebrated over 100 years of competition in motorsports.Note to the Conductor Measures 37–40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45.For some younger students, the use of repeat signs and phrases like “2nd time only” may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.

SKU: SU.94010761

Dedicated to Demarre McGill, Principal Flute, Seattle Symphony OrchestraFlute Duration: 6' Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

SKU: MN.50-6076

UPC: 688670560767. English.

Commissioned by Immanuel Lutheran Church in Valparaiso, Indiana, for the celebration of their 150th anniversary, this all-encompassing hymn treatment for SATB with descant includes optional parts for children's choir and congregation. The parts for flute and oboe, which may be substituted by violins, are not difficult and could be played by members of the congregation. A sturdy arrangement that all will love to take part in. Reproducible parts for Flute/Violin, Oboe/Violin, and for optional Congregation included.

SKU: CL.012-3349-01

A vibrant new composition by a fresh young writer. An exciting piece that makes full use of all three instrument families and each gets several chances to shine. The Brass starts things off at an exciting Allegro Vivo tempo. An eloquent lyrical section includes short solos for Flute, Oboe, Clarinet and Alto Sax and all solos are amply cued to insure playability. Brilliantly scored to demonstrate a wide variety of tonal colors and there's lots of tasty percussion writing to challenge your entire section. An exceptional programming choice for any festival or concert performance. IMPRESSIVE!

About Heritage of the March

Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

SKU: SP.TS174

ISBN 9781585604562. UPC: 649571101749.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Trombone is written as solos or duets in accommodating keys for Trumpet, Clarinet, Alto Sax or Flute. The Piano Accompaniment book for Brass & Reed instruments is sold separately. Santorella's String Edition is also available for violin, viola, cello and bass.

SKU: SP.TS173

ISBN 9781585604555. UPC: 649571101732.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Alto Sax is written as solos or duets in accommodating keys for Trumpet, Clarinet, Flute or Trombone. The Piano Accompaniment book for Brass & Reed instruments is sold separately. Santorella's String Edition is also available for violin, viola, cello and bass.

SKU: MN.50-5909

UPC: 688670559099. English. Jeremiah 29:11.

This lyrical and accessible anthem for SATB, Piano, and Flute is useful for so many occasions within the choir year: confirmation, graduation, a celebration of ministry, a sending off or retirement anthem. The short text (Jeremiah 29:11) is extended a bit by a refrain, Call on me, come to me, pray to me and I will listen. Simple, tender, expressive. Duration 3:00.