Format : Sheet music + Audio access
Steven Reineke's Celebration Fanfare is a brilliant and majestic concert opener, and has become standard repertoire for mature ensembles. This arrangement for the Barnhouse Command series by Rob Romeyn skillfully and carefully adapts this classic work for less-experienced groups. All of the powerful flair of the original remains. Look no further for a shimmering way to begin a concert or festival performance!
Celebrate Theory is a new series that supports the study of music theory at every stage of a student's musical development. Encompassing rudiments, harmony & counterpoint, analysis, and music history, Celebrate Theory is an essential resource for enriching practical studies and developing well-rounded musicianship. Alignment with the Theory Syllabus, 2016 Edition ensures student success in preparing for examinations of The Royal Conservatory Certificate Program. For students of all instruments, each book in this exciting series presents essential concepts through clear explanations, practical activities, written exercises, and exploration of repertoire. Each student's musical journey is enriched through experiences with creative melody writing, composition, and music appreciation. Selections from The Royal Conservatory repertoire and etudes are included throughout the series to help theory concepts come alive and build a strong foundation for well-rounded musicianship.
UPC: 785147768401. English. Text Source: Based on Galatians 5:16–17, 22–25. Text by David Haas. Scripture: Galatians 5:16–17, 22–25.
Cast in 3-part harmony, this is a welcome contribution to the ensemble repertoire. The refrain is a bit extended, and the somewhat shorter verses, drawn from Galations 5, are in the form of call and response between cantor and all. For cantor or soloist.
UPC: 785147934608. English. Text by Jeanne Cotter. Scripture: Ephesians 4:1, 32, Colossians 3:12, 15.
As Pope Francis calls for a “revolution of tenderness,” there is no better time for us to join our voices in these words that echo Paul’s words to the Ephesians (4:32). This gentle, yet unshakable, arrangement is scored for either SSA or SAT, and is the perfect addition to your choir’s repertoire of texts that speak of deep compassion and love. For SAT or SSA choir.
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.
Based on an Appalachian melody, Folk Song Variants is welcome addition to the young band repertoire. Beginning with a lyrical melodic statement, the piece moves to a celebration of American folk songs featuring melodic interplay throughout sections of the band. Suitable for concert and festival performance, this work by Robert W. Smith is destined to be part of the young band standard repertoire.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
Written in tribute to a young musician who loved his Mexican musical heritage, Robert W. Smith has created this concert/festival work that will be a standard in the young band repertoire. Inspired by classic band literature as well as the unique flavors of the Mariachi culture, Fiesta La Vida is a celebration of life and music. The infectious rhythmic figures combined with the melodic and harmonic effects will make your developing band sound mature and at their absolute best!
Intended especially for the growing number of multicultural, bilingual (Latino/Anglo) parishes and communities in the United States, Oramos Cantando / We Pray in Song is a hymnal and service book that is comprehensive enough to satisfy the liturgical needs of such communities, when they are worshipping in Spanish, in English, or bilingually. Bilingual from the first page to the last. Organized to reflect the liturgical life of the Church: morning, evening and night prayer from the Liturgy of the Hours, the sacramental rites of Christian initiation of adults, baptism of children, holy communion outside Mass, eucharistic exposition and benediction, reconciliation of penitents, anointing of the sick, marriage, and funerals, the Order of Mass, service music, hymns and songs, lectionary responsorial psalms. All ritual texts are from the English- and Spanish-language liturgical books approved for use in the dioceses of the United States of America Seventy settings of psalms and biblical canticles in a variety of styles, for use in the Liturgy of the Hours, at Mass, and in other liturgical rites. Many employ Gelineau, Guimont, or Conception Abbey tones. Standards from the “Celebration-style” repertoire by Haugen, Joncas, Haas, and others. All with Spanish and English texts ICEL chants for the Order of Mass, accompanied by the complementary plainsong chants in Spanish. Five bilingual settings of the ordinary of the Mass, along with one Latin and two English-only Mass settings, plus a number of additional service music items to serve the liturgical needs of Anglo/Latino parishes for many years to come A broad and stylistically diverse collection of nearly 550 hymns, psalms, and inspired songs, containing the best and most beloved traditional and contemporary music of Latino and Anglo communities, with more than 300 items newly translated according to guidelines for preserving meaning, rhyme, and meter Music from around the world, encompassing plainsong chants, classical hymnody, contemporary scripture-based songs, Taizé chants, and world music from Asia and Africa. Settings originally with Spanish texts are from the United States, Spain, Mexico, Central and South America, and the Caribbean Lectionary psalms with USCCB-approved refrains in both English and Spanish and verses from The Revised Grail Psalms and the salterio of Spain’s Conferencia Episcopal Española (CEE). These bilingual lectionary psalms have been included in the Sacred Song missalette program of The Liturgical Press since 2005 Eleven indexes: liturgical, topical, psalms and canticles, service music, scripture references in hymns, hymn tunes, tune meters, musical settings using languages other than Spanish and English, psalm refrains set to music, common titles and first lines, and hymnal contributors (composers, authors, translators, sources) A hymnal which not only addresses the liturgical experience of today, but also opens the door to new possibilities in the future. Fulfilling the statement of the American bishops: Liturgical music today must reflect the multicultural diversity and intercultural relationships of the members of the gathered liturgical assembly. The varied use of musical forms such as ostinato refrains, call and response, song translations, and bilingual or multilingual repertoire can assist in weaving the diverse languages and ethnicities of the liturgical assembly into a tapestry of sung praise. Sing to the Lord, 60 Destinado especialmente para el creciente número de parroquias y comunidades multiculturales, bilingües (Latinas/Anglas) en los Estados Unidos, Oramos Cantando / We Pray in Song es un himnario y ceremonial lo suficientemente completo para satisfacer las necesidades litúrgicas de tales comunidades, cuando oran en español, en inglés, o de una manera bilingüe. Bilingüe desde la primera página hasta la última. Organizado para reflejar la vida litúrgica de la Iglesia: oración matutina, vespertina y nocturna tomada de la Liturgia de las Horas, los ritos sacramentales de la iniciación cristiana de adultos, del bautismo de niños, para la sagrada comunión fuera de la Misa, para la exposición y bendición eucarística, para la reconciliación de varios penitentes, para la unción de los enfermos, el matrimonio, y las exequias, el Ordinario de la Misa, música para las ceremonias, himnos y cantos, salmos responsoriales del leccionario. Todos los textos de los ritos están tomados de los libros litúrgicos en inglés y en español aprobados para su uso en las diócesis de los Estados Unidos de América. Setenta arreglos de salmos y cánticos en una variedad de estilos, para usarlos en la Liturgia de las Horas, en la Misa, y en otros ritos litúrgicos. Muchos emplean los tonos de Gelineau, Guimont, o Conception Abbey. Normas del repertorio del “estilo-de-celebración” por Haugen, Joncas, Haas, y otros. Todos con el texto en español y en inglés. Cantos de ICEL para el Ordinario de la Misa, acompañados por los cantos llanos complementarios en español. Cinco arreglos bilingües para el ordinario de la Misa, junto con uno en latín y dos arreglos para la Misa sólo en inglés, además de un número de cantos adicionales para responder a las necesidades litúrgicas de las parroquias anglas/latinas por muchos años en el futuro Una colección amplia y de diversos estilos de casi 550 himnos, salmos y cantos inspirados, que contienen lo mejor y lo más apreciado de la música tradicional y contemporánea de las comunidades latinas y anglas, con más de 300 composiciones recientemente traducidas según las normas para la preservación del significado, del ritmo, y del metro Música de todo el mundo, incluyendo cantos llanos, himnos clásicos, cantos contemporáneos basados en la biblia, cantos de Taizé, y música mundial de Asia y África. Arreglos originales con textos en español que vienen de los Estados Unidos, de España, de México, de Centro y Sud América, y del Caribe. Salmos del Leccionario con estribillos aprobados por la Conferencia Episcopal de Estados Unidos (USCCB) tanto en inglés como en español y versos del salterio: The Revised Grail Psalms y del salterio de la Conferencia Episcopal Española (CEE) de España. Estos salmos bilingües del leccionario se han incluido en el programa del misalito Sacred Song de la editorial: The Liturgical Press desde 2005 Once índices: litúrgico, temático, salmos y cánticos, música para celebraciones, referencias bíblicas en himnos, tonadas de himnos, metros de himnos, arreglos con idiomas además de español e inglés, antífonas musicalizadas para los salmos, títulos comunes y primeras frases, y contribuyentes al himnario (compositores, autores, traductores, fuentes) Un himnario que no sólo responde a la experiencia litúrgica de hoy, sino también abre la puerta a nuevas posibilidades en el futuro. Cumple la declaración de los obispos americanos: “La música litúrgica de hoy debe reflejar la diversidad multicultural y las relaciones interculturales de los miembros de la asamblea litúrgica reunida. El uso variado de formas musicales como estribillos en ostinato, llamado y respuesta, traducción de cantos, y el repertorio bilingüe o multilingüe puede ayudar a entretejer los diferentes idiomas y etnias de la asamblea litúrgica en un tapiz de alabanza cantada.” Cantemos al Señor, 60 There is no doubt that the goal of singing each other's liturgical music as an expression of the catholicity of our faith embodied in this volume, does in fact allow bilingual and multicultural parishes through the United States—and beyond—to respond to the liturgical needs of today while opening the door to new possibilities. — Becca Whitla The Hymn Society Journal. Volume 66, No. 4.