SKU: AP.48636
ISBN 9781470643461. UPC: 038081556802. English.
Does this sound familiar? I'm bored with the warm-ups. We always sing the same exercises. Yes, many singers regard warm-ups as a monotonous requirement, a trivial exercise, or an unnecessary delay before the actual rehearsal starts. But it doesn't have to be this way! Reinvent your routine with this innovative approach that leads the way to more meaningful and diversified warm-ups. This book is filled with uncomplicated melodies that are quickly learned, and then turned into multiple-part exercises by singing in canon or stacked parallels. An exemplary practice that invites developed groups to focus on higher listening and ensemble skills. Online access to MP3 demos of every exercise is included.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: CF.WF230
ISBN 9781491153741. UPC: 680160911240.
Ever since he was honored 50 years ago as a top prize-winning graduate of New England Conservatory and a Fulbright scholar at the Paris Conservatoire, flutist Robert Stallman has drawn accolades around the world as a performer and recording artist who “dazzles because of his penetrating artistry†(Sunday Times/London). Also known internationally for superior flute editions, including numerous transcriptions that have greatly expanded the repertoire, Stallman now offers flutists an appealing collection of original melodic warm-ups. With The Flutist’s Handbook, he shares his fresh approach to staying in shape and maintaining his reputation for “consummate virtuosity†(Repertoire/France).PrefaceOne morning many years ago I opened my flute case and suddenly found myself questioning the wisdom of having scales and long tones come first in my practice session. Of course, these are essential to daily practice, but I wondered if there might be a better way to begin the day—with something more melodic and engaging, something to really inspire me.The Flutist’s Handbook emerged from a stream of musical ideas I began to jot down during practice sessions after that “aha†moment. As I worked with them, I noticed a more spontaneous interest in practicing. In fact I even looked forward to starting my day this way. As a result, my work on scales, arpeggios and long tones followed with more enjoyment and focused attention.In creating many of the détaché warm-ups found in Part I, I was drawn to the musical sequences of J. S. Bach, particularly those developed in his keyboard works. Bach had discovered the most satisfying musical patterns on which to build his music, so here was a treasure trove of invigorating melodic material. I also borrowed apt détaché passages from C.P.E. Bach, Schubert, Dvořák and others.Part II includes more musical quodlibets and echos in a collection of fifteen short melodies designed to open and center the tone, while encouraging full breath support. These melodies also concentrate on developing our sostenuto, or true legato playing—the foundation of a beautiful sonority and natural vocal expression. Except for final cadence notes, these warm-ups should be practiced without vibrato, to create an even and seamless instrument, bottom to top.All of these warm-ups are to be played forte and piano in every major key, proceeding chromatically by rising half-steps. Tempo indications are given in the headings, as are optional rhythmic and articulation variants. Suggested breath marks are in parentheses.The Handbook opens with détaché warm-ups for a good reason. It is vital to begin our practice with tonguing, as a clean attack is essential to producing a beautiful tone. Also, in working on tonguing (single, double, triple and tremolando) we stimulate and strengthen the jaw muscles that support the embouchure (which must remain supple and flexible). As we fine-tune these muscles, we gain tonal center and clarity, qualities that may elude us at the beginning of our practice. Of course, we also need to wake up the air stream and deepen our breath support. Once the tongue is alive and the tone is centered, we are ready to work further on our sonority with the melodic warm-ups in Part II.This book is meant for professionals, students and amateur flutists alike. I offer it to all as a companion that invites more pleasure and vitality into our daily practice. It is my firm belief that by aligning ourselves with our love of music and its energizing patterns each day—from the very first moment we pick up the instrument—we will bring more ease and focus into our lifelong task of staying in shape. This in turn will support the heightened inspiration we want to take into rehearsals and performances. Enjoy!—Robert StallmanMarblehead, MassachusettsApril 20, 2018.
SKU: HL.44005952
UPC: 884088044220. 9x12 inches. International (more than one language).
Jump Start contains ten motivating pieces written to help you beginplaying exciting melodies from day one. In addition to the piecesyou'll find Jump Start Jams, in which you hear a band play a phrasefor you to repeat and a special warm-up routine to use every daybefore practice. The accompanying CD includes a completeperformance of each piece together with an accompaniment onlyplay-along version. Warming-ups voor elke dag en motiverende liedjes die op de cd door een harmonieorkest worden voorgespeeld en als begeleiding voor het meespelen worden gepresenteerd. Daarnaast bevat JumpStart praktische tips en waardevolleachtergrondinformatie voor de beginnende blazer. Met JumpStart wordt het instappen in de wereld van de blaasmuziek geen sprong in het duister!Ein tagliches Aufwarmprogramm, motivierende Lieder, die auf der CD von einer Band vorgespielt und als Begleitung zum werden sowie praktische Tipps und wertvolle Hintergrundinformationen zu jedem Titel fur den Anfanger. Mit JumpStart wird der Einstieg ins Spiel nicht zum Sprung ins kalte Wasser! Jump Start e pensato per permettere ai principianti di suonare accompagnati dal CD, lungo tutte le prime fasi dell'apprendimento musicale. 12 Pezzi da ascoltare ed interpretare col CD. In Jump Start troverete anche una guida di consigli teorici (in inglese/francese) per rendere al meglio un brano.
SKU: HL.44005950
UPC: 884088044206. International (more than one language).
Jump Start contains ten motivating pieces written to help you beginplaying exciting melodies from day one. In addition to the piecesyou'll find Jump Start Jams, in which you hear a band play a phrase for you to repeat and a special warm-up routine to use every daybefore practice. The accompanying CD includes a completeperformance of each piece together with an accompaniment onlyplay-along version. Warming-ups voor elke dag en motiverende liedjes die op de cd door een harmonieorkest worden voorgespeeld en als begeleiding voor het meespelen worden gepresenteerd. Daarnaast bevat JumpStart praktische tips en waardevolleachtergrondinformatie voor de beginnende blazer. Met JumpStart wordt het instappen in de wereld van de blaasmuziek geen sprong in het duister!Ein tagliches Aufwarmprogramm, motivierende Lieder, die auf der CD von einer Band vorgespielt und als Begleitung zum werden sowie praktische Tipps und wertvolle Hintergrundinformationen zu jedem Titel fur den Anfanger. Mit JumpStart wird der Einstieg ins Spiel nicht zum Sprung ins kalte Wasser! JumpStart a ete concu pour permettre d'aborder le jeu avec accompagnement tres tot dans l'apprentissage. Ce recueil contient 12 pieces avec accompagnement et plusieurs jam sessions. Jump Start e pensato per permettere ai principianti di suonare accompagnati dal CD, lungo tutte le prime fasi dell'apprendimento musicale. 12 Pezzi da ascoltare ed interpretare col CD. In Jump Start troverete anche una guida di consigli teorici (in inglese/francese) per rendere al meglio un brano.
SKU: HL.44005953
UPC: 884088044237. International (more than one language).
SKU: HL.44005951
UPC: 884088044213. 9x12 inches. International (more than one language).
SKU: HL.44005948
UPC: 884088044183. International (more than one language).
Jump Start contains ten motivating pieces written to help you beginplaying exciting melodies from day one. In addition to the piecesyou'll find Jump Start Jams, in which you hear a band play a phrasefor you to repeat and a special warm-up routine to use every daybefore practice. The accompanying CD includes a completeperformance of each piece together with an accompaniment onlyplay-along version. Twelve challenging pieces for the beginner musician. Warming-ups voor elke dag en motiverende liedjes die op de cd door een harmonieorkest worden voorgespeeld en als begeleiding voor het meespelen worden gepresenteerd. Daarnaast bevat JumpStart praktische tips en waardevolleachtergrondinformatie voor de beginnende blazer. Met JumpStart wordt het instappen in de wereld van de blaasmuziek geen sprong in het duister!Ein tagliches Aufwarmprogramm, motivierende Lieder, die auf der CD von einer Band vorgespielt und als Begleitung zum werden sowie praktische Tipps und wertvolle Hintergrundinformationen zu jedem Titel fur den Anfanger. Mit JumpStart wird der Einstieg ins Spiel nicht zum Sprung ins kalte Wasser! JumpStart a ete concu pour permettre d'aborder le jeu avec accompagnement tres tot dans l'apprentissage. Ce recueil contient 12 pieces avec accompagnement et plusieurs des jam sessions. Jump Start e pensato per permettere ai principianti di suonare accompagnati dal CD, lungo tutte le prime fasi dell'apprendimento musicale. 12 Pezzi da ascoltare ed interpretare col CD. In Jump Start troverete anche una guida di consigli teorici (in inglese/francese) per rendere al meglio un brano.
SKU: HL.44005949
UPC: 884088044190. International (more than one language).
SKU: M7.AHW-1012
English.
A collection of method books, exercises, solos, embouchure and breath control studies, and duets directed to players at all levels of their development.
SKU: MN.30-880
UPC: 688670308802.
The purpose of this collection is to provide materials for initial handbell/handchime experiences by ringing chordal accompaniments for familiar songs. The collection provides materials to help identify and read space and line notes, ring chord warm ups in major and minor tonalities, and ring chord accompaniments for well-known melodies. All pages are reproducible.