Sound Innovations Australia for Concert Band by Devirra Music

BAND

sound

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innovations for Concert Band BROCHURE & Sampler

si for concert band method Overview

™

Revolutionary Methods for Musicians

Simple. Innovative. Yours. Book 2

Sound Innovations for Concert Band™ is a revolutionary method that combines time-tested educational concepts, input from thousands of teachers, and advances in modern technology. Using solid pedagogy that follows music education standards, Book 1 of the method can even be customised to use your own experiences in creating the best approach for your classroom.

Method Features

Authors

No matter what level of Sound Innovations you’re using in your classroom, all Sound Innovations books feature the following:

The Sound Innovations authors bring years of extensive teaching, conducting, and composing experience.

S ound pedagogy written to comply with music education standards Availability in SmartMusic Content organised in levels to provide benchmarks and intermediate goals Uncomplicated approach to introducing and reinforcing concepts Many performance opportunities including solos, duets, and full concert band arrangements Clean, clear, and uncluttered page layout Introduction to world music and various musical styles

WHICH LEVEL IS RIGHT FOR YOU? BOOK 1

Great for beginners.....................................................Pages 3–11

BOOK 2 Flexible follow-up for any

beginning method....................................................Pages 12–18

ENSEMBLE DEVELOPMENT FOR INTERMEDIATE CONCERT BAND Perfect for Middle or High School...................... Pages 19–23

ENSEMBLE DEVELOPMENT FOR ADVANCED CONCERT BAND

Ideal for High School...............................................Pages 24–29

Robert Sheldon

Robert Sheldon is one of the most performed composers of wind band music today, and his teaching experience includes 28 years in classrooms from public schools to universities.

Peter Boonshaft

Hailed as one of the most exciting and exhilarating voices in music education today, Peter Boonshaft is celebrated world-wide as a clinician, speaker, author, and guest conductor.

Dave Black

Percussionist and prolific composer, Dave Black is the co-author of the best-selling Alfred’s Drum Method, Books 1 & 2 and Alfred’s Beginning Drumset Method. Black currently serves as Vice President, Editor-in-Chief and Co-Leader of Alfred Music’s School/Church Team.

Bob Phillips

Renowned as an innovator in string education and teacher training, Bob Phillips uses his 28 years in the classroom as a national leader and transformative figure in music education.

Chris Bernotas

Composer, clinician, and teacher, Chris M. Bernotas has more than 20 years of experience as a teacher and maintains a fresh perspective in the world of music education. He is an active composer and arranger of concert band music with many published works.

introduction book 1 si for concert band

Book 1

™

A Revolutionary Method for Beginning Musicians

Book 2

Sound Innovations for Concert Band, Book 1 presents the material organised into six levels presented in a modern and clean page layout. Pages have been left uncluttered and goals clearly defined in order to allow students to easily identify and focus on important concepts. All rhythms are introduced with subdivided counting and reinforcement exercises. Sound Innovations, Book 1 is available is available at your local retailer, and contains the pedagogical choices that most teachers preferred when asked in focus groups.

Features Ensemble Development Int.

C lean, clear page layout and clear identification of goals P erformance opportunities to reinforce new concepts

E ach correlated performance music piece contains an educational pack that includes an emphasis on expressive playing, historical information, and more S ound Advice sections throughout the Teacher’s Score assist teachers with quick and easy-to-use tips and suggestions S tudent books are available on iBooks® for iPad® and Mac® A ustralian voice on CD instructions with Australian tunes B ritish notation and English spelling

Clean, clear page layouts Every exercise includes a brief statement identifying what the student should learn.

SI for Band presents lessons in a modern and clean page layout. Pages have been left uncluttered to allow students to easily identify and focus on important concepts. Note Introduction Each new note is introduced with a diagram of the fingering, eliminating the need to reference a separate page. New notes include an introductory exercise followed by reinforcement exercises. Notes are introduced in a logical order with many opportunities for the student to implement and practice them.

“

Goals

The book really seems to motivate kids to practice. I appreciate all of the work your team did to create a practical and creative approach to getting students excited about learning to play an instrument. Thanks for a great effective method book! Joseph W. Nebistinsky

Fine and Performing Arts Chair Northern York County School District Dillsburg, PA

Ensemble Development Adv.

E ach student book includes an instrument-specific DVD and MP3 CD T eacher’s Score is available as book only or with the complete resource library of student CDs and DVDs A vailable in SmartMusic®

si for concert band book 1 features

Instrument-Specific DVD Book 1

Instrument-specific Master Classes on DVD are included with every student book so the student can learn to emulate the teacherâ&#x20AC;&#x2122;s tone, technique, and musicianship. Unlike most method books, these DVDs are referenced throughout the entire book to teach beginning, as well as more advanced techniques. Each DVD addresses: A ssembly and disassembly of the instrument P osture P laying position E mbouchure B reathing techniques P roducing a sound

Plus, more advanced techniques: Articulation I nstrument-specific skills such as crossing the break for the clarinet

Book 2

Each DVD closes with a performance of the final solo from the book to provide inspiration and modeling of a high level of musicianship.

Ensemble Development Int.

DVD DVD references throughout the book teach beginning and more advanced techniques.

Scan to view a clip of the French horn Master Class DVD alfred.com/siband1dvd

Instrument-Specific CD Ensemble Development Adv.

Recorded accompaniments are included in MP3 format for every line of music in each book. The recordings are performed by a professional musician, and each contains an example and play-along accompaniment track in a variety of musical styles. Each CD includes: I nstrument-specific recording of the

melody for each line of the book P lay-along track without the melody for each line of the book I nstrument-specific acoustic recording of a tuning note C lick-off for each recording S I Player with Tempo Change Technology, allowing students to speed up or slow down the tempo to suit their practice needs

Scan to listen to sample clips of the MP3 CDs alfred.com/siband1cd

CD Track Numbers

Track numbers correlate to the exercise numbers in each student book.

Book 1

Features book 1 si for concert band

The Sound Notation page provides

Ensemble Development Int.

Book 2

clear diagrams of all musical symbols students need to get started, as well as information on practice techniques.

Full-Length Solo

Ensemble Development Adv.

Sound Innovations for Concert Band, Book 1 includes many performance opportunities such as solos, duets, and full-band arrangements, including a full-length solo at the end of the book. A demonstration is included on the Master Class DVD, as well as examples and play-along recordings on the student CD.

Accompaniment A piano accompaniment included on the page allows a family member or friend to accompany the student, encouraging music outside the classroom.

si for concert band book 1 features

Accidentals

Book 1

Enharmonics and chromatic examples are presented in a clear and understandable way.

Comprehensive Musicianship SI for Band has built-in strategies that isolate new skills, encourage student participation, and lead to success. Many exercises ask the student to name and sing notes, as well as count and clap them before they play. Book 2

Conducting Ensemble Development Int.

Students are introduced to conducting and are encouraged to conduct as a part of their practice.

Composition Students are asked to write their own variation of familiar tunes in composition lessons.

Ensemble Development Adv.

Concert Etiquette & Performance Evaluations Lessons on concert etiquette and performance evaluation are included to encourage music appreciation.

Music History Music history and composer biographies are included throughout the book to enrich the learning experience.

Book 1

Features book 1 si for concert band

Full pages in the back of the student book include scales, arpeggios, warm-up chorales, and etudes in F, B b , E b , and A b major.

Rhythm Studies Rhythms taught are summarised at the back of the book on the Rhythm Studies page.

Book 2

Additional Exercises

Self-Evaluation

Ensemble Development Int.

The Sound Check page includes evaluation and self-assessment opportunities for the student.

Glossary A Glossary includes musical terms learned throughout the book.

Fingering Chart

Ensemble Development Adv.

For easy reference, a comprehensive Fingering Chart is included in the back of the book.

Counting All rhythms include subdivided counting and a reinforcement exercise as they are introduced.

si for concert band book 1 features

Performance Opportunities

Book 1

SI for Band offers many performance opportunities, including solos, duets, trios, and full-band arrangements. Students can play along with a friend or the professional musician on the included accompaniment tracks. This serves as an outstanding introduction to ensemble playing.

Musical Styles

Book 2

Students want to play music, not just exercises. SI for Band introduces students to world music and various musical styles to keep learning interesting and create a culturally relevant learning experience.

Instrument-Specific Considerations Ensemble Development Int.

Special considerations are presented in each student book to coach students through more challenging techniques specific to their instrument.

Improvisation Students are encouraged to improvise and learn basic jazz/blues concepts.

Ensemble Development Adv.

30 Half steps ChromatiC refers to a series of notes that move in half steps. Whole steps

Introducing the fingering for chromatic B n.

New fiNgeriNg C�

D�

E�

C D E

F�

G�

A�

Bn &

A�

B�

F G A B C

4 &b4

New Concepts

New concepts are clearly defined and reinforced œimmediately œ œ wwith musical ˙ examples.

CHROMATIC MARCH—Try out your half-stepping skills! Find the courtesy accidental. Alla marcia tells us to play in the style of a march.

122 & c

Alla marcia

˙ f

b˙

& œ Œ #œ Œ

n˙ ˙

œ #œ

œ N œ œ œ .. b˙

n˙

˙.

œ œ >

(use chromatic B n fingering)

piece in the style of the “jazz big bands” popular in the 1930s and 1940s. Name the key. 123 JAZZ DOO-ETTE—Play Performance Music this Series n

(use chromatic B fingering) Our performance music catalogue includes the Sound Innovations Series. Each of the correlated performance pieces includes .. Œ theŒteacher Œ Œ for Œ that Œ Œ Œ œ œparts w A & b c œpack œ an educational contains reproducible supplemental and curricular material for œ œ forw the students b œ œ œ œ œ œ> œ œ œ n œ > F the teacher. Available for all instruments, each educational pack is written by the composer of the piece and includes notes on the composition, historical information, exercises to help with specific technical issues, pedagogy, and performance suggestions.

Swing

&bc œ ˙ F>

œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ ˙ .. >

ON YOUR OWN!—Play the first four measures, then write the last four measures yourself! Now, play the entire piece.

Andante

œ œ

percussion book 1 si for concert band

Percussion Books Book 1

SI for Band offers one of the most comprehensive and musically interesting books available for beginning percussionists in your band. Students learn from the co-author of Alfredâ&#x20AC;&#x2122;s Drum Method, Dave Black. Three books are available: Snare Drum/Bass Drum/Accessories Mallets Combined Percussion

Book 2

Scan to view a clip of the percussion Master Class DVD alfred.com/siperc1dvd

Detailed Playing Techniques

Ensemble Development Int.

No other method provides more detailed information on how to play each instrument, including the accessory instruments (triangle, tambourine, woodblock, suspended cymbal, and crash cymbals).

Ensemble Development Adv.

Detailed techniques include sticking, dampening, muffling, and rolls. No other method teaches finger dampening for mallets.

The percussion book teaches techniques for the accessory instruments, such as muffling the triangle.

Sequence of Rudiments

Interesting Percussion Parts

The nine rudiments are introduced in a logical sequence to help students learn better. (Double Strokes, The Single Paradiddle, The Flam, The Flam Tap, The Flam Paradiddle, The Multiple-Bounce Roll, The FiveStroke Roll, The Nine-Stroke Roll, and The Seventeen-Stroke Roll).

The percussion parts are written in a challenging and musically interesting format to keep the percussion section engaged. The band-style practice pieces replicate what percussionists will eventually see in their music and enhance the tunes used in the method.

si for concert band book 1 features

Available on iBooks for iPad and Mac Book 1

Sound Innovations student books are now available on iBooks®! For school districts on the cutting edge of technology or for students who prefer to use an iPad® for practice or class rehearsal, audio and video are fully integrated for ease-of-use. In addition, Multi-touch books can be purchased on iBooks and read on iPad and Mac®, making them ideal for classroom use.

Book 2

This Multi-Touch Method Features: Full-screen video demonstrations Authentic-sounding backing tracks and full performances And much more!

Ensemble Development Int.

SmartMusic The entire method is available in SmartMusic. Instructions for accessing this content can be found in the student book.

New to SmartMusic? SmartMusic transforms the way students practice and learn. As they play along with music onscreen, it gives students immediate feedback on their performance by showing correct pitches and rhythms in green and incorrect in red. They also are able to hear their part in context with a full ensemble. With SmartMusic, you also have the ability to create and send assignments to each of your students. You can easily follow, document, and grade their progress, allowing for individualised instruction for each student.

Now available on iPad®!

Ensemble Development Adv.

Finale 2014: Own the Future Now More Flexible and Easier to Use From the same great creators of SmartMusic, Finale enhances your program by offering easy, flexible tools that help produce personalised curriculum quickly.

Enjoy: ,500 customisable worksheets, flashcards, and pieces of repertoire 1 Expanded linked parts Improved accidentals and rests

And don’t forget:

Only Finale can create accompaniments that work seamlessly with SmartMusic! 10 10

skill chart book 1 si for concert band

„

◊

Rhythm Tree Q Rhythms

Sound Fundamentals (Level 2)

Sound Musicianship (Level 3)

Sound Development (Level 4)

Sound Techniques (Level 5)

Sound Performance (Level 6)

Key of Concert A b Major

Clarinet Upper Register Key

Chromatic Scale

Chromatics

Brass Lip Slurs

Scale

Arpeggio

Major & Minor Tonality

Etude

Book 1

Sound Beginnings (Level 1)

Sound Notation

Œ. Pickup Notes

Ó.

‰ Q

Tie

‰

Syncopation

¯ Technique

Warm-Up

Key of Concert B b Major Interval

Key of Concert E b Major Key of Concert F Major Accidentals & Courtesy Accidentals

Ledger Line

Book 2

Counting & Subdivision

Sequence & Tempo

Rehearsal Marks

Ritardando

Largo

Tacet Q

Measure

Andante

1st & 2nd Endings

Allegro

D.C. al Fine D.S. al Fine

> Style

Percussion & Mallets

Waltz

Divisi

Style Markings

Legato

Solo

Unison

Articulation

Staccato

Duet

∑

Harmony

∆

Improvisation

Trio Improvisation

Breathing

Phrase

Diminuendo

Tutti

Slur

Chorale

Theme and Variation

Double StrokeQ

FlamQ

Tambourine RollQ

Nine-Stroke RollQ

Single ParadiddleQ

Flam TapQ

Flam AccentQ

Alternate Five-Stroke RollQ

TriangleQ

WoodblockQ

Five-Stroke RollQ

Muffling TriangleQ

Suspended CymbalQ

RollsF

Playing two notes or more on one bar F

Sus. Cymbal RollQ

Finger DampeningF

Flam ParadiddleQ

Triangle RollQ

Ensemble Development Adv.

Round

Ensemble Development Int.

Rallentando

SeventeenStroke RollQ

TambourineQ Crash CymbalsQ Multiple-Bounce RollQ

Q = Percussion Only F = Mallets Only

si for concert band book 2 introduction

â&#x201E;˘ Book 1

A Revolutionary Method for Early-Intermediate Musicians

Book 2

Sound Innovations for Concert Band, Book 2 continues your studentsâ&#x20AC;&#x2122; musical journey by presenting independent concepts as well as ensemble playing. Isolating concepts and teaching them individually helps facilitate understanding of the more advanced material. Continuing the unique Sound Innovations structure, the book contains four levels, each of which is divided into several sections that introduce concepts separately and provide plenty of practice and performance opportunities to reinforce each lesson.

Features Ensemble Development Int.

E ach student book includes an instrument-family-specific DVD and MP3 CD A vailable in SmartMusic

C omprehensive review of Book 1 C lean, clear page layout and clear identification of goals P erformance opportunities to teach ensemble playing and reinforce new concepts A ustralian voice on CD instructions with Australian tunes B ritish notation and English spelling

Scan to view a clip of the woodwind Concert Band Master Class DVD alfred.com/siband2dvd

DVD

Ensemble Development Adv.

Guided by co-authors Robert Sheldon, Peter Boonshaft, and Dave Black, the DVD included with each student book features individual instrument and ensemble-specific lessons demonstrated by an instrument-family-specific ensemble. These master classes are presented by professional musicians and serve as private lessons that teach students the fundamentals of ensemble playing.

The MP3 CD demonstrates every line of music in the book, with a different instrument performing the melody for each line. The tuning notes and solo performance piece are instrument-specific. Students will learn blending and balancing as they play along with other instruments in the band. A play-along accompaniment track allows for additional practice, along with the SI Player with Tempo Change Technology.

Scan to hear sample clips from the Concert Band MP3 CDs alfred.com/siband2cd

CD Track Numbers

Track numbers correlate to the exercise numbers in each book.

features book 2 si for concert band

Level 1

Book 1

Sound Review Divided into two sections, the first half is a complete review of the concepts in Book 1, while the second half provides reinforcement by using chorales, scales, and warm-up exercises presented in each of the four keys learned in Book 1. The review ends with a full band performance piece. Scales & arpeggios

Warm-up exercises

Chorales

Ensemble Development Adv.

Ensemble Development Int.

Book 2

Review of Book 1 concepts & notes

“

I just transitioned to Sound Innovations this year. The difference between my new 4th grade students and the learning that last year’s new students did is night and day. This year’s kids are advancing so much more quickly.

“

Amy Best

Southeastern School District Fawn Grove, PA 13

si for concert band book 2 features

Level 2

Sound Fundamentals Book 1

The first half of this level introduces new rhythms and time signatures without using any new notes or key signatures, while the second half introduces new notes and key signatures without using new rhythms or time signatures. By isolating the introduction of these two very different concepts, students learn the necessary skills with less distraction. Two full-band performance pieces provide opportunity for practice.

Book 2 Ensemble Development Int. Ensemble Development Adv. 14

Drag

Key of concert C Major Key of concert D b Major

Drag paradiddle #2 Maracas

Triple paradiddle

Claves

Flamacue

Single ratamacue

features book 2 si for concert band

Level 3

Book 1

Sound Development Similar to Level 2, this level is divided into three sections with plenty of exercise pages and a full-page solo performance piece with accompaniment. Level 3 combines the keys, notes, rhythms, and time signatures learned in Level 2, and it introduces additional concepts. Drag paradiddle #1 Lesson 25 (the use of this rudiment) Castanets Cowbell Rim shot Wind chimes Four-stroke ruff

Book 2

Adagio  Key change Andantino Molto rallentando Accelerando ^ (Marcato accent) Sleigh bells

Ensemble Development Int.

Transposing Legato-style playing Countermelody f – p D.C. al Coda D.S. al Coda Grace notes

Ensemble Development Adv.

Sight-reading Canon Allegretto Minor scale   A tempo Chord

si for concert band book 2 features

Level 4

Sound Musicianship Book 1

The last level functions as an appendix and includes pages you can use throughout the year to assist in presenting and reinforcing concepts. Also included are exercises that can be used as warm-ups and technique builders to be used with performance music outside the book. Comprehensive assessments

Rhythm review

Scales and arpeggios

Sound check rubrics

Etudes and technical exercises

Glossary

Warm-ups and chorales

Fingering chart

Book 2 Ensemble Development Int. Ensemble Development Adv.

Self-Evaluation The Sound Check page includes evaluation and self-assessment opportunities for the student.

features book 2 si for concert band

Percussion Books Book 1

Continuing from Sound Innovations for Concert Band, Book 1, Book 2 offers one of the most comprehensive and musically interesting books available for percussionists in your band. Three books are available: S nare Drum, Bass Drum, and Accessories M allets C ombined Percussion

Master Class DVD

Book 2

The Student Master Class DVD demonstrates examples for new concepts, rudiments, how to hold accessory instruments, stickings, and mallet grip techniques.

Scan to view a clip of the percussion Master Class DVD alfred.com/siperc2cd

Detailed Playing Techniques No other method provides more detailed information on how to play each instrument, including the accessory instruments (maracas, claves, cowbell, sleigh bells, timpani, wind chimes, and castanets).

Interesting Percussion Parts The percussion parts are written in a challenging and musically interesting format to keep the percussion section engaged. The band-style practice pieces replicate what percussionists will eventually see in their music and enhance the tunes used in the method.

Musicianship Musicianship is taught throughout, helping students become well-rounded musicians through music theory, history, and experience in performing solos, duets, and fullband arrangements. 17

Ensemble Development Adv.

New rudiments and concepts are clearly explained and are followed by practical musical examples to reinforce learning. Rudiments taught in Book 2 include the flamacue, triple paradiddle, five-stroke roll, ninestroke roll, drag, drag paradiddle #2, single ratamacue, drag paradiddle, lesson 25, and four-stroke ruff.

Ensemble Development Int.

New Rudiments

si for concert band book 2 skill chart

Band Skills Sound Review (Level 1)

Book 1

Review Notes & Rhythms

Sound Fundamentals (Level 2)

Sound Development (Level 3) 3

ŒÒŒ

Comprehensive Assessments

Grace Notes

Rhythm Review

ØÊÊÊ

Sound Musicianship (Level 4)

ŒÂÊ ØËÂ

Rhythms

Œ¿ Œ 86

Book 2

ŒÍÂ Warm-Up Exercises

Key of Concert C Major

Sight-Reading

Scales & Arpeggios

Key of Concert D b Major

Minor Scale

Etudes & Technical Exercises

Transposing

Warm-Ups & Chorales

Technique

Key Change

Ensemble Development Int.

Vivo

Canon

Allegretto

Vivace

A tempo

Two-Measure Repeat

Improvisation

D.C. al Coda

Adagio

D.S. al Coda

Andantino

Molto Rallentando

Molto Ritardando

Poco Rallentando

Poco Ritardando

Accelerando

Sequence & Tempo

Marcato Accent ( ) Chorales

Style

Swing

Dynamics ( ∂, ø)

Cha-cha-cha

Chord

Mambo

Legato Style Playing

Calypso

Pesante

Chorales

Ensemble Development Adv.

Countermelody Forte-Piano/Piano-Forte ( ƒ– π, π– ƒ ) Sforzando ( ∫) FlamacueQ

CowbellQ

Tripple ParadiddleQ

Sleigh BellsQ

6 Five-Stroke Roll in 8 Q 6 Nine-Stroke Roll in 8 Q Percussion, Mallets & Timpani

Rim Shot (R.S.)Q Timpani/Timpani RollsQQ

DragQ

Drag Paradiddle #1Q

Drag ParadiddleQ

Wind ChimesQ

MaracasQ

Dampen/Muffle F

Single RatamacueQ

Lesson 25Q

ClavesQ

Four-Stroke Ruff Q CastanetsQ Q = Percussion Only F = Mallets Only QQ = Timpani Only

BCS_Band Skills.indd 1

5/12/11 11:59 AM

introduction Ensemble development intermediate si for concert band

Book 1

™

ENSEMBLE DEVELOPMENT

Chorales and Warm-up Exercises for Tone, Technique, and Rhythm

Chorales by

Roland barrett

Chris bernotas

Robert sheldon

Andrew Boysen

Todd stalter

Ralph Ford

Randall Standridge

R hythm R hythmic subdivision T ime signatures P hrasing A rticulation D ynamics E xpression and style E tudes Integrated percussion Reinforcement of rudiments H armonised scale chorales Chorales

Ensemble Development Int.

T one quality B reathing L ong tones E nsemble and section balance B lend Intonation S cales (Major, chromatic, natural, harmonic, and melodic minor) T echnical facility F lexibility A rpeggios Intervals Harmonic progressions

“

Westlake High School Westlake Village, CA

Features

Ensemble Development Adv.

“

Sound Innovations Ensemble Development is the most diverse, practical, and comprehensive collection of the best band techniques used around the world. Nothing, absolutely nothing was left out of this book when it comes to developing an ensemble. Try to find a concept that is missing. Well, you can’t—they are all there! For me, Sound Innovations is the Swiss army knife of ensemble development. I love it! Brian Peter

Sound Innovations: Ensemble Development for Intermediate Concert Band is a valuable resource for helping your students grow in their understanding and abilities as ensemble musicians. It contains 412 exercises, including nearly 70 chorales by some of today’s most renowned concert band composers. Exercises are grouped by key and presented in a variety of intermediate difficulty levels. Where possible, several exercises in the same category are provided to allow variety, while accomplishing the goals of that specific type of exercise. Many exercises and chorales are clearly marked with dynamics, articulations, style, and tempo. Other exercises are intentionally left flexible for the teacher to determine how best to use them in facilitating the goals and addressing the needs of their ensemble. Whether your students are progressing through exercises to better their technical facility, or challenging their musicianship with beautiful chorales, this book can be used after any band method or as a supplement to performance music.

Book 2

INTERMEDIATE CONCERT BAND

Rossano Galante

Michael story

si for concert band Ensemble development intermediate features

Passing the Tonic

PASSING THE TONIC U w

Fl.

b & b 44

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Book 1

Cl.

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Book 2

T. Sax

∑

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∑

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Ensemble Development Int.

Bar. BC

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Ensemble Development Adv.

In these exercises, intervals and triads are built by gradually adding one member of an interval or triad at a time, allowing students to focus on tuning vertical sonorities in a variety of contexts. With a similar focus, students will also gradually subtract members of vertical sonorities, one member at a time.

& b 44 w

T. Sax

Balance and Intonation: Layered Tuning

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Percussion Percussion parts are provided for battery instruments, accessory, mallets, and timpani, offering the percussion section an opportunity to perform as members of the ensemble with parts integrated into every exercise in the book.

œœ œ œœ œ œ ˙˙

S.D.

B.D.

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Bar. BC

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A. Sax

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b & b b 44 w

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BALANCE AND INTONATION: LAYERED TUNING

Fl.

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164

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y ˙

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Sus. Cym. with mallets

b & b 44 ˙

Mlts.

∑

These exercises help students concentrate on improving their individual characteristic tone and tuning skills as they work to achieve ensemble balance, blend, and intonation. Each line is designed to help students become accustomed to the tonality of the key, develop a cohesive ensemble sound, and work toward stabilizing the pitch as they move the tonic note through various sections of the band.

U U w

∑

U w

w w

Trb.

∑

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∑

& 44

Tpt.

Timp.

# & 44

∑

# & 44

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B. Sax

∑ ∑

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B. Cl.

features Ensemble development intermediate si for concert band

b & b 44 w

& b 44 w

w w

& b 44 w

T. Sax

b & b 44 w

B. Sax

& b 44 w

Ob.

b & b b b 44 w

Bsn.

? b b4 w bb 4 1

Cl. 2

A. Cl.

b & b 44

B. Cl.

1 A. Sax 2

1 Tpt. 2

w & b 44

b & b 44 w b & b 44 w b & b b 44 w

F Hn.

1 Trb. 2

Timp.

b & b b b 44 w ã ã

w w w w w w w w

w w

w w w

w w

4 œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ Œ Ó 4 œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ w 3

S.D.

These exercises begin with each part playing one of the three notes of a triad. Subsequent bars have each part cycle through the other two notes of that triad, before arriving back to the original pitch.

w w

? b b4 bb 4w

? b b4 w bb 4

Tuba

? b b4 w bb 4

Perc.

? b b4 w bb 4

Bar. BC

Mlts.

Book 2

Keys Included in the Book Keys are introduced in the following order: Concert B Major, G minor, E Major, C minor, F Major, D minor, A Major, F minor, D Major, B minor, C Major, A minor, G Major, and E minor. There is special emphasis on the keys most commonly used in intermediate band literature.

Ensemble Development Int.

b 1w & b b b 44

Fl.

Balance and Intonation: Moving Chord Tones Book 1

BALANCE AND INTONATION: MOVING CHORD TONES

B.D.

44 T

Gong

3 3 3 3 3 3 3 3 ? b b4 b b 4 œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ œ œœœœ œ w

Ensemble Development Adv.

254

œ œ œ œ U˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œœ œ œœ œ œ œ œœ ˙ . 3 œ œ œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

SCALE PATTERN

Scales and Arpeggios Students can work toward mastering scales in a variety of keys in common rhythmic patterns. Exercises include: Major scales Changing scale rhythm Natural, harmonic, and melodic minor scales •C hanging scale rhythms present scales in a challenging and unpredictable rhythmic context Chromatic scales Arpeggios Scale patterns •V arious patterns to explore melodic and • S cale patterns are designed to develop dexterity harmonic aspects in each key and familiarity with the scale of each key by using a number of different patterns

si for concert band Ensemble development intermediate features

BALANCE AND INTONATION: PERFECT INTERVALS U w

Book 1

Fl.

b 1 & b 44 w

Ob.

b & b 44 w

U w

Bsn.

? b4 b 4w

& 44 w

1 Cl. 2

w w

& 44 w # & 44

A. Cl.

& 44 w

B. Cl.

1 A. Sax

Book 2

# & 44 w

U w

# & 44 w

U w

& 44 w

T. Sax

# & 44 w

B. Sax

1 Tpt. 2

& 44 w

& b 44 w

F Hn.

Ensemble Development Int.

? b4 w b 4

U w

? b4 w b 4

Trb.

Bar. BC

? b4 w b 4

Tuba

? b4 w b 4

Mlts.

b Soft mallets & b 44 æ w 1

Perc.

U U w U

wæ

wæ w

44 wæ w

S.D.

B.D.

Sus. Cym. with mallets

Timp.

Tæ

æ 44 T

? b 4 wæ b 4

wæ

w w w w w w w w w w w w w w w w w w wæ æ ww æT wæ

U w U w U

w w w

U U U U

U w U

w w w w

U U

wæ

wæ w

æT

wæ

w w w w w wæ æ ww æT wæ

U w U w U

U w U

wæ

wæ ˙

Tæ

wæ

U w

w RHYTHMIC SUBDIVISION

40 w Fl.

Ob.

Bsn.

U w

w w w wæ

wæ

1 bb 4 œ . w& 4

? b 4 œ. b 4

U w

w& 44 œ . F

& 44 œ . F

U # 4

w& 4

A. Cl.

œ.

w& 44 œ. æ

B. Cl.

1 A. Sax 2

wæ& # w æ U # Tæ &

44 œ . F

4œ wæ& 4 .

T. Sax

# & 44 œ . F

1 Tpt. 2

Ensemble Development Adv.

These exercises are designed to help students understand and internalise rhythmic subdivision. While one part of the ensemble performs music containing common rhythmic patterns, the other part of the ensemble performs the supporting subdivision.

b4 w& b 4 œ .

Cl.

æ ww Tæ

In these exercises, the ensemble begins by playing in unison, before some of the players move to create a perfect fifth, then return to the starting unison pitch. Following this pattern, students can focus on tuning the perfect intervals of a unison, fourth, fifth, and octave.

Balance and Intonation: Perfect Intervals

U w

B. Sax

Rhythmic Subdivision

U w

œ œ. J œ œ. J œ œ. J œ œ. J

œ 2 œ. J

œ J œ.

œ œ. J

œ J œ.

œ œ. J

œ J œ.

œ œ. J

œ J œ.

j œ œ.

œ œ. J

j œ œ.

œ J œ.

œ œ. J

œ J œ. œ J œ.

œ œ. J

œ J œ.

œ 3œ œ œ œ J

œ œ ˙

œ œ œ œ œ J

œ œ ˙

œ œ œ œ œ J

œ œ ˙

œ œ œ œ œ J

œ œ ˙

j œ œ œ œ œ

œ œ ˙

œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ J

F Hn.

1 Trb. 2

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

œ œ ˙

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

œ œ ˙

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

œ œ ˙

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

œ œ ˙

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . P

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . ? b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. b 4 ? b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. b 4 ? b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. b 4

Tuba

? b4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 4 P

b & b 44 1

Timp.

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

Bar. BC

Perc.

& 43 œ

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

œ œ ˙

œ.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

P P

F F

j œ œ. j œ œ. j œ œ. œ œ. J œ œ. J œ œ. J j œ œ. j œ œ.

j œ œ. j œ œ.

œ œ. J

œ J œ.

œ œ. J

œ J œ.

œ œ. J

œ œ. J j œ. œ j œ œ.

œ J œ.

œ J œ. œ J œ. j œ œ.

j œ œ œ œ œ j œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ J œ œ œ œ œ J œ J

œ œ œ œ

j œ œ œ œ œ

j j j j ã 44 œœ . œ œ œœ œœ . œ œ œœ œœ . œ œ œœ œœ . œ œ œœ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ˙œ œ œ œ œœ . œ œ œœ . œ œ œœ . œ œ œœ . œ œ œœ œœ œœ œœ B.D. J J J J F P j j j j Sus. Cym. y y y y y y y y y y y y ã 44 y . y y . y y . y y . y y y y y y y T S.D.

? b 4 œ. b 4 F

j œ œ.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

INTERVALS

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

& b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .

Mlts.

œ œ œ œ œ œ œ œ 6œ œ œ œ œ œ œ œ 7œ œ œ œ œ œ œ œ 8œ œ œ œ ˙

œ œ ˙

j œ œ œ œ œ

j œ œ.

j œ œ œ œ œ

˙.

œ œ ˙

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

œ œ œ Œ œ œ ˙ y y T

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

Intervals A variety of interval studies are presented to aid students in developing their technique, intonation, and tone quality, as well as their ability to internalise pitch.

features Ensemble development intermediate si for concert band

Scale

1 Cl. 2

˙ ˙

˙ ˙ ˙ ˙

œ œ

2 &b 4 ˙

œ œ

b˙

œ œ

& b 42

42 ˙

œ œ

˙ ˙

œ œ

N˙

œ œ

œ œ œ œ œ œ

˙ ˙

œ˙ œ œ ˙˙æ

˙æ Ó

b 2 &b b4 ˙ 1

Timp.

? b 42 bb ˙

æ 42 ˙˙

(Sns. off)

Tri.

B.D.

42 ±

Tune: B b, E b

? b 42 ˙ bb æ

˙ ˙

˙ æ

œ˙ œ œ ˙˙æ

Articulation

N˙

œ œ

N˙

œ œ

b˙

œ œ

œ˙ œ œ ˙˙æ

∑

œ œ

œ˙ œ œ ˙˙æ

∑

ARTICULATION

Students will further develop their abilities to perform and control dynamic levels while practicing sudden changes, gradual changes, extreme contrasts, and nuances of volume.

DYNAMICS

Etude

138

Dynamics

These short studies reinforce various aspects of individual and ensemble performance while providing the challenge of combining those concepts in a variety of ways.

∑

œ œ œ œ ˙

œ œ

œ˙ œ œ ˙˙æ

These exercises allow students to practice performing, controlling, changing, and contrasting a variety of articulations in many contexts.

œ œ œ œ ˙

b˙

œ œ

˙ ˙

œ œ

? b 42 œ œ bb

œ œ

? b 42 ˙ bb

œ œ

˙ ˙

œ œ

˙ ˙

? b 42 œ œ bb

2 &b 4 ˙

œ œ

˙ ˙

œ œ

˙ œ œ

˙ ˙

These chorales are harmonized scales in specified keys. Each student’s part has two lines: the top line (A), the scale, and the bottom line (B), their part in the chorale. Directors can choose a single student, a section, a family, or any other combination of instrumentalists to play the scale, while the rest of the ensemble plays the chorale setting.

B. Sax

b 2 &b 4 ˙

˙ ˙

b˙

& b 42

˙ ˙

œ œ

˙ ˙

N˙

42 ˙

˙ ˙

Perc.

˙ ˙

N˙

œ œ

Mlts.

œ œ

Tuba

˙ ˙

œ œ

Bar. BC

œ œ

˙ ˙

œ œ

& b 42 œ œ

b˙

T. Sax

˙ ˙

Trb.

œ œ

F Hn.

˙ ˙

˙ 42 ˙

Tpt.

& b 42

A. Sax

˙ ˙

b & b b 42 ˙

42 œ œ

B. Cl.

˙ ˙

A. Cl.

˙ ˙

Scale Chorale

Chris M. Bernotas 4

˙ ˙

? b b 42 œ œ b

Bsn.

˙ ˙ ˙ ˙

b ˙ & b b 42

Ob.

˙ ˙

? b b 42 ˙ b ˙

Fl.

œ˙ œ œ ˙˙æ

∑

œ œ

˙ æ

Book 2

b ˙ & b b 42 ˙ 1

Ensemble Development Int.

Slowly

∑ ˙ æ

j j j 4 3 4 & 4 œ œ ˙ ‰ œ. œ. œ. œ. œ. Œ œ- Œ œ- 4 Œ œ œ 4 œ. œ. œ. œ. ‰ œ. œ. œ- œ- œ- œ- ‰ œ- œ- ˙ ˙ Œ œ œ Œ v v >>> >> ß ß & 44 ˙

ETUDE

Tenderly

œ œ œ œ w

œ ˙ J‰Œ

ƒ ,

sub.

Œ œ ˙

b j & b b 44 œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ w F

Book 1

SCALE CHORALE

Ensemble Development Adv.

142

n.b.

Œ œ ˙

œ . Jœ œ œ œ . œ ˙ J

˙ ˙

b & b b œ ˙ œ- œ ˙ œ- œ œ œ œ ˙ œ œ œ ˙ œ- œ ˙ œ ˙ f

decresc.

˙.

p ,

œœ

si for concert band Ensemble development intermediate features

195 Book 1

Fl.

& 44 w

Ob.

U & 44 w

Bsn.

w ?4 U 4

U w

bU w

U w

#U w

U w

Book 2

#U w

NU w

U w

#U w

NU w

Ensemble Development Int.

B. Sax

U w & 44

U w

#U w

U w

#U w

U w

bU w

#U w

U U

w w w

bU w

NU w

U w

bU w

#U w

bU w

w w

U w

NU w

?4 U 4w

bU w

U w

bw w

U w

Ensemble Development Adv.

wæ w æ

(open)

(closed)

(open)

(closed)

(open)

U T

wæ w æ

(closed)

U T

wæ w æ

(closed)

U T

wæ w æ

(open)

U T

wæ w æ

w ?4 U 4

U w

bU w

Sus. Cym. with stick

U ã 44 T

Phrasing These exercises provide students an opportunity to develop their sense of individual and ensemble phrasing, as well as practice where they should breathe and not breathe, in a variety of musical examples. 3 AND 6 4 8

wæ w æ

133

UMETER

wæ w æ

& b 45 œ œ œ ˙ Œ œ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ ˙ Œ œ œ œ œ ˙ . ˙ œ œ œ ˙ (3+2)

PHRASING

& 43 ˙

œ œ œ œ ˙

œ ˙.

œ œ œ (‰6 =œ‰)œ œ œ œ œ 3 œ œ œ 6 œ œ œ œ œ œ 3 œ œ œ 6 œ œ œ œ œ œ 3 œ œ œ œ ˙ 3 . &4 8 4 8 4 8 4

CHANGING METERS:

Students can explore these new time signatures in straightforward exercises, which are designed to introduce them with limited rhythmic challenges.

(closed)

˙æ w æ

Time Signatures

æ ã 44 ww B.D. æ S.D.

Timp.

#U w

Tuba

#U w

U w

Perc.

U w

w ?4 U 4

Bar. BC

(open)

#U w

bU w

& 44 w

?4 w 4

Mlts.

U w

Trb.

U w

These exercises begin with the ensemble playing a major triad, and then move to a minor triad and a diminished triad. Cycling through these chord qualities will help foster horizontal and vertical tuning, as well as balance, blend, and pitch internalisation.

U w

?4 4

& 44 w 1

F Hn.

& 44 w

T. Sax

Tpt.

U & 44 w

& 44

U w

& 44 w

& 44

A. Sax

& 44 w

B. Cl.

& 44

A. Cl.

1 Cl.

392

Balance and Intonation: Shifting Chord Qualities

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES

œ ˙ œ œ

œ ˙

˙.

Advanced Rhythm and Time Signatures This section provides student exercises using more challenging rhythms and time signatures, exploring advanced rhythmic patterns in , exploring advanced semi-quaver triplet patterns, and quarver triplets. Also included are basic presentations of , , , , and , and examples of changing from to and to .

introduction ensemble development advanced si for concert band

Book 1

™

ENSEMBLE DEVELOPMENT

Chorales and Warm-up Exercises for Tone, Technique, and Rhythm

ADVANCED CONCERT BAND

“

Roxbury High School Succasunna, NJ

Chorales by

T one quality B reathing L ong tones E nsemble and section balance B lend I ntonation A ll major/minor scales S cale patterns C hromatic scales C hromatic scale patterns F lexibility C hromatic flexibility A rpeggios

Book 2

I ntervals H armonic progressions R hythm R hythmic subdivision T ime signature changes P hrasing A rticulation D ynamics E xpression and style H armonised scales C horales F ully integrated percussion

Roland barrett

Chris bernotas

Andrew Boysen

Ralph Ford

Rossano Galante

David Gillingham

Stephen Melillo

Robert sheldon

Todd stalter

Jack STAMP

Randall Standridge

Michael story

Ensemble Development Int.

Overview and Concepts

Ensemble Development Adv.

“

Sound Innovations combines technical development and musical growth for ALL sections; I love that my brass, woodwind, and percussion sections can develop appropriate skills for their respective discipline, while also addressing ensemble development. It is expertly laid out and constructed to address essential skills for developing through advanced players and ensembles. I highly recommend its use for bands of all ability levels! Richard Hartsuiker

Sound Innovations: Ensemble Development for Advanced Concert Band builds upon the concepts in Ensemble Development for Intermediate Concert Band with all new exercises and chorales, more technically and musically challenging material, and additional chorale composers. Many of today’s most renowned composers for concert band have contributed to this collection of over 70 chorales. With 399 exercises, this book is a valuable resource in helping students grow in their understanding and abilities as ensemble musicians. Exercises are grouped by key and presented in a variety of intermediate to advanced difficulty levels. Where possible, several exercises in the same category are provided to allow variety while accomplishing the same goals. Its flexibility makes it perfect for large ensemble rehearsals, lessons, and studio use.

si for concert band ensemble development advanced Features

PASSING THE TONIC

Passing the Tonic

PASSING THE TONIC b ˙ & b b 44

∑˙

Ob.

b & b b 44

∑

Bsn.

? b 4 ˙ b b4

Fl.

1 2

Book 1

& b 44

2 3

& b 44 ˙

Cl.

˙ ∑

4 4

∑

B. Cl.

& b 44 ˙

4 ˙ 4

∑˙

A. Sax

Book 2

T. Sax

& b 44

B. Sax

& 1

& b 44

2 3

a2 & b 44 ˙

Tpt.

F Hn.

4 4 ˙

œ œ œ

∑

˙ ˙

∑

˙ ˙

œ œ œ

œ œ œ∑

∑ œ

∑

œ œ œ

∑˙

œ œ œ∑

? b 4 b b4

∑

2 3

? b 4 ˙ b b4

Ensemble Development Int.

Bar. BC

? b 4 b b4

Tuba

? b 4 b b4 ˙

b & b b 44 ˙

Mlts.

ã ã

˙ ∑

j j j j 44 œ œ œ œ œ œ œ œ œ œ œ Œ ˙ ˙ ˙ ˙

S.D.

B.D.

j j 44 œ œ œ œ Œ

Perc. 2

∑

œ œ œ

∑

Claves

Tune: E b, E b

? b 4 b b4 ˙

j j œœ œœ Œ ˙

˙ 2

∑

œ œ œ

œœ œœ œœ œ œ œ œœ œ œ œ œ œ œ

∑

Œ ˙

œ œ œ œ Œ ˙ œœ œ œœ œ œœ œœ

Œ ˙

Œ œ œ œœœœœ ˙ ˙

œ œ œ œ Œ

∑

w œ

Œ ˙

∑ w

Œ ˙

These chorales are harmonised scales of specified keys. Each student’s part has two lines: the top line (A), the scale, and the bottom line (B), their part in the chorale. Directors can choose U a single student, a section, a family, or any other combination ˙ of instrumentalists to play the scale, while the rest of the ensemble plays the chorale setting. b UCONCERT E MAJOR SCALE AND CHORALE

w Ó

CONCERT E b MAJOR SCALE AND CHORALE

wÓ ˙

Scale U

Ó Tpt. ˙

j j œœ œœ Œ

j j j j œ˙ œ œ ˙œ œ œ œ œ˙ œ œ œ˙ Œ

Scale Chorales

w ˙ Ó u

Œ œ œ œœœœœ ˙ ˙ Œ ˙

∑

∑ Œ ˙

œœœœœ œ Œ ˙

∑ Œ ˙ ∑

∑

Œ ˙

∑ Œ ˙

∑

Œ ˙

∑

Œ ˙

œ œ∑œ œ Œ ˙ ∑

∑

œ œ œ œ

œ œ œ

œ œ œ œ ˙ ∑ ∑ Œ

∑

Ó U

œ ∑

w ∑

w œ

U w

∑

∑ Œ

∑

Œ ˙

œ œ

Œ ˙

∑

œ œ œ œ

∑

œ œ œ

∑

Œ ˙

œ œ œ œ

∑

Œ ˙ Œ

∑

œ œ œ œ

∑˙

Œ ˙

œ œ œ œ

b & b 44 ˙

∑

œ œ œ œ

∑

œ œ œ

œ œ œ œ ˙ ∑ Œ ∑ œ œ œ œ

∑ œ œ œ

∑

1 2

Trb.

Timp.

∑

œ œ œ∑

∑

∑ ˙

A. Cl.

1 2

∑

Ó F Hn. ˙æ

˙ ˙

w w

˙ ˙

? b b 44 ˙ b ˙

˙ ˙

˙ ˙ ˙ ˙

˙ ˙

w w

œ œ œ œ œ œ œ œ œ œ œ ˙

& b 44 œ œ œ ˙

œ œ ˙

œ œ œ œ œ

œ œ œ

2 3

& b 44 œœ œ œœ ˙œ œ

œœ œœ ˙œ œ

œœ œœ œœ œœ œœ

œ œœ œœ œœ œœ ˙ ˙œ ˙

1 2

b œ & b 44 œœ œ œ ˙œ œ

œœ œœ ˙œ œ

œ œœ œœ œœ œœ œ

CHORALE 1

U w

˙æ

1 2

Fl.

Chorales A variety of chorales written by some of the finest composers of music for concert band provides opportunities for students to develop the essential skills of tone production, blend, balance, intonation, phrasing, dynamics, articulation, style, and musical expression.

Bsn.

? 6 b 4 w. 1

Cl. 2 3

1 2

Ensemble Development Adv.

1 2

b & b 44 w b & b 44 w

play

Ob.

Bsn.

play ? b4 w b 4

w w w

Trb.

1 2

œ 1‰ J 2 3

These exercises are designed to develop dexterity, facility, confidence, and familiarity with the scale of each key by using a number of different patterns, each containing a variety of rhythms, meters, and articulations.

# & 46

Óp

Bar. BC

œ J ‰ Œ

? 6 b 4 w.

Tuba

Perc.

œ œ œ œ œ˙ œ œ ˙œ œ

hum

p p

∑

Tune: F, B b

w. w.

˙.

#˙.

∑

play

œ œ

wæ .

œ œ œ œ

œ œ

˙.

œ œ œ œ œ œ

˙.

U w.

w˙ ..

˙.

˙. ˙.

Œ ∑

œ∑ œ œ œ œ œ 4

œ œ œ œ

œ œ

U w

˙.

œ Œ ∑

˙.

∑ ∑ ∑ 5

b˙

˙˙

u U

n˙

n ˙w . ˙ # ˙ u

b˙

n˙

˙ U

˙.

w˙ ..

˙.

U ˙

˙ b˙

˙ ˙

U ˙

b˙ b˙ ˙

˙ ˙

∑

œ Œ ∑

∑

b˙

˙∑ ˙

b˙ b˙

œ œ œ œ œ œ œ œ

˙.

œ œ œ œ œ œ

n˙ b˙ ˙ ˙ ˙

w˙ . .

˙. ˙.

> ¿

˙˙ ..

˙.

˙ U

U w.

˙.

œ Œ ∑

œ ∑œ œ œ œ œ

˙. w.

·æ .

œ˙ . œ œ

n˙

b˙ b˙

play

˙. ˙.

˙.

#˙.

œ Œ ∑

˙.

∑

œ∑ œ œ∑ œ

b˙ b˙

œ œœ œœ œœ œœ œœ œ

œ œ œ #˙.

∑

˙.

#˙.

∑

œ Œ ∑

˙.

hum

˙.

#˙.

œ œ œ ˙.

˙.

œ œ œ œ œ œ

rit. b ˙w . ˙

˙˙ ..

ww .

˙.

œw .œ w

∑

˙w..

œ œ œ œ œ œ

∑

œ œ

˙˙ ..

˙.

∑

hum

˙˙ ..

œ œ w

∑

∑ ã œ œ œ & 42 œ œ œœ œ œœ œœ œœ ?œ 6 œ œœ œ ∑ œ œ b 4 œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œœ Timp.

œ˙ œ œ œ œ œ

∑

Tri.

∑

Chimes œ & b 46 Œ ∑ Sus. Cym.

? 6 w. b 4

& 46 œ œ œ œ œ œ ? 6 w Œ b Ó4

˙ w.

∑ ∑

w. p

œ œ œ œ œ œ ? 6 b 4

SCALE PATTERN

# & 46

œ ‰ Œ J

Mlts.

Scale Pattern

∑

# & # 46 w .

2 3

F Hn.

# & # 46

#˙.

w. œ œ œ œ œ œ

# & 46 œ œ œ œ œ œ p

# & 46

Tpt.

LONG TONES

∑

# & 46 w .

# & 46

LONG TONES

∑

# & # 46

A. Cl.

B. Sax

Fl.

œ œ œ œ ˙œ œ œ ˙œ œ

David R. Gillingham

T. Sax

a2 play

œœ œœ œœ œœ ˙˙

& b 46

A. Sax

Through the use of long tones, interspersed with humming and/or singing, students can focus on improving air capacity, breath support, resistance, and tone quality, as well as the essential ability to internalise pitch.

œ˙ œ œœ œœ œœ œœ ˙˙

Slowly, with much expression œ œ œ œ w. œ œ ˙. & b 46

Ob.

B. Cl.

Long Tones

œœ œœ œœ œœ ˙˙

CHORALE

œ œ œ œ œ ˙

w u

Chris M. Bernotas (ASCAP)

b ˙ & b b 44 ˙

∑

∑ 7

features ensemble development advanced si for concert band

BALANCE AND INTONATION: DIATONIC HARMONY

b & b b 44 œ ˙

œ w

Œ ˙

Bsn.

? b 4 b b4

œ ˙

œ w

œ n ww

œ ww

Œ ˙

œ w

Œ ˙

œ w

Œ ˙

œ #w

w w

œ n ww

œ ˙ & b 44

œ w

Œ ˙

œ w

2 3

œ ˙ & b 44 œ ˙

œ w œ w

Œ ˙ ˙

œ nw œ w

Œ ˙ ˙

œ w œ w

Œ ˙ ˙

œ œ

A. Cl.

44 œ ˙

œ w

Œ ˙

œ w

Œ ˙

B. Cl.

& b 44 œ ˙

œ w

Cl.

A. Sax

1 2

œ ˙

œ ww

w w w

Fl.

Ob.

œ # ww

Œ ˙

œ w

Œ ˙

œ #w

Œ ˙ ˙

œ nw œ w

Œ ˙ ˙

œ w œ w

Œ ˙ ˙

œ œ

Œ ˙

œ n ww

Œ ˙

œ ww

Œ ˙

œ # ww

w w

œ w

Œ ˙

2 3

œ ˙ & b 44 œ ˙

œ w œ w

1 2

b & b 44 œ ˙

œ ww

? b 4 b b4

œ w

œ w œ w

˙ Œ ˙

œ nw œ w

˙ Œ ˙

œ w œ w

˙ Œ ˙

œ œ

Bar. BC

? b 4 œ ˙ b b4

œ w

Œ ˙

œ w

Œ ˙

Tuba

? b 4 b b4

Mlts.

b & b b 44 œ ˙

Œ ˙

œ w œ w

Œ ˙

Cl.

B. Cl.

A. Sax

T. Sax

Œ ˙

œ nw

Tpt.

œœ

æ ˙œ œ œ œ ˙œ œ œ œœ ˙˙

œœ

æ ˙œ œ œ œ ˙œ œ œ œœ ˙˙

œœ

˙œ œ œ œ œ ˙œ œ

‘

44 œ ˙

œ œ œœœœœ œ œ œ ˙

œ œ œœœ œ œ œ ˙

œ œœœœœœœ œ ˙

œ œœœœœ œ

‘

œ œ œ ˙æ

œ œ œ œ œ œ œ œ œ ˙æ

œ œ œ œ œ ˙æ

œ ˙

œ œ œ ˙æ

˙.

˙˙ ..

∑

˙.

˙˙ ..

˙.

˙˙ ..

˙. ∑

& 43 ˙ .

˙.

∑

# & 43 ˙ .

˙.

˙˙ ..

∑

˙.

˙˙ ..

˙. ∑

˙˙ ..

b & b 43

∑

2 3

# & 43

1 2

˙. ∑

& 43

œ Œ Ó ? b3 1 b 4 w 2 3

∑ 2.

∑

∑ 2 & 43 ˙ . 3 Œ Ó 3. wœ ∑ F Hn. 12 & b 43

œ œ œ œ œ œ Trb. œ

∑

# & 43 ˙ . & 43

˙. ∑

˙.

∑ & 43 ˙ .

˙.

w w

˙˙ ..

∑

& 43

w w

˙˙ ..

b & b 43

? b3 b 4 ˙.

æ ˙œ œ œ œ œ ˙œ œ œ œœ ˙˙

? b 4 œ ˙æ b b4

B. Sax

œœ

Woodblock

1 2

A. Cl.

w w

æ 44 œœ ˙˙

S.D.

B.D.

Tune: G, B b, C, F

Timp.

Bsn.

œ nw

œ ˙ ? b 4 œ ˙ b b4

BALANCE AND INTONATION: LAYERED TUNING

œ ˙ & b 44

BALANCE AND INTONATION: LAYERED TUNING

By having students move between perfect intervals and diatonic triads, these exercises will foster the skills of vertical and horizontal tuning, balance, blend, and internalising pitch, as well as a better understanding of common cadences and harmonic progressions.

Perc.

Œ ˙

w a2

œ w

Œ ˙

44 œ ˙

œ w

œ ˙

B. Sax

2 3

Trb.

Œ ˙

œ w

œ ˙

w w

Œ ˙

œ ˙ & b 44

F Hn.

œ # ww

T. Sax

Tpt.

∑ 2.

˙˙ .. ˙.

∑

? b 3 ˙. ∑ b 4

∑ 2.

˙˙ .. ˙.

& #œ œ œ #œ nœ œ bœ.

#œ œ #œ œ bœ nœ œ.

Nœ œ #œ œ #œ œ

. & Nœ bœ œ œ œ #œ nœ

œ.

œ #œ œ bœ œ bœ nœ. œ œ bœ œ #œ nœ œ.

#œ nœ œ bœ nœ œ #œ.

CONCERT B CHROMATIC SCALE

œ #œ #œ œ 4 & 4 œ # œ œœ ## œœ œ # œ # œ œ œ #œ

˙.

∑ ∑

∑

˙˙ ..

˙˙..

˙.

∑

˙.

∑

˙˙ ..

˙. ∑

˙˙ ..

˙˙..

∑

˙.

∑

˙.

˙. ˙.

˙˙ ..

∑

˙. ∑

˙˙ ..

˙.

∑

˙.

˙. ˙.

˙˙ .. ˙.

˙.

∑

˙. ∑

˙˙ ..

˙˙..

∑

˙˙ ..

˙˙..

∑

˙.

∑

˙˙ ..

˙. ∑

˙˙ ..

˙˙..

∑ ∑

˙.

∑ ∑

˙. ˙.

˙˙ ..

∑

˙. ˙.

˙.

∑

˙.

˙. ∑

˙˙ ..

∑ ˙.

˙.

∑

? b3 b 4 ˙.

˙.

∑

˙.

Tuba

? b3 b 4 ˙.

˙.

∑

˙.

b œ œ & b 43 œ œ œ

Mlts.

Perc. 2

Timp.

‘

43 ¿ ¿ ¿ ¿ ¿ ¿

‘

Cabasa

? b3 b 4 œ œœœ 1

#œ œ #œ œ bœ nœ bœ.

œ bœ œ bœ nœ #œ nœ.

Nœ œ bœ œ #œ nœ œ.

œœ œ œ œ

43 ˙œ . œ œ œ œ

S.D.

B.D.

Tune: G, D

# œ œ # œ œ œœ œ b œ n œ œ bœ nœ #œ œ #œ œ

˙. ∑

Bar. BC

CHROMATIC SCALE PATTERN

& 98 œ # œ œ b œ œ œ n œ .

˙˙ ..

∑

Balance and Intonation: Layered Tuning

∑

œ œ œœ 2

œ œ œ ˙. œœ œ

˙.

œ œœœ

œœœ œœ œ œœœ

˙˙ ..

œ˙ œ œ œ œ œ œ œ œ˙ Œ Œ . .

‘

œ˙ œ œ œœ

œ˙ œ œ œœ œ œ ˙œ œ œ Œ

œ˙ Œ Œ .

¿ ¿ ¿

‘

¿ ¿¿¿

¿¿¿ ¿¿ ¿ ¿¿¿

¿ ¿ ¿

¿ Œ Œ

œ œœœ

œœœ œœ œ œœœ

˙.

‘ œ

œ 3

Nœ #œ œ œ œ bœ nœ. bœ œ bœ œ #œ nœ #œ. U

œ bœ œ bœ œ bœ œ.

bœ œ bœ œ œ bœ œ bœ œ bœ œ œ bœ œ #œ #œ

˙.

Book 2

Ob.

˙.

˙. 4

˙.

œ œ 10

Ensemble Development Int.

œ ww

b & b b 44

Chromatic Scale Pattern These exercises are designed to develop dexterity, facility, confidence, and familiarity with the chromatic scale by using a number of different patterns, each containing a variety of rhythms, time signatures, and articulations.

Chromatic Scale w w

A chromatic scale, starting on the tonic of the specified key, will help students develop technical proficiency and facility.

Ensemble Development Adv.

œ ˙

Fl.

Book 1

Balance and Intonation: Diatonic Harmony

BALANCE AND INTONATION: DIATONIC HARMONY 1 2

si for concert band ensemble development advanced Features

BALANCE AND INTONATION: PERFECT INTERVALS

Balance and Intonation: Perfect Intervals

BALANCE AND INTONATION: PERFECT INTERVALS ˙

Book 1

& b 43 œ

2 3

a2 & b 43 ˙ .

Cl.

A. Cl.

& 43 œ

B. Cl.

& b 43

œ ˙.

˙. ˙

˙.

˙. ˙

˙.

œ ˙

˙. ˙

˙.

˙. ˙. ˙.

˙. ˙

In these exercises, the ensemble begins by playing in unison before some of the players move to create a perfect fifth, and then return to the starting unison pitch. Following this pattern, students can focus on tuning the perfect intervals of a unison, fourth, fifth, and octave.

˙.

BALANCE AND INTONATION: MOVING CHORD TONES

Balance and Intonation: Moving Chord Tones

BALANCE AND INTONATION: MOVING CHORD TONES

Book 2

These exercises begin with each part playing one of the three notes of a triad. Subsequent measures have each part cycle through the other two notes of that triad, before arriving back to the original pitch.

1 2

A. Sax

& b 44 ˙˙

T. Sax

b ˙ & b 44

B. Sax

& b 44 ˙

œœ

˙˙

œœ

˙˙

œœ

˙˙

w w

w w w w

BALANCE AND INTONATION: FAMILY BALANCE

Balance and Intonation: Family Balance

BALANCE AND INTONATION: FAMILY BALANCE

Ensemble Development Int.

& b 44

∑

˙˙ œœ œœ

Ob.

& b 44

∑

˙ œ œ

∑

Bsn.

? 4 b 4

∑

˙ œ œ

∑

# & 44

∑

˙ œ œ

∑

# & 44

∑

˙˙ œœ œœ

∑

# & # 44

∑

w w

# & 44

∑

Fl.

1 2

1 Cl. 2 3

A. Cl.

B. Cl.

A. Sax

1 2

T. Sax

B. Sax

1 Tpt. 2 3

F Hn.

∑

˙˙ œœ œœ

∑

# & 44

∑

˙ œ œ

# & # 44

∑

˙ œ œ

# & 44

∑

˙ œ œ

# & 44

∑

˙˙ œœ œœ

∑

˙˙ œœ œœ

Ensemble Development Adv.

? 4 b 4

∑ ˙

œœ

? 4 ˙˙ b 4

œœ œœ

Bar. BC

? 4 ˙ b 4

œœ

Tuba

? 4 b 4 ˙

Mlts.

& b 44 œ 1

Perc.

œœ

œ œ œ

∑

w w w w

∑

w w

∑

44 œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

2 «

Woodblock

œ œ ˙ 2

2 «

œ œ œ

œ œ

œœœœœ œ œœœœ œ œ œ Œ œœ

Balance and Intonation: Shifting Chord Qualities These exercises begin with the ensemble playing a major triad, then moving to a minor triad and a diminished triad. Cycling through these chord qualities will help foster horizontal and vertical tuning, as well as balance, blend, and pitch internalisation.

2 «

b ww

b b ww

# # ww

# ww

N ww

Ob.

& 44 b w

∫w

Bsn.

? 4 bw 4

& 44 b w

∫w

2 3

& 44 b ww

b b ww

# ww

N ww

# # ww

# N ww

# ww

A. Cl.

& 44 b w

B. Cl.

& 44 b w

b ww

b b ww

# ww

b ww

# # ww

# ww

N ww

U w

T. Sax

bw & 44

B. Sax

& 44 b w

∫w

2 3

& 44 b ww

b b ww

# ww

N ww

bw & 44 w

b b ww

b ∫ ww

# # ww

# N ww

# ww

1 2

b ww

b b ww

# # ww

# ww

N ww

? 4 bw 4

∫w

U w

? 4 b ww 4

b b ww

b ww

# ww

N ww

b ww

Bar. BC

? 4 bw 4

Tuba

?4 4

Mlts.

& 44 b w

bw bw

∫w

wwæ

1 2

Tpt.

œ˙ œ œ œ œ œœ œœ œ œ œ œœ œœ ˙œ Œ

A. Sax

2 «

b ∫ ww

Cl.

∑

2 «

b b ww

1 2

∑

B.D.

œœ

∑

b ww

Fl.

w w

∑

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES

∑

œ œ

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES

∑

2 «

∑

Family Balance exercises are designed to focus on various aspects of ensemble, family, and section balance, as well as intonation, pitch tendencies, listening, and blending.

∑

Œ 44 œ˙ œ œ œ œ œœ œœ œ œ œ œœ œœ ˙œ

? 4 b 4 ˙

S.D.

Tune: F, C, F

Timp.

˙ œ œ

∑

& 44

2 3

# & # 44

1 2

Trb.

˙ œ œ

∑

œ œ ˙ 12

F Hn.

1 Trb. 2 3

& 44

æ ã 44 ww S.D.

B.D.

Perc. 2

Timp.

æ ã 44 ·

Sus. Cym. with mallets

¿ Œ

Tune: E b

? 4 bw 4

∑ bw

·æ

¿ Œ

bw 2

∑ w

·æ

¿ Œ

w 4

∑ w

·æ

¿ Œ

bw 6

∑ bw

U w

U U

U U U

ww ww

U U U U

wæ

w u

·æ

¿ Œ

bw 8

∑

U 9

features ensemble development advanced si for concert band

œ #Uœ œ

U ˙.

œ Uœ œ

Expanding Intervals

U ˙.

These exercises are presented with the expanding intervals moving downward and upward, as well as in parallel octaves, fifths, and thirds, to develop the skills of tuning horizontally and vertically while attending to balance, blend, and intonation.

RHYTHMIC SUBDIVISION ( Œ».Ë SYNCOPATION)

RHYTHMIC SUBDIVISION ( Œ».Ë SYNCOPATION) b a2œ œ & b b 44 J

œ œ. J

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

œ ‰ œ ˙ J

Ob.

j b & b b 44 œ œ

j œ œ.

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

j œ ‰ œ ˙

Bsn.

? b 4 œ œ b b4 J

œ œ. J

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

œ œ.

Rhythmic Subdivision

œ œ

œ.

œ ‰ œ ˙ J

œ œ

œ.

œ œ

œ ‰ œ ˙ J j œœ ‰ œœ ˙˙ J

Fl.

1 2

1 Cl. 2 3

œ œ & b 44 J

œ œ. J

j & b 44 Jœœ œœ

j œœ œœ .. J

44 œj œ

A. Cl.

B. Cl.

j & b 44 œ œ

A. Sax

1 2

j 44 œœ œœ J

œœ œœ

œœ ..

œœ œœ

œœ ..

œœ œœ

œœ œœ ..

œœ

œœ œœ ..

œœ

œœ œœ

j œ œ.

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

j œ ‰ œ ˙

j œ œ.

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

j œ ‰ œ ˙

œœ œœ

œœ ..

œœ œœ

œœ ..

œœ œœ

œœ œœ ..

œœ

œœ œœ ..

œœ

œœ œœ

j œœ ‰ œœ ˙˙ J

j œœ œœ .. J

T. Sax

& b 44 Jœ œ

œ œ. J

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

œ ‰ œ ˙ J

B. Sax

44 j œ œ

j œ œ.

œ œ

œ.

œ œ

œ.

œ œ

œ œ.

œ œ

j œ ˙

& b 44 œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ ˙

2 3

a2 & b 44 œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ ˙

Tpt.

1 2

b a2 & b 44 œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ ˙

? b 4 œ œ œ œ œ œ œ œ œ b b4

œ œ œ œ œ

œ œ œ œ œ œ ˙

2 3

? b 4 a2œ œ œ œ œ œ œ œ œ b b4

œ œ œ œ œ

œ œ œ œ œ œ ˙

Bar. BC

? b 4 œ œ œ œ œ œ œ œ œ b b4

œ œ œ œ œ

Tuba

? b 4 b b4 œ œ œ œ œ œ œ œ œ

œ œ œ œ œ

F Hn.

Trb.

b & b b 44 œ œ œ œ œ œ œ œ œ

Mlts.

Perc. 2

Changing Time Signatures

Timp.

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METER: œCHANGING œ œ œ œ. . œ. œ œ

Tune: B b, E b

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INTERVALS

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bœ Nœ œ œ œ œ bœ Nœ œ œ œ œ œ bœ

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Various patterns of arpeggios are included to help students develop technical proficiency, as well as explore melodic and harmonic aspects in each key.

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Arpeggios

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Flexibility exercises are intended to help students reinforce good embouchure habits and muscle development, as well as breath support, intensity of airstream, and intonation.

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(2+3+2)

CHROMATIC FLEXIBILITY

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44 78 œ to œ œ(2+2+3) œ œ . œ

Chromatic Flexibility

ARPEGGIOS

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Sus. Cym. with stick

These exercises focus on various aspects of rhythm and time signatures, providing material that will allow students to review and challenge their skills. They also provide excellent practice in sight-reading.

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B.D.

Rhythm

RHYTHM: SIMPLE METER ( ŒÂÊ )

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S.D.

Students can practice changing time signatures with hints to help them count correctly.

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Book 1

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Book 2

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Intervals A variety of interval studies are presented to aid students in developing their technique, intonation, and tone quality, as well as their ability to internalise pitch.

Ensemble Development Int.

#3 & 4

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Ensemble Development Adv.

EXPANDING INTERVALS: DOWNWARD IN PARALLEL OCTAVES

sound

™

WHICH LEVEL IS RIGHT FOR YOU?

innovations for concert band

BOOK 1

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Available at your local retailer, this edition features the core pedagogy as created by our authors and feedback from thousands of teachers. iBook® Edition: Student books are available on iBooks for iPad® and Mac®. Video and audio are embedded for efficient and convenient practice.

ENSEMBLE DEVELOPMENT FOR INTERMEDIATE CONCERT BAND

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The perfect resource for helping your students grow in their understanding and abilities as ensemble musicians. Whether your students are progressing through exercises to better their technical facility, or challenging their musicianship with beautiful chorales, this book can be used after any band method or as a supplement to performance music.

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