Sound Innovations for Concert Band | Brochure and Sampler

BAND

SOUND

™

INNOVATIONS for CONCERT BAND BROCHURE & SAMPLER

SI for CONCERT BAND ENSEMBLE DEVELOPMENT INTERMEDIATE INTRODUCTION

™ Ensemble Development Intermediate

ENSEMBLE DEVELOPMENT

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

INTERMEDIATE CONCERT BAND

“

Westlake High School Westlake Village, CA

Features 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

“

Ensemble Development Advanced

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.

Chorales by

Roland BARRETT

Chris BERNOTAS

Robert SHELDON

2

Andrew BOYSEN

Todd STALTER

Ralph FORD

Randall STANDRIDGE

R hythm R hythmic subdivision M eter P hrasing A rticulation D ynamics E xpression and style E tudes Integrated percussion Reinforcement of rudiments H armonized scale chorales Chorales

Rossano GALANTE

Michael STORY

FEATURES ENSEMBLE DEVELOPMENT INTERMEDIATE SI for CONCERT BAND

1

b & b 44

∑

Ob.

b & b 44

∑

? b4 b 4

∑

1

& 44

∑

∑

∑

U

2

& 44

∑

∑

∑

U

1

Bsn.

Cl.

# & 44

A. Cl.

1 A. Sax 2

T. Sax

# & 44

∑

& 44

∑

w

w

w

w

U

U

∑

w

U

w

∑

∑

U

∑

∑

∑

∑

2

& 44

∑

∑

∑

U

& b 44

∑

∑

? b4 b 4

∑

2

? b4 b 4

∑

Trb.

? b4 w b 4

Bar. BC

w

U U w

w

w

U w

w

w

? 4

w w bb 4 w Balance and Intonation: bb 4 ˙ ˙ ˙ ˙ ˙ ˙ & 4 Intervals Perfect Tuba

Mlts.

w

S.D.

R

R

R

L

L

L

L

R

R

L

L

U

w w w w

U

w

w

U

∑

w

U

w

w

w

24

w

U

w

w

w

BALANCE AND INTONATION: PERFECT INTERVALS U

w

w w

b U w&

Fl.

∑

∑

∑

∑

U

w

∑

∑

∑

U

∑

∑

∑Cl.

1

˙

2

w

U

w

˙

˙

˙

w

˙

˙

R

L

L

L

L

R

R

R

R

œ

B.D.

L

L

˙

Timp.

˙

1

A. Sax 2

1 Tpt.

b & b b 44 w

Fl.

2

b & b b 44 w

Ob.

? b 4 b b4

Bsn.

1 Cl. 2

& b 44 w & b 44 w &

A. Cl.

w

44

w

& b 44 w

B. Cl.

w

3

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

&

44 w

&

44 w

w

w

T. Sax

w & b 44

w

w

B. Sax

44 w

w

1 A. Sax 2

& 1

& b 44

∑

2

& b 44

∑

b & b 44

∑

Tpt.

F Hn.

1 Trb. 2

Bar. BC

? b 4 b b4

∑

? b 4 b b4

∑

? b 4w b b4

w

w

w ∑ ∑

w ∑ w

w

4

U

w

U

w

U w

∑

∑

w

∑

w

w ∑

w

w

w

w

w

w

w

w

w

U U

w

w

w

∑

U

w

∑

∑

w

U w

∑

∑

w

U

w

w

w

w

U

w

w

w

w

U

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

U

w

U w

w

U

w

w w

U U

7

∑

∑

w

w

∑

U

w

6

w

U

w

w

w

w

& 44 y Œ UÓw #4 U& 4 w w # & 44 w

w

U

w

U

w

U w U

w

U w U

w

& 44 w

U

& b 44 w

U

w

1

? 8 bUw4 w b 4

U w

2

? bUw4 w b 4

w

Trb.

Bar. BC

? bU4 w b w4

Tuba

? bU4 w b w4 bU & b w44 æ w

Soft mallets

Mlts.

1 Perc.

ã

æ 4 ww w

U4

S.D.

B.D.

Sus. Cym. with mallets

2

Timp.

w

U

& 44 w

F Hn.

∑

5

w 4 U& 4 w w #4 L& 4 Œ UÓw wœ

w

U

2

1

U

# & 44 w

B. Sax

BALANCE AND INTONATION: LAYERED TUNING

& 44 w U

& 44 w

T. Sax

164

U

u

B. Cl.

U w

? b4 w b 4

w

R

2

U w

U

˙œ œ ˙œ œ Tæ

Sus. Cym. with mallets

2

A.R Cl.

b 41 w 4 b4 w 4

b U w&

Ob.

Bsn.

1

Perc.

∑

w

In theseã exercises, ensemble begins playing Œ UÓ by 44 œ œ œ œ the ˙ ˙ ˙œ œ ˙œ œ ˙œ œ ˙œ œ uwœ ˙œ œ ˙œ œ œ˙ œ ˙œ in unison, before some of the players move to create æ æ æ 44 Tæ y Œ UÓ Tæ ã fifth, a perfect thenT return Tto the starting unison T U pitch. Following this pattern, students can˙ focus on ? b4 ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b 4 tuning the perfect intervals of a unison, fourth, fifth, and octave.

R

U

U

w

∑

w

∑

U

w

w

w

U

w

∑

∑

1

w

w

w

w

∑

U

1

w

w

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.

w

U

w

Passing the Tonic

U

w

w

∑

U w

U w

w

w

w

∑

∑

8

w

w

∑

w

w

w

w

U

F Hn.

7

w

U

& 44

Tpt.

w

∑

w

w

w

w

w

w

∑

6

w

w

∑

w

U

w

w

∑

5

U

w

w

# & 44

4

∑ ∑

w

# & 44 w

B. Sax

3

∑ ∑

w

& 44 w

B. Cl.

2

U æ ã w44 T

? bUw4 wæ b 4

w w

U U w

3

w w w w w w w w w w w w w w w w w

4

U w U w U

w

U

5

w w w

w

w

w

w

w

w

w

w

U U U U

w

U

w

U w U

w

U

w w w w

w

w

w

w

U U

w

U

w

U

w

U

w

w w w w

6

U w U w U

w

U

w

U

w

U

w

U

w

U w U

w

U w U

w

U

w

U

w

U

w

U w U

w

U w

7

w w w w w w w w w w w w w w w w w

8

U w U w U

w

U

Ensemble Development Advanced

U w

Fl.

Ensemble Development Intermediate

PASSING THE TONIC

w

U

w

U

w

U

w

U w U

w

U w U

w

U

w

U

w

U

w

U w U

w

U w

Balance and Intonation: Layered Tuning w w w w w w w

U

U

U

U

In these exercises, intervals and triads are built by U U U U w wæ gradually wæ of an interval wæ adding one member or æ triad wæ wæ wæ U U U allowing students toUw˙æ focus on æ æ æ tuning wæ wæ at a time, wæ vertical ww ww ww w w w æ sonorities in a variety of contexts.

With a similar focus, U U U U æT æT æT Tæ of vertical Tæ Tæ students Tæ will also gradually subtract members Usonorities, oneUmember at a time.

U U æ æ æ æ æ æ æ w

w

w

w

w

w

w

U

w

U

w

U

w

,

U

,

U

,

U

,

U w

,

U

,

U

w w w

w w

3

SI for CONCERT BAND ENSEMBLE DEVELOPMENT INTERMEDIATE FEATURES

Ensemble Development Intermediate

254

w

Fl.

b & b b b 44

Ob.

b & b b b 44 w

Bsn.

? b b4 w bb 4

1

1 Cl.

2

w

3

w

w

w

w

w

b & b 44 w

w

w

b & b 44 w

w

w

& b 44 w

w

w

w

w w

w w

& b 44 w

w

w

T. Sax

b & b 44 w

w

w

B. Sax

& b 44 w

w

w

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.

22

w

w

w

w

w

w

5

w w w w w w w w w w

6

w

7

w

8

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w w

w w

w w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w w

w

w

w

w

w

w

w

w

w

w

w

? b b4 w bb 4 INTERVALS

4

w

9

w w w

w

w

w

w

w

w w

w w

w

w

w

w

w

w

w

w w w

w

w

œ

2

b bb 4

Bar. BC

Ensemble Development Advanced

? b b4 bb 4w

Tuba

b & b b b 44 w

Mlts.

w

w

w

w

w

w

w

w

w

w

w

w

w w w

œ œ

ã

3

3

3

3

3

3

3

3

œ ã œ œ œ œT œ œ œ œT œ œ œT œ œ œT œ œ œ œT œ œ œœT œ œ Tœ œœ œ Tœœ œ œœ 3 œ œ œ œ œ œ & 4 ?œbbbbœ44 œœœ œ œ œ œ œœœœ œœœ œœœ œœ œ œœœ œœœ œœœœ œœœ œ œ œœ œœ œ œ œ œœ œœ œ œœœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ w œ œ œ 1

SCALE PATTERN B.D. Perc.

44 T

3

3

3

3

3

3

3

3

Gong

2

3

Timp.

3

3

3

3

3

3

P

40

RHYTHMIC SUBDIVISION Fl.

b 1 & b 44 œ .

Ob.

b & b 44 œ .

Bsn.

? b 4 œ. b 4

F F F

œ œ.

J œ œ.

J œ œ.

J œ œ.

J

œ 2 œ.

J

œ œ.

J œ œ.

J œ œ.

J

œ J œ. œ J œ. œ J œ. œ J œ.

1

& 44 œ .

2

& 44 œ .

j œ œ.

j œ œ.

j œ œ.

œ.

j œ œ.

j œ œ.

j œ œ.

Cl.

F F

# & 44

A. Cl.

F

& 44 œ .

B. Cl.

F

1 A. Sax 2

# & 44 œ .

F

# & 44 œ .

F

& 44 œ .

T. Sax

F

# & 44 œ .

B. Sax

F

1 Tpt. 2

j œ œ.

j œ œ.

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

j œ œ.

œ J œ. œ J œ. œ J œ. œ J œ.

œ 3œ œ œ œ J

4

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 ˙

j œ œ 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 œ œ œ œ J

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

5

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 ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

1 Trb. 2

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

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

œ œ

œ œ œ U˙ . œ œ œ ˙.

Scales and Arpeggios Students can work toward mastering scales in a variety of keys in common rhythmic patterns.

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

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

P

œœœ œ œœœœ œ œœ œ œœ œœ œœœœœœœœ œœœœ˙

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 .

P

F

P

F

P

F

P

F

P

F

& 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 ? b4

Intervals

P

& 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 .

F Hn.

4

3

œ

˙.

w

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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó 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

S.D.

œ

w

w

w

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.

w

œ w w ? b b4 w œ w w œ œw bb 4 œ œ w œ wœ & 43 œ ? b œ4 w œ œw œw œ w œ wœ w w w 1

w w

Trb.

13

Balance and Intonation: Moving Chord Tones

BALANCE AND INTONATION: MOVING CHORD TONES

j œ œ. j œ œ. j œ œ.

j œ œ. j œ œ.

j œ œ.

œ œ.

J

œ J œ.

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

J

œ œ.

œ œ.

œ œ.

J

j œ œ.

œ 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 J œ

œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙

œ œ œ œ œ J

œ œ ˙

œ

œ

œ œ œ

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

FEATURES ENSEMBLE DEVELOPMENT INTERMEDIATE SI for CONCERT BAND

U

U

U

Fl.

& 44 w

Ob.

U & 44 w

bw

bw

Bsn.

w ?4 U 4

U w

U w

U w

#w

1

2

w

U

3

w

U

U

w

bU w

bU w

bU w

U

#w

U

#w

U

Nw

U

U

U

U

U

U

U

U & 44 w

U

U

U w

U w

#U w

U w

U

#w

#U w

NU w

U w

U w

#U w

NU w

B. Sax

U w & 44

U w

U w

U w

U w

#U w

U

bw

U

bw

U

& 44 w

F Hn.

1

?4 4

U w

U

#w

U

& 44 w

U

w

U

2

U

w

#w

U

Tpt.

Nw

#w

& 44 w

& 44

U

#w

w

T. Sax

1

U

bw

U w

w

w

U

w

U

U

w

w

U U

bw

U w

U

U

#U w

U

w

U

10

U

U

w

U

#w

U

w

U

w

w

U

U

w

bw

bw

#w

U

U

U

U

U

U

U

U

#w

Nw

#w

Nw

U w

U w

#U w

#U w

U w

U w

bU w

bU w

#U w

U

U

U

U

U

U

U

w

U

9

w

U

& 44

U

bw

U

U

2

8

U w

& 44 w

& 44

U

bw

bw

bw

w

7

bw

U

1

U

bw

w

bw

U

6

Nw

U

A. Sax

w

#w

& 44 w

B. Cl.

U

5

U

2

w

w

U

& 44

A. Cl.

U

U

1 Cl.

4

U

w w

w

w

#w

#w

Nw

#w

#w

#w

Nw

U

w

U

w

U

#U w

#U w

NU w

U

U

U

U

U

U

U

U

U

U

U

U

#w

U

Nw

U

#w

Nw

U w

U w

w w

w w

w

U

bw

U

w

w w

w

w

U

U

bw

#w

U

U

bU w

w

bU w

bw

bw

#w

bU w

U w

U w

?4 w 4

U

bU w

bU w

#U w

NU w

U w

U w

bU w

bU w

#U w

Bar. BC

w ?4 U 4

U w

U w

U

w

U

w

U

bU w

bU w

bU w

U

Tuba

?4 U 4w

U

U

U

U

U

U

U

U

U

U

U

U

U

U

Trb. 2

4U

&4 w

Mlts.

Perc.

Timp.

w

U

bw

U

U

w

bw

S.D. æ ã 44 ww B.D. æ

wæ w æ

U T

wæ w æ

UT

UT

wæ w æ

(closed)

U T

wæ w æ

(open)

U T

wæ w æ

(closed)

U T

˙æ w æ

(open)

U T

wæ w æ

(closed)

UT

UT

w ?4 U 4

U w

U w

U

U

U

bU w

bU w

bU w

U

U ã 44 T

w

U

w

w

U

392 CHANGING METERS: 34 AND 68

& 43

bw

bw

w

U

U

bw

U

bw

(open)

U

w

w

(closed)

U

w

w

(open)

Sus. Cym. with stick

2

w

w

w

(closed)

U

(open)

1

w

w

U

wæ w æ

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 internalization.

w

#w

U

w

w

Balance and Intonation: Shifting Chord Qualities

Ensemble Development Intermediate

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES

w

w

U

U

wæ w æ

Advanced Rhythm and Meter

Ensemble Development Advanced

195

This section provides student exercises using more challenging rhythms and meters, exploring advanced rhythmic patterns in meter, exploring advanced eighth-note triplet patterns, and quarter-note triplets.

Also included are basic presentations of , , , , and meter, and examples of changing meter from to and to .

w

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 ˙ .

8 4 8 4 8 4

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

133

METER

& 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 44

PHRASING

& 43 ˙

œ œ œ œ ˙

œ ˙.

,

œ ˙ œ œ

œ ˙

œ

˙.

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.

5

SI for CONCERT BAND ENSEMBLE DEVELOPMENT INTERMEDIATE FEATURES

Articulation

46

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.

47

DYNAMICS

Etude

138

Ensemble Development Intermediate

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

Dynamics

j j j & 44 œ œ ˙ ‰ œ. œ. œ. œ. œ. Œ œ- Œ œ- 43 Œ œ œ 44 œ. œ. œ. œ. ‰ œ. œ. œ- œ- œ- œ- ‰ œ- œ- ˙ ˙ Œ œ œ Œ v v >>> >> ß ß 4 &4 ˙

˙

p

ETUDE

œ œ œ œ w

œ‰Œ ˙ J

ƒ

sub.

,

Tenderly

p

b 4 j & b b 4 œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ w

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

F

Œ œ ˙

n.b.

Œ œ ˙

œ. œ œ œ œ. œ ˙ J J

f

w

,

˙ ˙

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

Percussion

decresc.

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.

Ensemble Development Advanced

142

SCALE CHORALE Slowly

b 1˙ & b b 42 ˙

Scale

1 Cl. 2

6

˙ ˙

7

˙ ˙ ˙ ˙

œ œ

˙

˙

˙

œ œ ˙

b˙

& b 42 ˙

˙

˙

˙

˙

œ œ

˙

˙

˙

˙

œ œ

˙

& b 42

&

2

&

42 œ œ

˙

˙

œ œ

˙

œ œ

˙

˙

˙

œ œ

œ œ

œ œ

˙

˙

˙

b˙

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

˙

˙

N˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

œ œ

œ œ

œ œ

˙

œ œ

˙

˙

˙

˙

& b 42 ˙

˙

˙

˙

˙

˙

œ œ

œ œ

˙

˙

˙

˙

œ œ

˙

˙

Tuba

1 Perc.

2

Timp.

œ œ

? b 42 bb ˙

˙

˙

˙

˙

˙

˙

˙

±

±

±

±

˙ æ

˙ æ

˙ æ

˙ æ

b & b b 42 ˙

Mlts.

˙

˙

? b 42 œ œ bb

Bar. BC

˙

æ 42 ˙˙

ã

(Sns. off)

ã

Tri.

B.D.

42 ±

Tune: B b, E b

? b 42 ˙ bb æ

œ˙ œ œ ˙æ ˙

œ œ

˙ ˙

œ˙ œ œ ˙æ ˙

˙

˙

F

,

œœ

w

F

œ œ

˙

˙

˙

˙

˙

œ œ

˙

˙

œ˙ œ œ ˙æ ˙

˙æ Ó

˙ ˙

˙

N˙

˙

˙

˙

˙

˙

˙

˙

˙

±

±

±

±

˙

˙

∑

˙

˙

˙

˙

±

˙

œ œ

˙

b˙

œ˙ œ œ ˙æ ˙

˙

˙

˙

œ˙ œ œ ˙˙æ

∑

∑

œ œ œ œ ˙

œ œ

˙

˙

±

±

±

œ œ œ ˙˙æ ˙

˙

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.

˙ ˙

˙

˙

Keys Included in the Book

˙

˙

˙

˙

˙ ˙

N˙

˙

˙

˙

˙

˙

b˙

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.

œ œ œ œ œ œ

œ œ œ œ ˙

˙

œ œ

˙

˙ ˙

˙

˙

œ œ

œ œ

œ œ

œ œ

˙

˙

˙

˙

˙

˙ ˙

&

˙

˙

N˙

B. Sax

˙

˙

˙

b˙

? b 42 ˙ bb

˙

œ œ

˙

2

˙

œ œ

œ œ

˙

˙

˙

˙

œ œ

˙

˙ ˙

˙

˙

œ œ

˙

˙ ˙

˙

˙

˙

˙.

p

Scale Chorale

˙ ˙

˙

42 ˙

? b 42 œ œ bb

˙

16

˙

˙

˙

˙ ˙

˙

˙

1

˙ ˙

15

œ œ

œ œ

Trb.

˙ ˙

˙ ˙

˙

˙

˙

14

˙

˙ ˙

˙

˙ ˙

˙ ˙

˙

˙

˙

13

œ œ

œ œ

F Hn.

œ œ

˙ ˙

N˙

˙

œ œ

˙ ˙

12

˙

˙ ˙

b & b 42 ˙

˙ ˙

˙ ˙

˙

˙

& b 42

11

˙

˙

2

˙ ˙

˙ ˙

œ œ

& b 42 œ œ

1

10

˙

˙

42 ˙

˙ ˙

˙

œ œ

˙

˙ ˙

9

˙

œ œ

42 ˙

˙ ˙

˙

˙

œ œ

8

˙

œ œ

T. Sax

Tpt.

6

˙ ˙

˙

1 A. Sax

5

b & b b 42 ˙

& b 42

B. Cl.

˙ ˙

˙ ˙

˙

˙

w

Chris M. Bernotas 4

˙ ˙

&

A. Cl.

˙ ˙ ˙ ˙

? b 42 œ œ bb

Bsn.

3

˙ ˙

b ˙ & b b 42

Ob.

˙ ˙

˙ ˙

? bb 2 ˙ b4 ˙

Fl.

2

f

U

œ œ œ ˙˙æ ˙

∑

∑

˙

˙

˙

±

±

œ œ

˙ æ

˙

˙

∑ ˙ æ

INTRODUCTION ENSEMBLE DEVELOPMENT ADVANCED SI for CONCERT BAND

Ensemble Development Intermediate

™

ENSEMBLE DEVELOPMENT

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

ADVANCED CONCERT BAND

“

Roxbury High School Succasunna, NJ

Chorales by

Overview and Concepts 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

Ensemble Development Advanced

“

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.

I ntervals H armonic progressions R hythm R hythmic subdivision M eter changes P hrasing A rticulation D ynamics E xpression and style H armonized 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

7

SI for CONCERT BAND ENSEMBLE DEVELOPMENT ADVANCED FEATURES

PASSING THE TONIC

Passing the Tonic

PASSING THE TONIC

Ensemble Development Intermediate

b ˙ & b b 44

∑˙

˙

Ob.

b & b b 44

∑

˙

Bsn.

? b 4 ˙ b b4

1 2

Fl.

1

& b 44

2 3

& b 44 ˙

Cl.

˙ ∑

a2

˙

∑

B. Cl.

& b 44 ˙

˙

4 ˙ 4

∑˙

˙

∑

˙

&

& b 44

T. Sax

44 ˙

&

B. Sax

1

& b 44

2 3

a2 & b 44 ˙

Tpt.

F Hn.

∑

˙

œ œ œ

œ

˙

œ œ œ∑

œ

˙

∑ œ œ œ

∑

œ œ œ

œ

∑˙

œ œ œ∑

œ

1

? b 4 b b4

∑

˙

˙

∑

2 3

? b 4 a2˙ b b4

Bar. BC

? b 4 b b4

Tuba

? b 4 b b4 ˙

˙

b & b b 44 ˙

Mlts.

Ensemble Development Advanced

1

ã

2

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.

Claves

Tune: E b, E b

? b 4 b b4 ˙

1

˙

j j œœ œœ Œ ˙

˙

œ

œ œ œ

œ

Œ ˙

∑

∑

Œ ˙

Œ

œ

Œ ˙

œ

œ

œ

œ œ œ œ Œ ˙

œ

Œ œ œ œœœœœ ˙ ˙

œœœœœ œ Œ ˙ œ œ œ œ Œ 4

˙

œ œ

5

w

w ∑

∑ Œ ˙

w

œ

Ó

w

U

Ó

w

U

w

w

U

˙

∑

∑

∑

∑

∑

∑

∑

˙˙ œœ œœ

ww

Ob.

& b 44

∑

∑

∑

∑

∑

∑

∑

∑

˙ œ œ

w

∑

Bsn.

? 4 b 4

∑

∑

∑

∑

∑

∑

∑

∑

˙ œ œ

w

∑

# & 44

∑

∑

∑

∑

∑

∑

˙ œ œ

w

∑

∑

∑

w

# & 44

∑

∑

∑

∑

∑

∑

˙˙ œœ œœ

ww

∑

∑

∑

# & # 44

∑

∑

∑

∑

∑

∑

w

∑

∑

# & 44

˙ œ œ

∑

w w

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙˙ œœ œœ

ww

∑

w

∑

# & # 44

˙ œ œ

∑

w

Ó

∑

∑

∑

∑

w

U

# & 44

∑

∑

∑

∑

˙ œ œ

w

∑

∑

∑

∑

∑

# & # 44

∑

∑

∑

∑

˙ œ œ

w

∑

∑

∑

∑

∑

# & 44

∑

∑

˙ œ œ

w

∑

∑

∑

∑

∑

∑

∑

w

# & 44

∑

∑

˙˙ œœ œœ

ww

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙˙ œœ œœ

ww

∑

∑

∑

∑

∑

∑

∑

w w

1 2

& 44

1

? 4 b 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

w

Cl.

U

˙

2 3

A. Cl.

u

B. Cl.

U

˙

A. Sax

w

j j œœ œœ Œ

Ó

U

Ó

U

˙

B. Sax

˙

1

U

Ó ˙æ w u

Tpt. 2 3

U w

8

1 2

T. Sax

F Hn.

U

Ó

w

1 2

1

w

w

7

U

w ˙ Ó

j j œœ œœ Œ

œ

∑

w

w

Œ ˙

6

& b 44

w

j j j j œ˙ œ œ ˙œ œ œ œ œ˙ œ œ œ˙ Œ

Œ ˙

BALANCE AND INTONATION: FAMILY BALANCE Fl.

U

Œ œ œ œœœœœ ˙ ˙ œ

˙

w ˙ Ó u

Ó

w

w

U

U

a2

∑

œ

w

w

∑

BALANCE AND INTONATION: FAMILY BALANCE

w

w

w

∑ Œ ˙

˙

œ œ œ œ œ œ

Œ ˙ ∑

∑

œœ œ œœ œ œœ œœ

3

∑

œ

˙

U

w

∑

U

Ó

a2

w œ

œ

∑

œœ œœ œœ œ œ œ œœ

œ œ œ

2

Œ ˙

∑

˙

w

w

∑

œ ∑

œ ∑

œ œ œ œ

œ œ œ

˙

˙

œ œ∑œ œ ˙ ∑ Œ

œ

∑

∑

∑

Œ ˙

∑ Œ

∑

w

U

Ó U

w

w œ

w

w

∑

œ

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

w

˙

Ó

w

∑

œ

U w

w

a2

w

∑ Œ ˙

∑ ∑

œ

˙

œ œ

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

∑˙

˙

∑

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

œ œ œ

˙

∑

œ

1 2

Trb.

Timp.

˙

∑

˙

∑

&

A. Sax

œ œ œ∑

˙

˙

4 4

˙

∑

A. Cl.

1 2

∑

9

˙æ

Trb. 2 3

w w w w w w

w w

? 4 ˙˙ b 4

œœ œœ

ww

∑

∑

∑

∑

∑

∑

∑

∑

∑

w w

∑

∑

∑

∑

∑

∑

∑

∑

∑

w

∑

∑

∑

∑

∑

∑

∑

∑

œœ

w

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.

Tuba

? 4 b 4 ˙

œœ

w

ã

Perc.

ã

∑

w

2 «

2 «

2 «

Œ 44 œ˙ œ œ œ œ œœ œœ œ œ œ œœ œœ ˙œ

2 «

2 «

2 «

œ˙ œ œ œ œ œœ œœ œ œ œ œœ œœ ˙œ Œ

44 œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

2 «

2 «

2 «

2 «

œœœœœ œ œœœœ œ œ œ Œ

œ œ œ

& b 44 œ

˙

œ œ

S.D.

B.D.

Woodblock

? 4 b 4 ˙

Tune: F, C, F

Timp.

w

w

? 4 ˙ b 4

2

w

œœ

Bar. BC

1

a2

˙

Balance and Intonation: Family Balance

Mlts.

w

∑

1

œ œ ˙

œœ

2

2 «

2 «

3

4

2 «

5

2 «

6

7

2 «

8

9

2 «

œ

10

˙

œ œ œ

˙

œ œ

œ œ ˙

œœ

11

12

BALANCE AND INTONATION: PERFECT INTERVALS

Balance and Intonation: Perfect Intervals

BALANCE AND INTONATION: PERFECT INTERVALS 1

& b 43 œ

2 3

& b 43 ˙ .

Cl.

˙

a2

A. Cl.

& 43 œ

B. Cl.

& b 43

˙.

œ

˙

˙. ˙

œ ˙.

œ

˙

˙. ˙

œ

œ

˙

˙. ˙

˙.

œ

˙. œ

˙

˙.

˙. ˙

œ

˙

œ

˙.

˙.

˙. ˙

œ

˙. ˙

œ

œ

˙

˙

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 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.

8

BALANCE AND INTONATION: MOVING CHORD TONES A. Sax

1 2

& b 44 ˙˙

T. Sax

b ˙ & b 44

B. Sax

& b 44 ˙

œœ

œœ

˙

œ

œ

˙

œ

œ

˙˙

˙˙

˙˙

˙˙

œœ

œœ

˙

˙

˙

œ

œ

˙

˙

˙

œ

œ

˙˙

˙˙

˙˙

œœ

œœ

˙

˙

˙

œ

œ

˙

˙

˙

œ

œ

˙˙

w w

˙

w

˙

w

w w w w

FEATURES ENSEMBLE DEVELOPMENT ADVANCED SI for CONCERT BAND

BALANCE AND INTONATION: LAYERED TUNING

Balance and Intonation: Layered Tuning

b & b 43

∑

Ob.

b & b 43

∑

Bsn.

? b3 b 4 ˙.

Fl.

1 Cl. 2 3

& 43

“

# & 43 ˙ .

B. Cl.

& 43

A. Sax

1 2

∑

˙˙ ..

˙˙ ..

∑

˙.

˙.

˙.

˙.

˙.

˙.

˙˙ ..

˙.

1.

˙˙ ..

˙. ∑

˙.

1 2

“

Trb. 2 3

& b 43

∑

˙.

˙˙ ..

? b3 b 4

∑

∑ 2.

? b 3 ˙. ∑ b 4

˙.

∑

∑

˙.

˙.

˙.

˙.

˙.

˙.

˙.

˙˙ ..

˙. ∑ ˙.

˙.

˙. ∑

˙. ∑

˙˙ ..

˙˙ ..

˙˙..

∑

∑

˙˙ ..

˙˙ ..

˙˙..

∑

˙.

˙.

˙.

∑

∑

˙˙ ..

˙. ∑

˙. ∑

˙˙ ..

˙˙ ..

˙˙..

∑

∑

∑

˙.

˙.

˙.

˙.

˙.

˙.

œ œœœ

œœœ œœ œ œœœ

˙˙ ..

˙.

˙.

œœ œ œ œ

43 ˙œ . œ œ œ œ

‘

43 ¿ ¿ ¿ ¿ ¿ ¿

‘

Cabasa

œ œ œ ˙. œœ œ

2

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 œœ

˙œ œ œ œœ œ Œœ ˙œ œ œ

Œ Œ ˙œ .

Œ Œ ˙œ .

Œ Œ ˙œ .

¿ ¿ ¿

‘

‘

¿ ¿¿¿

¿¿¿ ¿¿ ¿ ¿¿¿

¿ ¿ ¿

¿ Œ Œ

¿ Œ Œ

œ œœœ

œœœ œœ œ œœœ

œ

˙.

˙.

‘

œ œ œœ

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

Nœ œ bœ œ #œ nœ œ.

˙.

˙.

˙.

B.D.

œ bœ œ bœ nœ #œ nœ.

˙.

˙.

˙.

S.D.

#œ œ #œ œ bœ nœ bœ.

˙.

˙. ˙.

˙. ∑

˙.

˙.

˙.

œ œ

˙˙ ..

˙.

˙.

˙.

œ œ

˙˙ ..

˙. ˙.

˙˙ ..

∑

˙. ∑

∑

˙.

˙˙ ..

˙.

˙.

œ œ

˙.

˙.

∑

˙.

Tuba

? b3 b 4 œ œœœ

˙.

˙. ∑

˙.

∑

? b3 b 4 ˙.

CHROMATIC SCALE PATTERN

#œ nœ œ bœ nœ œ #œ.

˙.

∑

˙.

& 42 œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ

œ œ bœ œ #œ nœ œ.

˙.

∑

˙.

ã

˙.

˙˙ ..

˙.

ã

˙.

˙˙ ..

? b3 b 4 ˙.

Mlts.

˙.

˙˙ ..

Bar. BC

b œ œ & b 43 œ œ œ

∑

˙.

∑

˙.

∑

˙.

˙.

˙˙ ..

˙.

2.

˙.

˙.

˙˙ ..

1.

˙.

∑

˙˙ .. ∑

˙.

∑

˙.

2 3

˙.

˙˙..

˙.

˙˙ ..

˙.

˙˙ ..

˙.

2.

˙.

˙˙ ..

∑

∑ & 43 ˙ .

˙.

˙˙..

˙. ∑

∑

1

∑

˙˙ ..

˙. ∑

˙.

∑

∑

˙˙ ..

˙˙ ..

˙.

∑

∑

∑

˙.

˙.

& 43

∑

˙. ∑

# & 43 ˙ .

1

œ #œ œ bœ œ bœ nœ.

˙.

B. Sax

F Hn.

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

˙.

˙.

SCALE PATTERN

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.

∑

∑

3.

Scale Pattern

. & Nœ bœ œ œ œ #œ nœ

˙˙ ..

∑

∑

1

œ.

˙.

∑

˙.

Timp.

Nœ œ #œ œ #œ œ

˙.

∑

˙.

Tune: G, D

& #œ œ œ #œ nœ œ bœ.

˙.

˙.

˙.

2

#œ œ #œ œ bœ nœ œ.

˙.

˙. ∑

˙.

1

& 98 œ # œ œ b œ œ œ n œ .

˙.

˙˙ ..

& 43 ˙ .

Perc.

œ #œ #œ œ & 44 œ # œ œœ ## œœ œ # œ # œ œ œ #œ

˙.

2.

3.

Northern Valley Regional High School Demarest, NJ

b

˙.

∑

T. Sax

Tpt.

Jonathan Harris

CONCERT B CHROMATIC SCALE

˙.

˙.

∑ & 43 ˙ .

# & 43

˙˙ ..

∑

3.

My students appreciate the enjoyable, musically rewarding exercises as well as only having one book in their folder instead of three. The increased time spent on ensemble development has resulted in a noticeable improvement when rehearsing concert repertoire.

˙˙ ..

∑

A. Cl.

1.

˙. ∑

2.

œ

œ

œ 3

˙.

œ œ œ œ œ œ

œ œ œ œ œ œ

˙.

4

5

˙.

6

7

œ œ œ œ œ œ œ œ œ œ

œ œ

8

9

œ œ 10

œ œ œ œ œ œ

œ œ œ œ

˙ ˙

œ œ

œ œ œ œ

˙ ˙

œ œ œ œ

11

Ensemble Development Advanced

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.

Ensemble Development Intermediate

BALANCE AND INTONATION: LAYERED TUNING 1 2

12

Chromatic Scale w w

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

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

U

œ bœ œ bœ œ bœ œ.

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, meters, and articulations.

9

SI for CONCERT BAND ENSEMBLE DEVELOPMENT ADVANCED FEATURES

Ensemble Development Intermediate

Chromatic Flexibility

CHROMATIC FLEXIBILITY

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

bœ bœ œ œ œ œ & bœ bœ œ œ œ œ œ bœ

ARPEGGIOS

œ œ œ œ œœ œœœ

#3 œ œ & 4œœœœœœ œ

INTERVALS

3 4 & b 4 œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ 3

3

œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

3

œ œ œ 4 œ œ œ & 4 œ œ œ œ œœ œ œ

3

œœœœœ

3

3

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

Intervals

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

3

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

3

œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ 3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ b w œ bœ bœ œ œ œ œ œ bw bœ

œ œ œ œ œ œ ˙.

3

3

3

bœ Nœ œ œ œ œ bœ Nœ œ œ œ œ œ bœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œœ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ

w w

Expanding Intervals Ensemble Development Advanced

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.

EXPANDING INTERVALS: DOWNWARD IN PARALLEL OCTAVES

# & 43

œ Uœ œ

“

Ensemble Development is an invaluable resource that allows band directors to teach virtually every facet of ensemble playing from most basic to truly refined. This book escapes the monotony of daily warm-ups with fresh sounding exercises that my students thoroughly enjoy and look forward to playing.

“

Mandy DeShrage

South Woods Middle School Syosset, NY

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 internalization.

10

œ nUœ œ

œ Uœ œ

œ #Uœ œ

U ˙.

œ Uœ œ

U ˙.

U ˙.

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES

BALANCE AND INTONATION: SHIFTING CHORD QUALITIES b ww

b b ww

b ∫ ww

ww

b ww

b b ww

# # ww

# ww

N ww

Ob.

& 44 b w

bw

∫w

w

w

bw

#w

#w

nw

Bsn.

? 4 bw 4

bw

bw

w

w

w

w

w

w

1

& 44 b w

bw

∫w

w

w

bw

#w

#w

Nw

2 3

& 44 b ww

b b ww

b b ww

# ww

N ww

ww

# # ww

# N ww

# ww

A. Cl.

& 44 b w

bw

bw

w

w

w

#w

#w

#w

Nw

B. Cl.

& 44 b w

bw

bw

ww

b ww

b b ww

w

w

w

# ww

ww

b ww

#w

#w

#w

Nw

# # ww

# ww

N ww

U w

T. Sax

bw & 44

bw

bw

w

w

w

#w

#w

#w

Nw

B. Sax

& 44 b w

bw

bw

w

w

w

#w

#w

#w

Nw

1

& 44 b w

bw

∫w

w

w

bw

#w

#w

Nw

2 3

& 44 b ww

b b ww

b b ww

# ww

N ww

ww

bw & 44 w

b b ww

b ∫ ww

# # ww

# N ww

# ww

1 2

ww

b ww

b b ww

# # ww

# ww

N ww

U

? 4 bw 4

bw

∫w

w

w

bw

#w

#w

Nw

U w

? 4 b ww 4

b b ww

b b ww

ww

b ww

b ww

# ww

N ww

ww

b ww

Bar. BC

? 4 bw 4

bw

bw

w

w

w

w

w

w

bw

Tuba

?4 4

bw

w

w

w

w

w

w

bw

Mlts.

& 44 b w

bw bw

∫w

w

w

bw

#w

#w

Nw

wwæ

wwæ

wwæ

wwæ

wwæ

wwæ

wwæ

wwæ

Fl.

1 2

Cl.

A. Sax

1 2

Tpt.

F Hn.

1 Trb. 2 3

& 44

& 44

bw

æ ã 44 ww S.D.

1

B.D.

Perc.

2

Timp.

æ ã 44 ·

Sus. Cym. with mallets

¿ Œ

Tune: E b

? 4 bw 4

∑ bw

1

·æ

¿ Œ

bw 2

∑ w

3

·æ

¿ Œ

w 4

∑ w

5

·æ

¿ Œ

bw 6

∑ bw

7

U w

w

U

w

U

bw

U

w

U

ww

U U

w

U U U

w

U

ww ww

U U U U

w

U

wæ

w u

·æ

¿ Œ

bw 8

U

∑

U 9

w

10

FEATURES ENSEMBLE DEVELOPMENT ADVANCED SI for CONCERT BAND

BALANCE AND INTONATION: DIATONIC HARMONY

œ ww

Ob.

b & b b 44 œ ˙

œ w

Œ ˙

œ

Bsn.

? b 4 b b4

œ ˙

œ w

˙

œ

b & b b 44

Œ

Œ

˙

œ n ww

˙

œ ww

Œ ˙

œ w

Œ ˙

œ

˙

œ w

˙

œ

Œ ˙

œ #w

Œ

w w

Œ

Œ

Œ

˙

œ n ww

1

œ ˙ & b 44

œ w

Œ ˙

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

Œ ˙

œ w

Œ ˙

œ

B. Cl.

& b 44 œ ˙

œ w

˙

A. Sax

44

Cl.

&

1 2

œ ˙

Œ

œ ww

Œ

˙

œ

˙

œ

w

w

w

w

w

w w

œ # ww

w

w

Œ ˙ ˙

œ nw œ w

Œ ˙ ˙

œ w œ w

Œ ˙ ˙

œ œ

a2

w

Œ ˙

œ n ww

Œ ˙

œ ww

2 3

œ ˙ & b 44 œ ˙

œ w œ w

1 2

b & b 44 œ ˙

œ ww

Œ

˙

œ

w

w

Œ

œ ˙ ? b 4 œ ˙ b b4

œ w œ w

˙ Œ ˙

œ nw œ w

˙ Œ ˙

œ w œ w

Bar. BC

? b 4 œ ˙ b b4

œ w

Œ ˙

œ

w

Œ ˙

œ w

Tuba

? b 4 b b4

œ

w

Mlts.

b & b b 44 œ ˙

Œ

˙

Œ ˙ æ œœ ˙˙

Œ

˙

œ

w

œœ

æ ˙œ œ œ œ ˙œ œ œ œœ ˙˙

w

˙ Œ ˙

#

œ œ

ww

œ

w

Œ

˙

Œ ˙

æ ˙œ œ œ œ ˙œ œ œ œœ ˙˙

œœ

2

Tune: G, B b, C, F

Timp.

3

4

5

6

7

œœœœœ

œ œœœ œœœœœ œœœ

œœœ œ

œ œœœ œœœœœ œ

b

wCONCERTw E MAJOR SCALE AND CHORALE w

w

CONCERT E b MAJOR SCALE AND CHORALE

‘

˙œ œ œ œ œ ˙œ œ

Woodblock

2

œ œœœ œœœ œœœ

w

w

a2

œ nw

These chorales are harmonized scales of specified ã 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 keys. Each student’s part has two lines: the top line ˙ line œ œ (B), ? b 4 œ ˙and æ œ ˙ theœ bottom æ (A), the scale, œ ˙æ their œ œ œ œ œ part œ œ œ œ ˙æinœ œ b b4 œ œ ˙ œ 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.

1

œw œ œ œ

&Œ ˙ œœ œw œ œ œw œ œ œw œ œ

œ w œœ

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

w

#˙ 4œ n w w & 4œœœœ œ Œ

œ w

Œ ˙

w

Rhythm

Œ ˙ œ # w SIMPLE RHYTHM: w METERw ( ŒÂÊ ) w

œ w

˙

ww

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

w w

w

1

Perc.

w w

œ #w

œ

B.D.

w

Œ ˙

Œ ˙

1

w

œ w

œ w

æ Scale Chorales ã 44 œœ ˙˙ œœ ˙œ œ œ œ œ ˙œ œ œ

w

w

Œ ˙

œ ˙ & b 44

œ w

w

ww

w

œ

S.D.

w

w

Œ ˙

œ w

w a2

œ

œ w

œ ˙

w

Œ ˙

44 œ ˙

2 3

w

œ w

&

Trb.

w

Œ ˙

B. Sax

? b 4 b b4

Œ

˙

w

œ

œ

1

œ ww

w

Œ ˙

Œ ˙

œ w

w

Œ

œ w

˙

w

œ w

œ w

œ ˙

Œ

˙

w w

Œ ˙

œ ˙ & b 44

F Hn.

Œ

w

œ # ww

T. Sax

Tpt.

w

w

a2

œ œ œ œ œ œScale

Œ Ó wœ b ˙ & b b 44 ˙

œ Œ Ó ‘ ? b b 44 ˙ b ˙

œ œœœœœ œ

œ œ œ œ ˙æ 8

Chris M. Bernotas (ASCAP)

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

w w

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙ ˙ ˙

˙ ˙

˙ ˙

w w

œ œ œ œ œ œ œ œ œ œ œ ˙

w

œ œ œ œ œ ˙

& b 44 œ œ10 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

œœ œœ œœ œœ œœ

9

1 Tpt.

F Hn.

w

1

2

3

œ œœ œœ œœ œœ ˙ ˙œ ˙ 4

Ensemble Development Advanced

œ ˙

Fl.

Ensemble Development Intermediate

Balance and Intonation: Diatonic Harmony

BALANCE AND INTONATION: DIATONIC HARMONY 1 2

œœ œœ œœ œœ ˙˙ œœ œœ œœ œœ ˙˙ 5

6

œ œ œ œ ˙œ œ œ ˙œ œ

ww

œ œ œ œ œ˙ œ œ ˙œ œ

ww

7

8

CHORALE

CHORALE

Fl.

1 2

p

Ob.

& b 46

Bsn.

? 6 b 4 w.

Cl. 2 3

p

1 2

# & # 46

∑ w.

p

# & 46

T. Sax

1 Tpt. 2 3

1 2

1 Trb. 2 3

# & 46

p

# & 46

p p

1

ã

46 6

Tri.

˙

˙

˙

∑

˙.

˙.

˙.

˙.

b˙ b˙

˙

w.

˙.

˙.

w.

˙˙ ..

œ˙ . œ œ

˙. w.

#˙.

˙.

#˙.

w.

w. ˙

w.

˙.

˙. ˙˙ ..

˙. ˙. ˙. ˙.

˙.

w.

w˙ . .

w. œ œ œ œ œ œ

w

˙

œ œ œ œ œ œ

w.

w.

˙.

˙.

w.

#˙.

w.

w˙ ..

˙.

w˙ ..

œ œ œ #˙.

w.

˙.

·æ .

π

˙.

w.

œ Œ ∑

> ¿

p

˙.

Œ ∑

˙.

œ Œ ∑ ∑

b˙

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.

U

˙˙

u U

˙

˙

U

˙

n˙

U

n ˙w . ˙ # ˙ u

˙

w.

˙.

w.

˙.

w.

˙.

˙

n˙ b˙ ˙ ˙ ˙

w.

w.

˙.

˙.

˙

p

U

U w.

w

p

U

u

b˙ b˙

w.

˙.

œ Œ ∑ ∑

˙.

˙.

w.

w.

˙.

˙.

œ œœ œœ œœ œœ œœ œ

w.

ww .

˙.

˙.

œ œ œ œ œ œ

œ Œ ∑

p

œ œ œ ˙.

w.

w.

w.

w.

p

œ & b 46 Œ ∑ Chimes

Sus. Cym.

˙

∑

F

Mlts.

˙

∑

? 6 b 4 w.

Tuba

˙

#˙.

∑

? 6 w. b 4

n˙

w.

˙

˙

∑

œ œ œ œ œ œ ? 6 b 4

Bar. BC

w.

∑

œ œ

rit. b ˙w . ˙

œ œ w

∑

? 6 w b 4

˙.

˙

w.

p

˙w..

˙.

p

& 46 œ œ œ œ œ œ

˙˙ ..

œw .œ w

p

∑

w.

˙˙ ..

œ œ œ œ œ œ

w.

# & # 46 w .

B. Sax

p

œ˙ œ œ œ œ œ

w. p

∑

#˙.

w.

w. œ œ œ œ œ œ

# & 46 œ œ œ œ œ œ p

# & 46

B. Cl.

Perc.

∑

# & 46 w .

# & # 46

A. Cl.

F Hn.

∑

p

1

A. Sax

David R. Gillingham

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

b˙

U

˙

˙

U

˙

n˙

w.

U

w.

˙.

˙.

w.

U

b˙ b˙

˙

˙

˙

U ˙

˙ b˙

˙ ˙

U ˙

b˙

˙

U

˙

˙

U

˙

b˙ b˙

w. œ Œ ∑

˙ ∑

U

˙

˙

U

∑

U

11

BAND

SOUND

™

INNOVATIONS for CONCERT BAND

WHICH LEVEL IS RIGHT FOR YOU?

AUSTRAL IA EDITION N !

AUSTRAL IA EDITION N !

BOOK 1

BOOK 2

ENSEMBLE DEVELOPMENT FOR INTERMEDIATE CONCERT BAND

ENSEMBLE DEVELOPMENT FOR ADVANCED CONCERT BAND

The flagship of Sound Innovations, Book 1 comes in several different editions. Each student book includes an instrument-specific DVD and MP3 CD. Organized into six short levels, Book 1 has clean page layouts, clear goals for each exercise.

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.

ALSO AVAILABLE FOR

STRING ORCHESTRA AND GUITAR

Continue your students’ musical journey with Sound Innovations for Concert Band, Book 2, where new concepts are isolated and taught individually for better retention. Ensemble playing is further reinforced, and plenty of practice performance opportunities are provided throughout the book. Student books include an instrument-familyspecific DVD and MP3 CD.

Building upon the concepts in Ensemble Development for Intermediate Concert Band, this level features all new exercises and chorales, more technically and musically challenging material, and additional chorale composers.

For more information contact sales@devirra.com or 02 8707 3650