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22795325
Belle of the Chesapeake
22795325
22795325
22795325
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Concert band Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Bells, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Crash Cymbals, Euphonium, Flute, Horn in F 1, Horn in F 2, Horn in F 3, Horn in F 4, Mallet Percussion, Oboe, Percussion 1 and more. - Grade 4
SKU: CF.SPS101
Concert March. Composed by Joseph Compello. Folio. Score and parts. 165 pages. Duration 0:03:19. Carl Fischer Music #SPS101. Published by Carl Fischer Music (CF.SPS101).ISBN 9781491166482. UPC: 680160925537. 9 x 12 inches. Key: Bb major.
Belle of the Chesapeake is a concert march in 6/8 time. It will require a brisk tempo, the pace of which will be determined by the trumpet section's ability to articulate the sixteenth notes in the opening fanfare. An approximate tempo of 126 BPM should be the goal. This important fanfare figure will reappear throughout the march at these points: 1) the transition to the trio at m. 54, 2) the break-up strain at m. 103, and 3) the final repeat of the trio at m. 119.The trumpet cues at m. 60 should be played only if the horn section needs augmentation. The countermelody for euphonium and tenor saxophone at m. 70 must be equally balanced with the upper voice melody during the first repeat of the trio. As with any piece of music, dynamics and articulations should be followed carefully in order to render a performance true to the intentions of the composer. Thank you for choosing this composition. I hope you and your students find it instructive and enjoyable.
Belle of the Chesapeake is a concert march in 6/8 time. It will require a brisk tempo, the pace of which will be determined by the trumpet section's ability to articulate the sixteenth notes in the opening fanfare. An approximate tempo of 126 BPM should be the goal. This important fanfare figure will reappear throughout the march at these points: 1) the transition to the trio at m. 54, 2) the break-up strain at m. 103, and 3) the final repeat of the trio at m. 119.The trumpet cues at m. 60 should be played only if the horn section needs augmentation. The countermelody for euphonium and tenor saxophone at m. 70 must be equally balanced with the upper voice melody during the first repeat of the trio. As with any piece of music, dynamics and articulations should be followed carefully in order to render a performance true to the intentions of the composer.xa0Thank you for choosing this composition. I hope you and your students find it instructive and enjoyable.
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