Threefold Concert Band - Sheet Music

Concert band Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Crash Cymbals, Euphonium, Flute 1, Flute 2, Horn in F 1, Horn in F 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani and more. (Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Crash Cymbals, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone 1, Trombone 2 and more.) - Grade 3

SKU: CF.CPS239F

Composed by Richard Summers. This edition: saddle-wire stitch. Sws. Cps. Full score. 24 pages. Duration 0:03:40. Carl Fischer Music #CPS239F. Published by Carl Fischer Music (CF.CPS239F).

ISBN 9781491157848. UPC: 680160916443. 9 x 12 inches.

The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.
The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.
The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter.xa0 Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend.xa0 This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform.xa0 The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal.xa0 The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.