BAND
ENSEMBLE DEVELOPMENTChorales and Warm-up Exercises for Tone, Technique, and Rhythm
INTERMEDIATE CONCERT BAND
Peter BOONSHAFT | Chris BERNOTAS
TEACHER PREVIEW GUIDE
Chorales by
Roland Barrett
Andrew Boysen
Ralph Ford
Rossano Galante
Robert Sheldon
Todd Stalter
Randall Standridge
Michael Story
SI for BAND ENSEMBLE DEVELOPMENT
2
Sound Innovations: Ensemble Development is a valuable resource for helping your students grow in their understanding and abilities as ensemble musicians. It contains 412 exercises, including more than 70 chorales by some of today’s most renowned concert band composers.
An assortment of 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. You will notice that many exercises and chorales are clearly marked with dynamics, articulations, style, and tempo for students to practice those aspects of performance. 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.
™
ENSEMBLE DEVELOPMENTChorales and Warm-up Exercises for Tone, Technique, and Rhythm
INTERMEDIATE CONCERT BAND
SI Ensemble Development Overview and Concepts
Chorales by
Roland Barrett
Chris Bernotas
Andrew Boysen
Ralph Ford
Rossano Galante
Robert Sheldon
Todd Stalter
Randall Standridge
Michael Story
Tone Quality
Breathing
Long Tones
Ensemble and Section Balance
Blend
Intonation
Scales (Major, Chromatic, Natural, Harmonic, and Melodic Minor)
Technical Facility
Flexibility
Arpeggios
Intervals
Harmonic Progressions
Rhythm
Rhythmic Subdivision
Meter
Phrasing
Articulation
Dynamics
Expression and Style
Études
Integrated Percussion
Reinforcement of Rudiments
Harmonized Scale Chorales
SI for BAND ENSEMBLE DEVELOPMENT
3
Passing the Tonic
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.
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BALANCE AND INTONATION: LAYERED TUNING164
Breathing and Long Tones
These exercises help foster deep, full breaths using a variety of approaches and techniques such as exhalation, metered breathing, or quick, intense breaths. 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 internalize pitch.
SI for BAND ENSEMBLE DEVELOPMENT
4
& 43 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..˙̇USCALE PATTERN13
& 44 œ œ œ Œ œ œ ˙ œ ˙ ˙ Œ œ ˙ œ .˙ œ Œ Œ œ .˙ œ Ó ˙CHANGING SCALE RHYTHM16
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NATURAL MINOR SCALE63
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UHARMONIC AND MELODIC MINOR SCALES64
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.
Changing Scale Rhythm
Through these exercises, students can practice playing the scale for the specified key in a challenging and unpredictable rhythmic context.
Chromatic Scale
A chromatic scale, starting on the tonic of the specified key, will help students develop technical proficiency and facility.
Natural Minor Scale
ScalesStudents can work toward mastering the major scale
for a variety of keys in their most common rhythmic forms.
Harmonic and Melodic Minor Scales
& 44 ˙̇ œœ œœ œœ œœ œœ œœ ˙̇ œœ œœ œœ œœ œœ œœ wwMAJOR SCALE10
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SI for BAND ENSEMBLE DEVELOPMENT
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BALANCE AND INTONATION: PERFECT INTERVALS24
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& 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ .˙ARPEGGIOS70
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.
Arpeggios
Various patterns of arpeggios are included to help students develop technical proficiency, as well as explore melodic and harmonic aspects in each key.
Balance and Intonation:
Perfect Intervals
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.
& 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .˙INTERVALS22 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 internalize pitch.
SI for BAND ENSEMBLE DEVELOPMENT
6
Balance and Intonation:
Diatonic Harmony
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 better understanding common cadences and harmonic progressions.
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BALANCE AND INTONATION: DIATONIC HARMONY162
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BALANCE AND INTONATION: FAMILY BALANCE76
Balance and Intonation:
Family Balance
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.
SI for BAND ENSEMBLE DEVELOPMENT
7
Balance and Intonation:
Layered Tuning
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.
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1
2
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2
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1
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(Sns. off)
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wU
w
wU
wU
wU
wwU
wU
wU
w
wU
wU
wU
wU
wU
w
w∑
wæ
wæT
æ
wæ
5 w
w
∑
w
w
w∑
w
w
w∑
w
www
w
∑
∑
∑wæ ∑T
æ
∑
6 w
∑
∑
w∑
w∑
w
∑
∑
∑
w∑
∑w
∑
∑
∑
∑
∑T
æ
∑
7 wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wæw
U
∑U
wUæ
8 wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wæw
U
∑U
wUæ
BALANCE AND INTONATION: LAYERED TUNING27
&
&?
&
&
&
&
&
&
&
&
&
&
&?
?
?
?
&
ã
ã?
bbbb
bbbb
bbbb
bb
bb
b
bb
b
b
bb
b
bb
bb
bbb
bbbb
bbbb
bbbb
bbbb
bbbb
bbbb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 w
w
w
w
w
w
ww
w
ww
w
www
ww
wwœ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
P
S.D.
B.D.
Gong
2w
ww
w
w
w
ww
w
w
ww
www
ww
ww
œ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
3w
w
w
w
w
w
ww
w
w
ww
w
ww
ww
ww
œ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
4 w
w
w
w
w
w
ww
w
ww
w
www
ww
wwœ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
5w
w
w
w
w
w
ww
w
w
ww
w
ww
ww
ww
œ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
6w
ww
w
w
w
ww
w
w
ww
www
ww
ww
œ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
7 w
w
w
w
w
w
ww
w
ww
w
www
ww
wwœ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
8w
ww
w
ww
ww
ww
ww
www
ww
ww
œ œ œ œ œ œ
3
œ œ œ œ œ œ
3
T
œ œ œ œ œ œ3
9 w
ww
w
ww
ww
ww
ww
www
ww
wwœ
Œ Ów
T
w
BALANCE AND INTONATION: MOVING CHORD TONES254
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.
SI for BAND ENSEMBLE DEVELOPMENT
8
&
&?
&
&
&
&
&
&
&
&
&
&
&?
?
?
?
&
ã
ã?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 wU
wU
wU
wU
wU
wU
wUwU
wU
wU
wU
wU
wU
wUwU
wU
wU
wU
wU
wæU
wæT
U
wU
(open)
S.D.
B.D.
Sus. Cym.with stick
2 wU
wb U
wU
wU
wb U
wU
wUwU
wU
wU
wU
wU
wb U
wb U
wU
wb U
wU
wU
wU
wæU
wæT
U
wU
(closed)
3 wU
wb U
wU
w#U
wb U
wU
wU
w#U
wU
wU
wU
w#U
wb U
wb U
wU
wb U
wU
wU
wU
wæU
wæT
U
wU
(open)
4 wU
w#U
wU
w#U
w#U
w#U
w#U
w#U
w#U
w#U
w#U
w#U
w#U
w#U
wU
w#U
wU
wU
wU
æ̇UwæT
U
wU
(closed)
5 wU
wN U
wU
w#U
wN U
w#U
w#U
w#U
wN U
w#U
w#U
w#U
wN U
wNU
wU
wN U
wU
wU
wU
wæU
wæT
U
wU
(open)
6 wb U
wU
wU
wN U
wU
w#U
w#U
wN U
wU
w#U
w#U
wN U
wU
wU
wb U
wU
wU
wU
wb U
wæU
wæT
U
wU
(closed)
7 wb U
wU
wb U
wU
wU
wNU
wN U
wU
wU
wN U
wN U
wU
wU
wU
wb U
wU
wb U
wbU
wb U
wæU
wæT
U
wb U
(open)
8 wb U
wb U
wb U
wU
wb U
wU
wU
wU
wb U
wU
wU
wU
wb U
wbU
wb U
wb U
wb U
wbU
wb U
wæU
wæT
U
wb U
(closed)
9 wU
wb U
wb U
wU
wb U
wU
wU
w#U
wb U
wU
wU
wU
wb U
wbU
wU
wb U
wb U
wbU
wU
wæU
wæT
U
wb U
(open)
10 wU
w#U
wU
wU
w#U
wU
wU
w#U
w#U
wU
wU
wU
w#U
w#U
wU
w#U
wU
wU
wU
wæU
wæT
U
wU
(closed)
BALANCE AND INTONATION: SHIFTING CHORD QUALITIES195 Balance and Intonation:
Shifting Chord Qualities
These exercises begin with the ensemble playing a major triad, 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 internalizing pitch.
&
&?
&
&
&
&
&
&
&
&
&
&
&?
?
?
?
&
ã
ã?
bb
bb
bb
#
#
#
#
b
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 œ œn U̇
œ œ# U̇
œ œ# U̇
œ œ# ˙U
œ œ# ˙U
œ œ# ˙U
œ œ ˙U
œ œ U̇
œ œ# U̇
œ œ U̇
œ œ ˙U
œ œ# ˙U
œ œ# ˙U
œ œ# ˙U
œ œn U̇
œ œ# U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
S.D.
B.D.
Sus. Cym.with mallets
Tune: Bb, F
2 œ œA U̇
œ œN U̇
œ œN U̇
œ œN ˙U
œ œN ˙U
œ œN ˙U
œ œb ˙U
œ œn U̇
œ œN U̇
œ œb U̇
œ œn ˙U
œ œN ˙U
œ œN ˙U
œ œN ˙U
œ œA U̇
œ œN U̇
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
3 œ œ U̇
œ œn U̇
œ œn U̇
œ œ ˙U
œ œ# ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ# U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ# ˙U
œ œ# ˙U
œ œ U̇
œ œn U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
4 œ œb U̇
œ œA U̇
œ œA U̇
œ œb ˙U
œ œN ˙U
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œN U̇
œ œb U̇
œ œb ˙U
œ œb ˙U
œ œN ˙U
œ œN ˙U
œ œb U̇
œ œA U̇
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
5 œ œ U̇
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
œ œ ˙U
EXPANDING INTERVALS: DOWNWARD IN TRIADS32
Expanding Intervals:
Downward in Triads
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 as well as vertically while attending to balance, blend, and intonation.
SI for BAND ENSEMBLE DEVELOPMENT
9
&
&?
&
&
&
&
&
&
&
&
&
&
&?
?
?
?
&
ã
ã?
bb
bb
bb
#
#
#
#
b
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 .œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œ.œ Jœ .œ Jœ
.y
jy .y
jy
.œ jœ .œ jœ
S.D.
B.D.
Sus. Cym.
F
F
F
F
F
F
F
F
F
F
F
P
P
P
P
P
P
P
PP
FF
F
2 .œ Jœ .œ Jœ.œ Jœ .œ Jœ.œ Jœ .œ Jœ.œ Jœ .œ Jœ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œ.œ Jœ .œ Jœ
.y
jy .y
jy
.œ jœ .œ jœ
3 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 œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œ
œ œ œ œ
y y y y
œ 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 œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œ
œ œ ˙
y y T
œ œ ˙
5 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ Jœ .œ Jœ
.œ jœ .œ jœ
.œ jœ .œ jœ
.œ
jœ .œ
jœ
œ œ œ œ
y y y y
œ œ œ œ œ œ œ œ
P
P
P
P
P
P
P
P
P
P
P
F
F
F
F
F
F
F
FF
PP
P
6 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ.œ jœ .œ jœ.œ jœ .œ jœ.œ Jœ .œ jœ.œ Jœ .œ Jœ.œ Jœ .œ Jœ.œ Jœ .œ Jœ.œ Jœ .œ Jœ
.œ jœ .œ jœ
.œ
jœ .œ
jœ
œ œ œ œ
y y y y
œ œ œ œ œ œ œ œ
7 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ 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 œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ 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 œœ œ œ œ
œ œ œ œ
y y y y
œ œ œ œ œ œ œ œ
8 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 ˙œ œ ˙œ œ ˙œ œ ˙
œ œ ˙œ œ ˙œ œ œ
Œœ œ ˙
y y T
œ œ œ œ ˙
RHYTHMIC SUBDIVISION40
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.
& 44 w Œ ˙ Œ œ œ Ó Œ œ œ Œ œ œ œ œ Œ œ œ œ œ œ œ œ œ ‰ Jœ ˙ œ œ ‰ Jœ ˙RHYTHM79
Rhythm
These exercises focus on various aspects of rhythm and meter, providing material that will allow students to practice, review, and challenge their skills. They also provide excellent practice in sight-reading.
& b 45 œ œ œ ˙(3+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 ˙METER133
& 43 ˙ œ œ œ œ ˙ œ .˙ ,œ œ œ ˙ œ ˙ œ .˙
PHRASING44
Meter
Students can explore these new meters in straightforward exercises, which are designed to introduce them with limited rhythmic challenges.
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.
SI for BAND ENSEMBLE DEVELOPMENT
10
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&&&&&&&&&&&????
&ãã?
bbb
bbbbbbbbbbbbbb
b
b
bbbb
bbbbbbbbbbbbbbb
bbb
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Scale
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 ˙̇
˙̇˙
˙œ œ
˙
˙œ œ
˙˙
˙œ œ˙
˙
˙˙œ œ˙œ œ
˙˙
æ̇̇±
æ̇
Slowly
(Sns. off)
B.D.
Tri.
Tune: Bb, Eb
2 ˙̇
˙̇˙
˙˙
˙
˙˙
˙˙
˙˙˙
˙
˙˙˙
˙˙
˙˙œ œ œ
˙
±
æ̇
3 ˙̇
˙̇
˙
˙œ œ
˙
˙œ œ
˙˙
˙œ œ˙
˙
˙˙œ œ
˙œ œ
˙˙
æ̇̇±
æ̇
4 ˙̇
˙̇
˙
˙œ œ
˙
˙œ œ
˙˙
˙œ œ˙
˙
˙˙œ œ
˙œ œ
˙˙œ œ œ
˙
±
æ̇
5 ˙̇
˙̇
˙
˙˙
˙
œ œ˙
˙˙
œ œ˙˙
˙
œ œœ œ˙
˙˙
˙˙
æ̇̇±
æ̇
6˙̇
˙̇
œ œ
œ œ˙
œ œ
˙˙
˙œ œ
˙˙˙œ œ
˙˙˙
˙˙
˙œ œœ œ œ
˙
±∑
7˙̇
˙̇
œ œ
œ œ˙b
œ œ
˙˙b
˙œ œ
˙˙b
˙œ œ
˙˙˙b
˙˙b
˙œ œ
æ̇̇±
˙
8˙̇
˙̇
˙
˙˙
˙
œ œ˙
˙˙
œ œ˙
˙˙
œ œœ œ˙
˙˙
˙˙œ œ œ
˙
±˙
9˙̇
˙̇
˙
˙˙
˙
œ œ˙
˙˙
œ œ˙
˙˙
œ œœ œ˙
˙˙
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æ̇̇±
∑
10˙̇
˙̇
˙
˙˙N
˙
œ œ˙N
˙˙
œ œ˙N
˙˙
œ œœ œ˙N
˙˙N
˙˙œ œ œ
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±∑
11 ˙̇
˙̇œ œ
œ œ˙
œ œ˙˙
œ̇ œ˙
˙
˙œ œ˙˙̇˙
˙˙
˙œ œ
æ̇̇±˙
12 ˙̇
˙̇˙
˙˙
˙œ œ˙
˙˙œ œ˙
˙˙œ œœœ œœ˙
˙˙
˙˙œ œ œ
˙
±∑
13 ˙̇
˙̇˙
˙˙
˙
œ œ˙
˙˙
œ œ˙
˙˙
œ œœœ œœ˙
˙˙
˙˙
æ̇̇±
∑
14 ˙̇
˙̇˙
˙œ œ
˙œ œœ œ
œ œ˙œ œœ œœ œ
˙œ œœœ œœœ œ
œ œœ œ
œ œ˙œ œ œ
˙
±
œ œ
15 ˙̇
˙̇˙
˙˙
˙
˙˙
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16 ˙̇
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æ̇
SCALE CHORALE Chris M. Bernotas142
& 44 43 44œ> œ> >̇ ‰ jœ. œ. œ. œ. œ. Œ œ- Œ œ- Œ œ> œ> œ. œ. œ. œ. ‰ jœ. œ. œ- œ- œ- œ- ‰ jœ- œ- ˙ ˙ß ßŒ œv œv Œ
ARTICULATION46
& 44 ˙ ˙p
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F
ETUDE
Articulation
These exercises allow students to practice performing, controlling, changing, and contrasting a variety of articulations in many contexts.
Dynamics
Students will further develop their abilities to perform and control dynamic levels while practicing sudden changes, gradual changes, extremes, and nuances of volume.
Etude
These short studies reinforce various aspects of individual and ensemble performance while providing the challenge of combining those concepts in a variety of ways.
Scale Chorale
These chorales are harmonized 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 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.
SI for BAND ENSEMBLE DEVELOPMENT
11
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44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 w
w
œ œ ˙
w
w
œ œ ˙
˙ ˙
˙ œ œ
˙ œ œ
œ œ ˙
˙ ˙
w
w
˙ œ œ
œ œ ˙
œ œ ˙œ œ ˙
˙ ˙wœ œ œ œ œ œ œ
˙ ˙
y y T! !
˙ ˙
P
P
P
P
P
Andante (Π= 88)
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
S.D.
B.D.
Sus. Cym.with stick
Tri.
P
Tune: F, Bb, Eb
2 œ ˙ œ
œ ˙ œw
œ ˙ œ
œ ˙ œ
w
.˙ œ
˙ ˙
˙ ˙
w.˙ œ
œ ˙ œ
œ ˙ œ
˙ ˙w˙ œ œ˙ œ œ
.˙ œŒ ˙ œœ œ œ œ œ œ.˙ œ
y T y.! 1
w
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
3 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
y y T! !
∑
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
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œ ˙ œœ ˙ œ
œ .˙
˙ ˙
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œ .˙œ .˙˙ ˙œ ˙ œœ ˙ œ
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æ˙ ˙
y T y!
w
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
5 ˙# œ œ
˙ œ# œ
œ œ ˙
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˙ œ# œ
œ œ ˙
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œ œ ˙
œ œ ˙
œ œ ˙
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˙ œ# œ
œ œ ˙œ œ ˙
˙# œ œ˙# œ œ
˙ ˙#
˙# ˙œ œ œ œ œ œ
˙ ˙
y y y y! !
∑
P
P
P
P
P
P
P
P
P
P
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P
P
P
P
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œ .˙
œ .˙
œ ˙ œ
˙ ˙N
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œ .˙
œ ˙ œœ ˙ œ˙ ˙N˙ ˙N
˙ ˙NÓ ˙œ œ œ œ œ œ.˙ œ
y T y.! 1
Ó Œ œ
7 .˙ œœ œN ˙˙ œ œ
.˙ œ
œ œN ˙
˙ œ œ
˙ ˙
˙ ˙
˙ ˙
˙ œ œ˙ ˙
.˙ œ
œ œN ˙
˙ ˙˙ œ œ
œ œ ˙œ œ ˙
˙ ˙.˙ œ
œ œ œ œ œ œæ
˙ ˙
y y T! !
˙ ˙
F
F
F
F
F
rit.
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
8 wU
wU
wU
wU
wU
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wU
wU
wU
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wU
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wU
P
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P
CHORALE Chris M. Bernotas53
& 43 86 43 86 43 86 43œ 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 .˙CHANGING METERS: AND
34 68392
Keys Included
Keys are introduced in the following order: Concert B b Major, G Minor, E b Major, C Minor, F Major, D Minor, A b Major, F Minor, D b Major, B 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.
Percussion
Percussion parts are provided for battery instruments, accessories, 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.
Chorale
A variety of chorales, written by some of the finest composers of music for concert band, provide opportunities for students to develop the essential skills of tone production, blend, balance, intonation, phrasing, dynamics, articulation, style, and musical expression.
Advancing Rhythm and Meter
This section provides student exercises using more challenging rhythms and meters, exploring advanced rhythmic patterns in meters, 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 .
SI for BAND ENSEMBLE DEVELOPMENT
12
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44
44
44
44
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 œ œn U̇
œ œ# U̇
œ œ# U̇
œ œ# ˙U
œ œ# ˙U
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œ œ ˙U
œ œ U̇
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œ œ U̇
œ œ ˙U
œ œ# ˙U
œ œ# ˙U
œ œ# ˙U
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œ œ# U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
S.D.
B.D.
Sus. Cym.with mallets
Tune: Bb, F
2 œ œA U̇
œ œN U̇
œ œN U̇
œ œN ˙U
œ œN ˙U
œ œN ˙U
œ œb ˙U
œ œn U̇
œ œN U̇
œ œb U̇
œ œn ˙U
œ œN ˙U
œ œN ˙U
œ œN ˙U
œ œA U̇
œ œN U̇
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
3 œ œ U̇
œ œn U̇
œ œn U̇
œ œ ˙U
œ œ# ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ# U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ# ˙U
œ œ# ˙U
œ œ U̇
œ œn U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
4 œ œb U̇
œ œA U̇
œ œA U̇
œ œb ˙U
œ œN ˙U
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œN U̇
œ œb U̇
œ œb ˙U
œ œb ˙U
œ œN ˙U
œ œN ˙U
œ œb U̇
œ œA U̇
œ œb ˙U
œ œb ˙U
œ œb U̇
œ œ ˙
Uœ œ ˙
y y T
U
˙ ˙U
5 œ œ U̇
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ U̇
œ œ ˙U
œ œ ˙U
œ œ U̇
œ œ ˙
Uœ œ ˙
y y T
U
œ œ ˙U
EXPANDING INTERVALS: DOWNWARD IN TRIADS32
SI for BAND ENSEMBLE DEVELOPMENT
13
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&&
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&
&
&
&
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44
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44
44
44
44
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44
44
4444
44
44
44
44
Fl.
Ob.
Bsn.
1
2
A. Cl.
B. Cl.
1
2
T. Sax
B. Sax
1
2
F Hn.
1
2
Bar. BC
Tuba
Mlts.
1
2
Timp.
Cl.
A. Sax
Tpt.
Trb.
Perc.
1 w
w
œ œ ˙
w
w
œ œ ˙
˙ ˙
˙ œ œ
˙ œ œ
œ œ ˙
˙ ˙
w
w
˙ œ œ
œ œ ˙
œ œ ˙œ œ ˙
˙ ˙wœ œ œ œ œ œ œ
˙ ˙
y y T! !
˙ ˙
P
P
P
P
P
Andante (Π= 88)
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
S.D.
B.D.
Sus. Cym.with stick
Tri.
P
Tune: F, Bb, Eb
2 œ ˙ œ
œ ˙ œw
œ ˙ œ
œ ˙ œ
w
.˙ œ
˙ ˙
˙ ˙
w.˙ œ
œ ˙ œ
œ ˙ œ
˙ ˙w˙ œ œ˙ œ œ
.˙ œŒ ˙ œœ œ œ œ œ œ.˙ œ
y T y.! 1
w
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
3 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
y y T! !
∑
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
4œ ˙ œœ ˙ œœ .˙
œ ˙ œœ ˙ œ
œ .˙
˙ ˙
œ .˙
œ .˙œ .˙˙ ˙œ ˙ œœ ˙ œ
œ .˙œ .˙ww
˙ ˙Œ ˙ œœ œ œ œ œ œ
æ˙ ˙
y T y!
w
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
5 ˙# 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
˙ ˙
y y y y! !
∑
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
6œ .˙œ .˙
œ ˙ œ
œ .˙
œ .˙
œ ˙ œ
˙ ˙N
œ ˙ œ
œ ˙ œœ ˙ œ˙ ˙Nœ .˙
œ .˙
œ ˙ œœ ˙ œ˙ ˙N˙ ˙N
˙ ˙NÓ ˙œ œ œ œ œ œ.˙ œ
y T y.! 1
Ó Œ œ
7 .˙ œœ œN ˙˙ œ œ
.˙ œ
œ œN ˙
˙ œ œ
˙ ˙
˙ ˙
˙ ˙
˙ œ œ˙ ˙
.˙ œ
œ œN ˙
˙ ˙˙ œ œ
œ œ ˙œ œ ˙
˙ ˙.˙ œ
œ œ œ œ œ œæ
˙ ˙
y y T! !
˙ ˙
F
F
F
F
F
rit.
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
8 wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
wU
œ
U Œ Ów
T
U!
wU
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
CHORALE Chris M. Bernotas53
SI for BAND
14
SI for BAND BOOK 2 SI for BANDSI SISI forforfor BANDBANDBAND BOOK 2
Clean, clear page layoutsPages have been left uncluttered to allow students to easily identify and focus on important concepts.
We made it simple.
Instrument-specific Master Classes on DVD (included with every student book) references lessons throughout the book
Instrument-specific recorded
accompaniments in MP3 format are included for every line of music in the book
Correlated performance music series offers educational packs with notes on the composition and pedagogy, reproducible activities, and performance suggestions from the composer
Content organized in six short levels to provide benchmarks and intermediate goals
Uncomplicated approach to introducing and reinforcing concepts
Teacher’s Score includes a comprehensive library of all instrument-specific recorded accompaniments and DVDs
Books 1 and 2 are available in SmartMusic, with FREE access to the first 100 lines of music in Book 1
We made it innovative. You make it yours.As a band teacher, there are many methods available to you. What if you could easily keep what you like about your method and replace those things you don’t? Now you can with the Director’s Choice Edition of Sound Innovations.
Customizable Features Select your pedagogy
(Starting concert pitch and starting note value)
Optionally include note names in note heads (up to 6 pages)
Personalize the cover andintroductory page
Substitute tunes
Add enrichment pages
Plus! Parents can pay online for individual student books
Robert Sheldon • Peter Boonshaft • Dave Black • Bob Phillips
Sound Innovations for Concert Band™ is a revolutionary new method that combines time-tested educational concepts, input from thousands of teachers, and advances in modern technology. Using solid pedagogy that follows state and national music education standards, the method can be customized to use your own experiences in creating the best approach for your classroom. Sound Innovations is available in two versions: Standard Edition and the customizable Director’s Choice Edition.
Standard Edition, Book 1
Director’s Choice Edition, Book 1
GoalsEvery exercise includes a brief statement identifying what the student should learn.
Note IntroductionEach new note is introduced with a diagram of the fingering position, eliminating the need to reference a separate page. New notes include an introductory exercise followed by a reinforcement exercise. Notes are introduced in a logical order with many opportunities for the student to implement and practice them.
CountingAll rhythms include subdivided counting and a reinforcement exercise when they are first introduced. Graphics are used to explain the concept of silence, which makes it easier for students to understand.
SI for BAND BOOK 1
See clips of Book 1 & 2 DVDs at
youtube.com/alfredSImethod
Scan this code to see a preview.
15
BOOK 2 SI for BAND
Standard Edition, Book 2
LEVEL 2 SOUND FUNDAMENTALSThe first half of this level introduces new rhythms and meters, while the second half introduces new notes and key signatures.
MP3 CDThe instrument-family specific MP3 CD demonstrates every line of music in the book. 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. The disc also includes the SI Player with Tempo-Change Technology.
Master Class DVDGuided by co-authors Robert Sheldon and Peter Boonshaft, a DVD included with each student book will feature individual instrument- and ensemble-specific lessons demonstrated by an instrument-family specific ensemble.
LEVEL 3 SOUND DEVELOPMENTSimilar to Level 2, this level is divided into three sections with plenty of exercise pages and a full-page solo performance piece with piano accompaniment. Level 3 combines the keys, notes, rhythms, and meters learned in Level 2, plus introduces additional concepts.
Comprehensive assessments
Scales and arpeggios
Etudes and
technical exercises
Warm-ups and chorales
Rhythm review
Sound check rubrics
Glossary
Fingering chart
Sight-reading
Canon
Allegretto
Minor scale
π ƒ
A tempo
Chord
Transposing
Legato-style playing
Countermelody
f – p
D.C. al Coda
D.S. al Coda
Grace notes
Adagio
ß Key change
Andantino
Molto rallentando
Accelerando
^ (Marcato accent)
Sleigh bells
Drag paradiddle #1
Lesson 25
Castanets
Cowbell
Rim shot
Wind chimes
Four-stroke ruff
Timpani
LEVEL 4 SOUND MUSICIANSHIPThe last level functions as an appendix, with pages and exercises that can be used as warm-ups and technique builders to be used with performance music outside of the book.
C
time
Key of concert C major
Key of concert D b major
Flamacue
Triple paradiddle
Drag
Drag paradiddle #2
Maracas
Single ratamacue
Claves
Book 2 continues your students’ musical journey by teaching with a segmented presentation of new concepts and introducing ensemble playing. Isolating concepts and teaching them individually help facilitate understanding of the more advanced material.
LEVEL 1 SOUND REVIEWDivided into two sections, the first half is a complete review of the concepts in Book 1, 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.
Review of Book 1
concepts & notes
Warm-up exercises
Scales & arpeggios
Chorales
PETER BOONSHAFT
Hailed as one of the most exciting and exhilarating voices in music education today, Peter Boonshaft has been a guest clinician all over the world. He is the author of the critically acclaimed books Teaching Music with Passion, Teaching Music with Purpose, and Teaching Music with Promise. Having taught for three decades, he is currently on the faculty of Hofstra University in Hempstead, New York. Dr. Boonshaft has received honors from political leaders around the world and has been selected three times as a National Endowment for the Arts “Artist in Residence.”
CHRIS BERNOTAS
Composer, clinician, and teacher Chris M. Bernotas brings a fresh perspective to the world of music education. An active composer and arranger of concert band music, Mr. Bernotas has published numerous pieces that have been performed at the Midwest Clinic, and appeared on J.W. Pepper’s Editor’s Choice, as well as several state lists. With his extraordinary talents and enthusiasm as an instrumental music teacher, Mr. Bernotas has been recognized as “Educator of the Year” and has been listed several times in Who’s Who Among American Teachers.
Peter Boonshaft Chris Bernotas
Prices are in US$. Price and availability subject to change without notice.
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Request a FREE In-Service Webinar Presented by Peter Boonshaft, Chris Bernotas,
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Learn about how to incorporate Sound Innovations into your classroom
and hear educational insight and teaching tips from these
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Visit alfred.com/SIwebinar for details.
Interested in adopting Sound Innovations for your district?
SI FOR BAND: ENSEMBLE DEVELOPMENTStandard Edition Student BooksFlute ...................................................................................... (00-34571) $8.99Oboe ......................................................................................(00-34572) $8.99Bassoon ...............................................................................(00-34573) $8.99B b Clarinet 1 .......................................................................(00-34574) $8.99B b Clarinet 2 .......................................................................(00-34575) $8.99E b Alto Clarinet .................................................................(00-34576) $8.99B b Bass Clarinet ................................................................(00-34577) $8.99E b Alto Saxophone 1 ......................................................(00-34578) $8.99E b Alto Saxophone 2 ......................................................(00-34579) $8.99B b Tenor Saxophone ......................................................(00-34580) $8.99E b Baritone Saxophone ................................................ (00-34581) $8.99B b Trumpet 1 ......................................................................(00-34582) $8.99B b Trumpet 2 ......................................................................(00-34583) $8.99Horn in F ..............................................................................(00-34584) $8.99Trombone 1 .......................................................................(00-34585) $8.99Trombone 2 .......................................................................(00-34586) $8.99Baritone BC ........................................................................(00-34587) $8.99Baritone TC ........................................................................(00-34588) $8.99Tuba .......................................................................................(00-34589) $8.99Mallet Percussion ...........................................................(00-34590) $8.99Percussion 1 (Snare Drum, Bass Drum) ...................(00-39083) $8.99Percussion 2 (Auxillary Percussion) ..........................(00-39084) $8.99Timpani ................................................................................(00-39089) $8.99Electric Bass/Keyboard Bass .....................................(00-39085) $8.99
Standard Edition Teacher’s Score........................(00-34570) TBA
SI for Band Book 1 & Book 2
Also available
Join the Community
alfred.com/soundinnovations
String OrchestraBob Phillips • Peter Boonshaft
Robert Sheldon • Kirk Moss
GuitarAaron Stang
Bill Purse
Standard Edition Student BooksInstrument Books
(Book, MP3 CD, DVD) .......$8.99 ea.Combined Percussion
(Book, MP3 CD, DVD) ........... $12.99Piano Accompaniment ...... $12.99
Standard Edition Teacher’s ScoreScore Kit Book 1 & Book 2
(Book, MP3 CDs, DVDs) .. $89.99 ea.Book 1 (Book only) ................. $49.99Book 2 (Book only) .................$54.99
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