Teaching Music through Performance in Band - Volume 9
Expected to ship in 1-2 weeks.
- ISBN:
- Size: 7.3 x 10.2 inches
- Pages: 1,152
By Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, andRichard Miles. Compiled and edited by Richard Miles.
Teaching Music through Performance in Band - Volume 9 is a remarkable addition to this landmark series, providing incredible insights into the wind band profession and invaluable Teacher Resource Guides for 100 works for wind band, Grades 2 through 6.
In Part I: The Teaching of Music, Tim Lautzenheiser tells us "The Four Cornerstones of the Master Music Educator." Ray Cramer focuses on "Flexibility: Bending Is Not Breaking." Larry Blocher's chapter, "Foundations," pinpoints ways to create intentional learning opportunities for students. Eugene Migliaro Corporon balances leadership, work ethic, and decision-making in "Reflections on Conducting." Edward S. Lisk outlines "Shaping Ensemble Sonority." and Richard Miles delineates "Instrumentation: A ‘Sound' Priority."
The Teacher Resource Guides in Part II continue to bring to light 100 of the best wind band works published today at a range of difficulty levels, including works by Timothy Broege, Frank Ticheli, Donald Grantham, Leonard Bernstein, and many more. Each Teacher Resource Guide includes information about the composer, composition, historical perspectives, technical considerations, stylistic considerations, musical elements, form and structure, suggested listening, and additional references and resources. Indexes to all 900 works covered in this series round out this volume.
All told, at more than 1150 pages, T eaching Music through Performance in Band - Volume 9 continues the highest standards established by the other volumes in the truly invaluable Teaching Music through Performance in Band series.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.