The Standard of Excellence Comprehensive Band Method Books 1 & 2 combine a strong performance-centered approach with music theory, music history, ear training, listening, composition, improvisation, and interdisciplinary and multicultural studies. The result is the most complete band method available anywhere. Features include: Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:Table Normal; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:Times New Roman; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} Full color drawings and color-coding of important text and music motivate and inform. Three starting systems help ensure positive results in any beginning situation. FOR ... ONLY exercises (i.e. FOR FLUTES ONLY) offer idiomatic solutions to the unique challenges of each instrument. Excellerators (advanced supplemental exercises) reinforce and enrich performance basics. A nine page FOR OBOES ONLY starting system gives beginners a solid foundation for learning in the full band setting. Expanded French Horn and Percussion books, including a separate book for Timpani & Auxiliary Percussion, address the unique needs of beginners on these instruments. A comprehensive, totally-correlated Electric Bass book offers expanded opportunities for student involvement. Music from over 20 countries, with correlated enrichments, encourages multicultural study. Achievement Lines and GO FOR EXCELLENCE! test lines ensure objective assessment of students' accomplishments. A built-in reward system motivates students and encourages musical growth. Expanded 48 page part books (instead of the usual 32 pages) provide added reinforcement of musical skills. 600-plus page full Conductor Scores contain Objectives for every line of music, Director tips, extended reference articles, duplicable worksheets and quizzes, and theory, listening, composing, improvisation, geography, foreign language, history, and other interdisciplinary Activities for Excellence.  .

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:Table Normal; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:Times New Roman; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The primary focus of Harmonized Rhythms is to teach rhythmic precision through the performance of 45 progressive four-part harmonized melodies. Each part book has the melody plus one or two harmony parts which are rhythmically independent of the melody and each other. The band ensemble will gain rhythmic precision as each band member develops rhythmic independence through rehearsal of the different parts.

This work belongs to that large body of early music for which we can identify neither the composer nor the occasion that stimulated its creation. This composition is a carefully worked out double fugue that is enjoyable to play and very effective in performance.

Trombonists have always played chorales for the development of fine ensemble performance. The limited technical demands, clear harmonies and independent lines in this style permit players to focus on balance, blend, tuning and matched sound and articulations.

This Suite is ideal for the developing trombone player. Each of the movements has its own character or mood and this allows for expressive playing as well as brilliant fanfares. This would also make an excellent contest piece at a festival to show off the capabilities of a young musician.

This opera aria was originally written for the character Sarastro from Mozart's The Magic Flute. The character Sarastro is a bass voice, therefore the performer should strive for the fullest and deepest sound possible.

This is a beautiful piece for trombone and piano. The romantic musical line and rubato style make this a terrific change of pace on a concert or recital. The piano accompaniment creates a lush foundation of sound to support the soloist.

This famous Irish folk melody is the "Groves of Blarney". It has been performed by many vocal soloists from the United Kingdom and around the world. The solo voice could be played on either trombone or, more appropriately, euphonium.

The piece was originally for bass voice and piano by Italian composer Giacomo Carissimi. The flowing melodic line works perfectly as a trombone and piano work. Contrasting sections of marcato and legato style make this piece ideal for use in church, concerts, recitals or as a contest piece.

This is truly beautiful music ideal for weddings, church services or a recital to demonstrate lyrical playing. The key has been altered from the original to allow for performance in a more comfortable range. The range is limited which allows for maximum musicality and beauty of sound to be brought forward.

This very popular solo was made famous by vocalists. The elegant and simple melodic line lends itself very well to any instrument or voice type.

Ave Verum Corpus is one of Mozart's most famous pieces and has even been described as "perhaps the loftiest work of art that Mozart has created". It is simple and a perfect piece to develop a beautiful sound and work on phrasing.

Spirituals have found their way into the standard repertoire of vocalists and instrumentalists. The lyrical tunes combined with the powerful message they tell affect us all. This famous melody is supported by an interesting piano part with jazz harmonies and rhythmic pulse. Spirituals are ideal at church, on a concert or for use at a competition.

This very popular piece has been arranged many times for various instruments. This version for trombone and keyboard (either organ or piano) alternates between the chorale theme and the wandering counter-melody that has made this piece so famous.

O Holy Night is one of the most popular and famous of all Christmas carols. Set here for trombone and organ (or piano), the familiar melody soars with the sound of the trombone. Range and control of sound are the two factors which make this piece difficult. This is a truly awesome work to be performed in a church during the holiday season.

This beautiful slow piece is ideal for that change of pace piece on a concert. Its lyric nature also makes it a perfect selection for weddings or church services as pleasant, quiet background music. This work was originally a soprano aria and the lyrical line is great to demonstrate the singing quality of the trombone.

Spirituals have found their way into the standard repertoire of vocalists and instrumentalists. The lyrical tunes combined with the powerful message they tell affect us all. Presented here are three separate spirituals which are all reflective in nature: Sometimes I Feel Like a Motherless Child, My Lord, What a Morning and Steal Away. All the pieces are supported by an interesting piano part with jazz harmonies and a rhythmic pulse. These pieces are ideal at church, on a concert or for use at a competition.

These two works (one by Gounod and the other by Schubert) are among the most popular and often used pieces at weddings and recitals. The simple accompaniment combined with the famous flowing melody makes either Ave Maria a great choice for soloist and keyboard (piano or organ) at various occasions.

In the past this folksong has been arranged in a theme and variations format for flute, trumpet and the most famous version for trombone. The technical requirements of this piece do not exceed most players. The piano part contains a simple accompaniment as well as break strains to give the player a little rest.

The Three Gymnop

In the past this folksong has been arranged in a theme and variations format for flute, trumpet and the most famous version for trombone. The technical requirements of this piece do not exceed most players. A student in the first few years of playing could start working on the simple theme, then gradually add variations as their technical abilities increased. The piano part contains a simple accompaniment.