1 - Winston-Salem/Forsyth County Schools

The 17th Century
Modern music began in the 17th
century. This age saw the growth of
the opera, the beginning of the
orchestra, the establishment of key
and tonality, the shift from church
music (choral, polyphonic, and
modal) to secular music
(instrumental, homophonic,
harmonic, and rhythmic), with
emphasis on entertainment, emotion
and dramatic expression.
The 17th Century
Monteverdi, Lully, Corelli, Purcell,
Schutz, Frescobaldi, as well as
the violin makers Amati and
Stradivarious are only a few of
the great names in this century.
One historian says: “There
were composers of great talent
milling about in such numbers
as the world has never known
before or since.”
The 17th Century
Although the Thirty Years War and
other wars spread desolation
throughout Europe, there were
great men in every artistic and
intellectual field. At the court of
Louis XIV of France were
Cardinal Richelieu, the
dramatists Corneille, Racine,
Moliere and the composer Lully.
The 17th Century
England, despite the political
upheaval under Cromwell and
the Restoration of Charles II,
produced John Bunyan,
Henry Purcell, Isaac Newton,
William Harvey (who
chartered the circulation of the
human blood), the great poets
Milton and Dryden, and the
philosopher John Locke.
The 17th Century
The 17th century also saw such
great men as the dramatist
Calderon and the painter
Velasquez in Spain, the
French philosopher and
scientist Descartes, and the
painters Rubens, Rembrant,
Frans Hals, Vermeer, and Van
Dyck in the Netherlands.
The 17th Century
In North America, Jamestown was
founded in 1607, Quebec in
1608. The Mayflower came to
Plymouth Rock in 1620; the
Dutch settled in New
Netherlands in 1624. Harvard
College was founded in a636.
The Bay Psalm Book was
printed in New England in 1640.
Exploration and settlement
continued throughout the
Wind Ensemble
The Headless Horseman…Broege
Witch’s Dance…Miller
Ave Maria…Biebl
Orion…Van der Roost
Music for a Masque…Purcell
The Nutcracker Suite…Tchaikovsky
a. March
Jingle Bells Fantasy…Ployhar
Composer Spotlight
Henry Purcell “Music for a Masque”
In his short lifetime Purcell wrote
in almost every form, vocal
and instrumental, sacred and
secular, serious and
humorous. Has music has a
distinguished style,
recognizable by its sweeping
melodic line, clear-cut
harmony, and vital rhythm.
Composer Spotlight
Henry Purcell “Music for a Masque”
That he was a master of mood
and expression is apparent in
the contrasting movements of
this music from Dioclesian.
Among Purcell’s other
important stage works are
King Arthur, The Faerie
Queen, and The Tempest.
Composer Spotlight
Timothy Broege “The Headless
Timothy Broege was born in
Belmar, New Jersey in 1947.
He earned a Bachelor of Music
degree in 1969 from
Northwestern University, and
has held a number of teaching
positions in the public schools
and at the university level.
Composer Spotlight
Timothy Broege “The Headless
A prolific composer for band, Broege
has composed over 30 works for
band, along with works for
keyboard, guitar and voice. His
other works for band include a
series of Sinfonia, Three Pieces for
American Band (Set 1 & Set 2)
Dreams and Fancies, and
Serenade for Trumpet and Band.
“The Headless Horseman”
The Headless Horseman was
composed in 1973 and first
performed by the Manasquan,
New Jersey Summer School
Concert Band. This
programatic work is based on
the well-known character in
Washington Irving’s short
story, The Legend of Sleepy
“The Headless Horseman”
The music depicts the
Horseman, his
whinnying stallion, and
their frightening ride
through the countryside
as they snatch
unsuspecting souls.
Composer Spotlight
Brian Balmages- “Apparitions”
Brian Balmages (b. 1975) is an
active composer, conductor,
producer, and performer. His
fresh compositional ideas have
resulted in a high demand for
his wind, brass, and orchestral
music throughout the world.
Composer Spotlight
Brian Balmages- “Apparitions”
He received his bachelor's
degree in music from James
Madison University and his
master's degree from the
University of Miami in Florida.
Composer Spotlight
Brian Balmages- “Apparitions”
Mr. Balmages' compositions have
been performed worldwide at
conferences including the College
Band Directors National and
Regional Conferences, the Midwest
Clinic, the International
Tuba/Euphonium Conference, the
International Trombone Festival,
and the International Trumpet Guild
Composer Spotlight
Brian Balmages- “Apparitions”
His active schedule of commissions and
premieres has incorporated groups
ranging from elementary schools to
professional ensembles, including the
Baltimore Symphony Orchestra, the
Miami Symphony Orchestra, the
University of Miami Wind Ensemble,
James Madison University's School of
Music, Boston Brass, members of the
United States Marine Band, and the
Dominion Brass Ensemble.
Composer Spotlight
Brian Balmages- “Apparitions”
His music has been performed by
members of leading orchestras
including the St. Louis Symphony,
Philadelphia Orchestra, National
Symphony, and others. He has also
had world premieres in prestigious
venues such as Carnegie Hall and
performances at the Macy's Day
Thanksgiving Day Parade and
Composer Spotlight
Brian Balmages- “Apparitions”
As a conductor, Mr. Balmages enjoys
engagements with numerous state and
regional bands, orchestras, university
groups, and professional. Notable guest
conducting appearances have included
the Midwest Clinic, Western International
Band Clinic, College Band Directors
Eastern Regional Conference, MidAtlantic Wind Conductors Conference,
the Atlantic Classical Orchestra Brass
Ensemble, and an appearance at
Meyerhoff Symphony Hall in Baltimore.
Composer Spotlight
Brian Balmages- “Apparitions”
He has also served as an
adjunct professor of
instrumental conducting and
Acting Symphonic Band
Director at Towson
University in Maryland.
Composer Spotlight
Brian Balmages- “Apparitions”
Currently, he is Director of
Instrumental Publications for
The FJH Music Company Inc.
in Fort Lauderdale, Florida. He
resides in Baltimore with his
wife, Lisa and their sons,
Jacob and Collin.
1 : an unusual or unexpected sight :
phenomenon : a ghostly figure
2: the act of becoming visible : appearance
-Contrary to what the title may imply,
this is not a novelty work. Rather, it
focuses on musicality and lyricism while
having a slightly contemporary style. The
work paints a picture of lonely
apparitions that constantly appear and
then fade away.
-To portray this, the work constantly
alternates between consonant and
dissonant sections while numerous effects
serve to bind the entire work together.
Ultimately, the work comes to a powerful
climax before the apparitions begin to fade
for the final time and the music ends in a
soft state of unrest.
Moscow, 1941
-Moscow, 1941 was commissioned by the Perry Hall Middle
School Band and funded by the PTA. Directors Neil Fisher and
Kelly Clavell asked that the piece be dedicated to Larry
Bondar, a music teacher who has been affecting the lives of
students for over 40 years, and an icon in the Baltimore area.
Mr. Bondar is of Russian descent, so it seemed fitting that the
commission be based on one of Russia’s most famous songs,
Moscow, 1941
Meadowlands, meadowlands,
Through you heroes now are trending
Red army heroes of the nation
Heroes of the mighty Red army ah!
Moscow, 1941
Maidens are weeping
Their solitary vigils keeping
Weeping for their sweethearts who are fighting
Fighting in the mighty Red army, ah!
Moscow, 1941
Gay roads are winding
The sunlight on them now shining
Over them the heroes are passing
Heroes of the Mighty Red army, ah!
Moscow, 1941
Let ev’ry maiden
With heart no longer heavy laden
Strike up the singing now more loudly
Sing our fighting song so proudly, ah!
Moscow, 1941
Moscow, 1941 identifies with an extremely important moment in
history during the Second World War, in which the Red Army,
against all odds, successfully defended Moscow against
German invasion. In October 1941, German troops were only 15
miles outside of Moscow, an unfavorable situation for the
Soviet Union. Two million people had evacuated Moscow, but
Joseph Stalin stayed to rally morale. In November, the
Germans launched a new attack on Moscow. The Soviet Army
held their ground and brought the Germans to a halt.
Moscow, 1941
Stalin insisted on a counter attack; and although his
commanders had doubts, they launched their own offensive
on December 4. the Germans, caught off guard and
demoralized by the recent defeat, were pushed back and
began retreating. By January, they had been pushed back
nearly 200 miles…
Composer Spotlight
Frank Erickson “Balladair”
Frank Erickson was born in 1923
in Spokane, Washington. His
musical studies included piano
and trumpet, which he played
in high school band. During
high school he began to
compose music.
Composer Spotlight
Frank Erickson “Balladair”
In World War II he served in the
United States Army Air Force
and did arranging for army
bands. After the war he
attended the University of
Southern California, where he
received a bachelor’s degree in
1950 and a masters degree in
Composer Spotlight
Frank Erickson “Balladair”
There he studied composition
with Halsey Stevens and Maria
Castel. He taught at the
university of California-Los
Angeles and at San Jose
college. In the early 1950’s,
Erickson began writing band
Composer Spotlight
Frank Erickson “Balladair”
His first published piece was
Little Suite for Band. During the
next six years, he produced
several of his best known
pieces, including Air for Band,
Toccata for Band, and
Composer Spotlight
Frank Erickson “Balladair”
In the early 1960’s, he
collaborated with Fred Weber
to produce the first division
band course. All told, Erickson
wrote more than 400
compositions, at least 250 of
which are arrangements and
compositions for band.
Composer Spotlight
Frank Erickson “Balladair”
He devoted his compositional
energies to writing music at the
intermediate band level. He is
considered by many to be one
of the foremost composers of
this level of the teaching
Composer Spotlight
Frank Erickson “Balladair”
In the April 1987 issue of “The
Instrumentalist” Erickson provided
some insights into the development
of his style. Erickson cited Holst
and Vaughan Williams as two
composers “who have done the
most to influence my own style of
Composer Spotlight
Franz Biebl
Franz Biebl was born in 1906
and died in 2001. Ave Maria
was first published in 1964 in
Dortmund, Germany, for
seven-part men’s voices.
Composer Spotlight
Franz Biebl
This adaptation is a transcription
rather than an arrangement in
that every attempt has been
made to preserve every
possible detail of the original.
Composer Spotlight
Franz Biebl
The only editing which has been
made are the addition of
limited octave doublings and
the addition of bar lines in
order to facilitate performance
of the freestyle chant sections.
Historical Perspective
Ave Maria
As in all settings of Ave Maria,
the glorification of the Virgin
Mary is its spiritual and
emotional focal point, thus the
use of the Roman Catholic
Latin text.
Composer Spotlight
Frank Erickson “Balladair”
Balladair is written in a modern
dance style. This modern
dance (AABA) is probably most
common. Balladair varies
somewhat from the tradition in
that there is another section
added after B, resulting in a
new form (AABCAA)
Composer Spotlight
Frank Erickson “Balladair”
The harmonies are fairly
traditional, with the exception
that certain jazz harmonies and
progressions have been
Composer Spotlight
Jan Van der Roost “Orion”
Jan Van der Roost was born in Duffel,
Belgium, on March 1, 1956. He
studied trombone, music history,
and music education at the
Limmensinstituut in Leuven and
continued his studies at the Royal
Conservatiores of Ghent and
Antwerp, where he studied
conducting and compostition.
Composer Spotlight
Jan Van der Roost “Orion”
He currently teaches
composition at the
Lemmensinstituut in Leuven
(Belgium) and is a guest
professor at the Shobi Institute
of Music in Tokyo and the
Nagoya University of Art
Composer Spotlight
Jan Van der Roost “Orion”
Van der Roost is a versatile
composer and arranger
who has written over fifty
works for wind, brass, and
fanfare band. He has also
written works for chamber
orchestra, symphony
orchestra, choir, and
chamber ensembles.
Composer Spotlight
Jan Van der Roost “Orion”
He is demand as an adjudicator,
lecturer, clinician, and guest
conductor; his increasing
musical activities have brought
him to more than thirty-five
different countries on four
Composer Spotlight
Jan Van der Roost “Orion”
Van der Roost is married to
Bernadette Johnson and has
two sons and two daughters.
Van der Roost wrote Orion in
2001, coming up with the main
theme of the work while
composing Sinfonia Hungarica.
He felt the theme was too
simple to use in the symphony,
so he wrote it down and
planned to use it at a later
While in France conducting a
region band, Van der Roost
started to orchestrate the
theme. He recalls wanting to
write a “slow march” for some
time, and this seemed like the
perfect occasion to do so.
Historical Perspective “Orion”
There are all sorts of marches: fast
and slow, solemn and energetic,
military and civil, and funeral. The
term “march” is derived from the
early 16th century, when the
marching of European armies was
ordered through standard drum
patterns, with each nation having
its own pattern.
Historical Perspective “Orion”
These were part of the larger
system of military signals,
including trumpet calls, that
were used to direct armies.
Military marches are
categorized by the tempo of
the drum beat, corresponding
to military function, in
ascending order of pace:
Historical Perspective “Orion”
The slow march, the quick
march, and the doublequick (or attack) march.
Orion is a “slow march” in
which the moderate tempo
contains a natural optimism
and spontaneity.
Composer Spotlight
Peter Ilich Tchaikovsky
Peter Ilyich Tchaikovsky was a Russian
composer whose works included
symphonies, concertos, operas, ballets,
and chamber music. Some of these are
among the most popular concert and
theatrical music in the classical repertoire.
He was the first Russian composer whose
music made a lasting impression
internationally, which he bolstered with
appearances as a guest conductor later in
his career in Europe and the United States.
One of these appearances was at the
inaugural concert of Carnegie Hall in New
York City in 1891. Tchaikovsky was
honored in 1884 by Tsar Alexander III, and
awarded a lifetime pension in the late
Composer Spotlight
Peter Ilich Tchaikovsky
Although musically precocious, Tchaikovsky
was educated for a career as a civil servant.
There was scant opportunity for a musical
career in Russia at that time, and no system
of public music education. When an
opportunity for such an education arose, he
entered the nascent Saint Petersburg
Conservatory, from where he graduated in
1865. The formal Western-oriented
teaching he received there set him apart
from composers of the contemporary
nationalist movement embodied by the
Russian composers of The Five, with whom
his professional relationship was mixed.
Tchaikovsky's training set him on a path to
reconcile what he had learned with the
native musical practices to which he had
been exposed from childhood.
Composer Spotlight
Peter Ilich Tchaikovsky
From this reconciliation, he forged a personal, independent but
unmistakably Russian style—a task that did not prove easy.
The principles that governed melody, harmony and other
fundamentals of Russian music ran completely counter to
those that governed Western European music; this seemed
to defeat the potential for using Russian music in large-scale
Western composition or from forming a composite style.
Russian culture exhibited a split personality, with its native
and adopted elements having drifted apart increasingly
since the time of Peter the Great, and this resulted in
uncertainty among the intelligentsia of the country's national
identity. The principles of Russian nationalist artists were
fundamentally at odds with those supporting European
traditions, and this caused personal antipathies that dented
Tchaikovsky's self-confidence.
Composer Spotlight
Peter Ilich Tchaikovsky
Despite his many popular successes,
Tchaikovsky's life was punctuated by
personal crises and depression.
Contributory factors included his leaving
his mother for boarding school, his
mother's early death and the collapse of
the one enduring relationship of his adult
life, his 13-year association with the
wealthy widow Nadezhda von Meck. His
same-sex orientation, which he kept
private, has traditionally also been
considered a major factor, but
musicologists now play down its
importance. His sudden death at the age of
53 is generally ascribed to cholera; there is
an ongoing debate as to whether it was
accidental or self-inflicted.
Composer Spotlight
Peter Ilich Tchaikovsky
While his music has remained popular among audiences,
critical opinions were initially mixed. Some Russians did
not feel it sufficiently representative of native musical
values and were suspicious that Europeans accepted it for
its Western elements. In apparent reinforcement of the
latter claim, some Europeans lauded Tchaikovsky for
offering music more substantive than base exoticism, and
thus transcending stereotypes of Russian classical music.
Tchaikovsky's music was dismissed as "lacking in elevated
thought," according to longtime New York Times music
critic Harold C. Schonberg, and its formal workings were
derided as deficient for not following Western principles
stringently. Vestiges of this last claim still remain in some
critical circles, but by the end of the 20th century,
Tchaikovsky's status as a significant composer had
become secure, with increasing numbers responding
positively to its tunefulness and innovation.
The Nutcracker
The Nutcracker is a two-act ballet,
originally choreographed by
Marius Petipa and Lev Ivanov
with a score by Pyotr Ilyich
Tchaikovsky. The libretto is
adapted from E.T.A. Hoffmann's
story "The Nutcracker and the
Mouse King". It was given its
première at the Mariinsky
Theatre in St. Petersburg on
Sunday, 18 December 1892, on a
double-bill with Tchaikovsky's
opera, Iolanta.
The Nutcracker
Although the original production was not a
success, the twenty-minute suite that
Tchaikovsky extracted from the ballet was.
However, the complete Nutcracker has
enjoyed enormous popularity since the late
1960s and is now performed by countless
ballet companies, primarily during the
Christmas season, especially in the U.S.2
Tchaikovsky's score has become one of his
most famous compositions, in particular the
pieces featured in the suite.3 Among other
things, the score is noted for its use of the
celesta, an instrument that the composer
had already employed in his much lesser
known symphonic ballad The Voyevoda.
Jingle Bells
• "Jingle Bells" is one of the bestknown and commonly sung winter
songs in the world. It was written by
James Lord Pierpont (1822–1893)
and published under the title "One
Horse Open Sleigh" in the autumn
of 1857. Even though it is
commonly thought of as a
Christmas song, it was actually
written and sung for Thanksgiving.
Jingle Bells
• James Lord Pierpont originally
composed his song in 1850. A
plaque commemorating the
"birthplace" of "Jingle Bells" adorns
the side of a building in Medford,
Massachusetts. Pierpont wrote the
song there, at the former Simpson
Tavern, now 19 High Street in the
center of Medford Square.
According to the Medford Historical
Society, the song was inspired by
the town's popular sleigh races
during the 1800s.
Jingle Bells
• "Jingle Bells" was originally
copyrighted with the name
"One Horse Open Sleigh" on
September 16, 1857. It was
reprinted in 1859 with the
revised title of "Jingle Bells, or
the One Horse Open Sleigh".
The song has since passed into
public domain.
Jingle Bells
• Music historian James Fuld notes that "the
word jingle in the title and opening phrase is
apparently an imperative verb."3 In the winter
in New England in pre-automobile days, it was
common to adorn horses' harnesses with
straps bearing bells as a way to avoid
collisions at blind intersections, since a horsedrawn sleigh in snow makes almost no noise.
The rhythm of the tune mimics that of a trotting
horse's bells. However, "jingle bells" is
commonly taken to mean a certain kind of bell.
Jingle Bells
– Dashing through the snow
– In a one-horse open sleigh
– O'er the fields we go
– Laughing all the way
– Bells on bobtail ring
– Making spirits bright
– What fun it is to ride and sing
– A sleighing song tonight!
Jingle Bells
Jingle bells, jingle bells,
Jingle all the way.
Oh! what fun it is to ride
In a one-horse open sleigh.
Jingle bells, jingle bells,
Jingle all the way;
Oh! what fun it is to ride
In a one-horse open sleigh.
Jingle Bells
– Although less well-known than the opening, the
remaining verses depict high-speed youthful fun.
In the second verse, the narrator takes a ride
with a girl and loses control of the sleigh:•
A day or two ago
I thought I'd take a ride
And soon, Miss Fanny Bright
Was seated by my side,
The horse was lean and lank
Misfortune seemed his lot
He got into a drifted bank
And then we got upsot.
Jingle Bells
– In the next verse (which is often skipped), he
falls out of the sleigh and a rival laughs at
A day or two ago,
The story I must tell
I went out on the snow,
And on my back I fell;
A gent was riding by
In a one-horse open sleigh,
He laughed as there I sprawling lie,
But quickly drove away.
Jingle Bells
– In the last verse, after relating his experience,
he gives equestrian advice to a friend to pick
up some girls, finds a faster horse, and take
off at full speed:
Now the ground is white
Go it while you're young,
Take the girls tonight
and sing this sleighing song;
Just get a bobtailed bay
Two forty as his speed
Hitch him to an open sleigh
And crack! you'll take the lead.
Symphonic Band
Moscow 1941…Balmages
Foxfire March…Huckeby
Adagio and Allegro…Corelli
Do you Hear What I Hear?...Nowak
Composer Spotlight
Arcangelo Corelli (1653-1713)
Adagio and Allegro
In the music of Corelli the Italian
gift for lyric melody was
developed into a style
especially suited to the violin.
In this the composer was aided
by the great advances in violin
construction made by the
Amatis and Stradivarius.
Corelli’s music is noted for
free-flowing melodic phrases
and for its strong, fresh rhythm.
Composer Spotlight
William Himes
William Himes earned his
Bachelor and Master degrees
from the University of
Composer Spotlight
William Himes “Creed”
He has taught instrumental
music in Flint, Michigan, as
well as serving as adjunct
lecturer in low brass at the
University of Michigan-Flint.
Composer Spotlight
William Himes “Creed”
Himes has appeared as a guest
euphonium soloist, composer,
and conductor throughout the
United States, Canada,
England, Scotland, Norway,
Sweden, and Australia.
Composer Spotlight
William Himes “Creed”
He serves as conductor of the
Chicago Staff Band, an
internationally recognized
brass band, and as music
director of the Salvation Army’s
Central Territory.
Composer Spotlight
William Himes “Creed”
Himes has numerous
educational compositions to his
credit, including Creed,
Medallion Overture, Cause
for Celebration and
Creed, part of Neil A. Kjos’
Best in Class
Performance Selections
series for young bands,
was composed in 1988.
It is a single-movement
work with contrasting
tempi and styles.
• noun
• 1. any system, doctrine, or formula of
religious belief, as of a denomination.
• 2. any system or codification of belief or
of opinion.
Composer Spotlight- Ed
“Foxfire” Overture for Band
• Ed Huckeby holds the title of
emeritus professor of music
at Northwestern Oklahoma
State University where he
served for over two decades
as music department
chairman and dean of the
graduate school.
Composer Spotlight- Ed
“Foxfire” Overture for Band
• Prior to his appointment at
Northwestern in 1976, he
spent eight years teaching
instrumental music in the
public schools of Oklahoma
where his marching, concert
and jazz band won state and
national acclaim.
Composer Spotlight- Ed
“Foxfire” Overture for Band
• Huckeby’s performance
background and experience is
also very eclectic, having been
a member of a symphony
orchestra (horn), a jazz band
(trumpet), and a contemporary
Christian quintet (bass guitar
and vocals), as well as having
served regularly as a church
organist and pianist.
“Foxfire” Overture for Band
• “Foxfire” Overture for Band was
commissioned and dedicated to the
1998-99 Hanes Middle School Band,
(Winston-Salem, NC) Brad Oliver,
“Do you Hear what I hear?”
• "Do You Hear What I Hear?" is a
Christmas song written in October
1962 with lyrics by Noël Regney
and music by Gloria Shayne.1
The pair were married at the time,
and wrote it as a plea for peace
during the Cuban Missile Crisis.2
It has sold tens of millions of
copies and has been covered by
hundreds of artists.
“Do you Hear what I hear?”
• Noel Regney wrote the lyrics for the
song, while Gloria Shayne
composed the Christmas carol's
music in October 1962.2 This was
an unusual arrangement for the two
writers. Usually it was Shayne who
wrote the lyrics for their songs
while Regney composed the music,
as they did when they wrote a song
based on the classic children's
song "Rain Rain Go Away".
“Do you Hear what I hear?”
• Regney was inspired to write the lyrics
"Said the night wind to the little lamb, 'Do
you see what I see?' " and "Pray for
peace, people everywhere," after
watching babies being pushed in strollers
on the sidewalks of New York City.1
Shayne stated in an interview years later
that neither could personally perform the
entire song at the time they wrote it
because of the emotions surrounding the
Cuban Missile Crisis.1 "Our little song
broke us up. You must realize there was a
threat of nuclear war at the time."
“Do you Hear what I hear?”
• The song portrays a message being passed
up the chain of command. The message is
ambiguous but implies the birth of Jesus
Christ. The message originates in the song
when the Night Sky whispers it to a lamb. The
lamb reports the message to his shepherd,
who in turn escalates the matter to the king.
The king eventually disseminates the message
to the "people everywhere." Note that in each
verse, the messages is slightly modified, in a
similar fashion to the game of Telephone.
Concert Band
Westwind Overture…McGinty
The Red Balloon…McGinty
Korean Folk Rhapsody…Curnow
The Christmas Parade…Kinyon
Tanoan Echoes…Smith
Robert W. Smith
“Tanoan Echoes”
Robert W. Smith is one of the
most popular and prolific
composers of concert band and
orchestral literature in America
today. He has over 500
publications in print, with the
majority composed and
arranged through his long
association with Warner
Brothers Publications.
Robert W. Smith
“Tanoan Echoes”
Smith’s credits include many
compositions and productions
in all areas of the music field.
His original works for winds
and percussion have been
programmed by countless
military, university, high
school, and middle school
hands throughout the United
States, Canada, Europe,
Australia, South America and
Robert W. Smith
“Tanoan Echoes”
The Inferno, Purgatorio, and
Symphony No. 1 (The divine
Comedy) have received
worldwide critical acclaim. As
a conductor and clinician,
Smith has performed
throughout the United States,
Canada, Japan, Europe, and
Robert W. Smith
“Tanoan Echoes”
Tanoan Echoes is an original
composition based upon Native
American imagery from the
Southwestern United States.
Claudio Monteverdi (1567-1643)
Suite from Orfeo
Monteverdi was one of the first
great operatic composers. He
had a keen instinct for dramatic
expression. As the suite shows,
he could range from profound
solemnity to lighthearted
dance. Orfeo, his first opera,
was produced in 1607; his last
and greates work, The
Coronation of Poppea, was
written in 1642, when he was
75 years old.
Anne McGinty
“The Red Balloon,” “Westwind Overture”
Anne McGinty (b. 1945), a native of
Findlay, Ohio received her Bachelor of
Music and Master of Music degrees
from Duqesne University (Pittsburgh
PA), with emphasis on flute
performance and composition. Active
throughout her career as a flutist,
teacher and clinician, McGinty is a
well-known composer and arranger of
music for young bands.
Anne McGinty
“The Red Balloon,” “Westwind
Anne McGinty (b. 1945), a native of
Findlay, Ohio received her Bachelor of
Music and Master of Music degrees
from Duqesne University (Pittsburgh
PA), with emphasis on flute
performance and composition. Active
throughout her career as a flutist,
teacher and clinician, McGinty is a
well-known composer and arranger of
music for young bands.She has
composed over one hundred thirty
works for band ranging from levels one
through five.
Anne McGinty
“The Red Balloon,” “Westwind
Along with her husband John Edmondson,
McGinty operates Queenwood Publications
which specializes in music for young musicians.
Along with The Red Balloon, her other original
band works include Falling Branch, Clouds,
American Folk Festival, Excelsior, and
The Red Balloon
Composed in 1992, The Red Balloon
is based on a painting which left an
impression on the composer even
though she viewed it only once.
The painting depicts a small child
and a grandfather facing away. The
two people and the background
were painted white-on-white.
The Red Balloon
The only color in the painting is
the red balloon, which is held by
the child. This programmatic
work is intended not only to
suggest the flight of the balloon,
but also to encourage the players
to use their imaginations to
visualize its journey through the
Robert Jager
“Carpathian Sketches”
Robert Jager (b. 1939) was born
in Binghamton, New York, and
attended Wheaton College and
the University of Michigan. He
served four years in the United
States Navy as a staff arranger
at the Armed Forces School of
Music. He currently teaches
theory, analysis, and
composition at Tennessee Tech
“Carpathian Sketches”
Carpathian Sketches is a musical
impression, using original
melodies by the composer, of the
strength and beauty of the
Czechoslovakian people.
“Carpathian Sketches”
The title is taken from the
Carpathian mountain range that is
an expansion of the Alps running
through eastern Europe.
“Carpathian Sketches”
The music captures the flavor and
spirit of the Slavic people through
its unusual harmonic progressions
and dance-like qualities.
Composer SpotlightJames Curnow
“Korean Folk Rhapsody”
James Curnow (b. 1943) was
born in Port Huron,
Michigan, and attended
Wayne State University and
Michigan State University.
He is active as a composer,
cunductor, and clinician
throughout the United
States, Canada, Australia
and Europe.
Composer SpotlightJames Curnow
“Korean Folk Rhapsody”
Curnow has been a
educational consultant/
editor for Jenson Music
Publications. In 1995 he
founded Curnow Music
Press in Wilmore, Kentucy.
Some of Curnow’s original
works for band included Five
Concord Diversions and
“Korean Folk Rhapsody”
Korean Folk Rhapsody is
based on the Korean Folk
song, Ahrirang. Previously
used by John Barnes
Chance in his well-known
Variations on a Korean Folk
Song, the tune is presented
in a variety of styles.
Historical Perspective
“Korean Folk Rhapsody”
The Music of Asia
and the far east
has traditionally
melody and rhythm
rather than
polyphony or
Historical Perspective
“Korean Folk Rhapsody”
The musical elements which
make it distinctive include
the limited range of
melodies, the use of
pentatonic (sometimes sixand seven-note) scales, and
the characteristic
instrumental colors of
idiophones, such as bells,
xylophone, p’yong-kyong
(tuned stones) p’yon-jong
(tuned bronze bells), and
Historical Perspective
“Korean Folk Rhapsody”
Many composer have been
influenced by the musical
materials of Asian music,
including Claude Debussy
(Prelude a l’apres-midi d’un
faune), Maurice Ravel (Ma
mere l’oye) and Giacomo
Puccini (Madame Butterfly)
or by specific folk songs,
such as John Barnes
Chance (Variations on a
Korean Folk Song), and Ray
Cramer (Fantasy on “Sakura
Parade of the Tin Soldiers
"The Parade of the Tin Soldiers" (Die
Parade der Zinnsoldaten), also known as
"The Parade of the Wooden Soldiers",
is an instrumental musical character
piece, in the form of a popular jaunty
march, written by German composer
Leon Jessel, in 1897.
Parade of the Tin Soldiers
"The Parade of the Tin Soldiers" was
originally composed for solo piano.
Jessel later published it for orchestra in
1905, as Opus 123. Today it is also a
popular tune for marching bands, concert
bands, and small orchestras, and for
extremely diverse alternate
instrumentations as well.1
Parade of the Tin Soldiers
Since the early 1920s, the piece has been
very popular in the U.S., and has also
been frequently performed and recorded
worldwide. A song, "The Parade of the
Wooden Soldiers," was also created
from the piece in 1922, with English
lyrics by Ballard MacDonald.
Babes in Toyland is an operetta composed by Victor Herbert
with a libretto by Glen MacDonough (1870–1924), which wove
together various characters from Mother Goose nursery
rhymes into a Christmas-themed musical extravaganza. The
creators wanted to cash in on the extraordinary success of the
stage musical The Wizard of Oz, which was produced in New
York beginning in January 1903, under producer Fred R.
Hamlin, and directed by Julian P. Mitchell.1 MacDonough had
helped Mitchell with revisions to the Oz libretto by L. Frank
Baum. Babes in Toyland features some of Herbert's most
famous songs–among them "Toyland", "March of the Toys",
"Go To Sleep, Slumber Deep", and "I Can't Do The Sum". The
theme song "Toyland" and "March of the Toys" occasionally
show up on Christmas compilations.
Up on the Housetop
"Up on the House Top" is a Christmas song
written by Benjamin Hanby in 1864 in the town
of New Paris, Ohio. .1 It has been recorded by
a multitude of singers, among the most notable
Gene Autry, who is also known for his version
of the classic "Rudolph the Red-Nosed
Up on the Housetop
According to William Studwell in The Christmas Carol Reader,
"Up on the House Top" was the second-oldest secular
Christmas song, outdone only by "Jingle Bells", which was
written in 1857 (although the latter was originally intended as a
Thanksgiving song). It is also considered the first Yuletide
song to focus primarily on Santa Claus. In fact, according to
Readers Digest Merry Christmas Song Book Hanby was the
first to offer up the idea that Santa and his sleigh land on the
roof of homes.2 Benjamin Russell Hanby was born in 1833
near Rushville, Ohio, the son of a minister involved with the
Underground Railroad. During his short life he wrote some 80
songs before dying of tuberculosis in 1867. Other than "Up on
the House Top" his best-known song is "Darling Nelly Gray"
Percussion Ensemble
First Adventure…Baratto
Main Street Calypso…Mancini
Brazil… Ary Barroso, S. K. Russel
Main Street Calypso
Calypso is a style of Afro-Caribbean music that originated in
Trinidad and Tobago from African and European roots.
The roots of the genre lay in the arrival of enslaved
Africans, who, not being allowed to speak to each other,
communicated through song. This forged a sense of
community among the Africans, who saw their colonial
masters change rapidly, bringing French, Spanish and
British music styles to the island of Trinidad.
Main Street Calypso
The French brought Carnival to Trinidad, and calypso
competitions at Carnival grew in popularity, especially
after the abolition of slavery in 1834. While most
authorities stress the African roots of calypso, in his 1986
book, Calypso from France to Trinidad: 800 Years of
History, that veteran calypsonian, The Roaring Lion
(Rafael de Leon) asserted that calypso descends from
the music of the medieval French troubadours.
German Baratto
German Baratto finished his BA at the
University of Puerto Rico and did additional
studies at the Puerto Rico Conservatory
and Berklee School of Music. After that he
attended Middle Tennessee State University
where he earned his MA in Jazz Studies
and Percussion. While in school German
played with artists like Jim McNeely, Eddie
Daniels and Jeff Coffin.
German Baratto
Currently German works as adjunct Faculty at
Middle Tennessee State University and as
Percussion coordinator for the Oakland
High School Band in Murfreesboro, TN.
Also, he works as adjunct Faculty at
University of North Alabama in Florence, AL
and collaborates with the Global Education
Center in Nashville, TN.
German Baratto
German serves as a composer for Crucial Music in
Los Angeles, CA. You can see German playing
around the Nashville area with country artists like
Diona Devin, with his own Latin-jazz septet, with
Danny Salazar and with Afinke Salsa Orchestra.
German has presented clinics in Nashville (TN),
Murfreesboro (TN), Raleigh (NC), San Juan (PR),
and Bogotá, Colombia. German proudly endorses
Innovative Percussion sticks and mallets.
Jared Spears
“Prologue and Fight”
Jared Spears is Professor of Music Emeritus at
Arkansas State University in Jonesboro,
Arkansas. He was born in Chicago, Illinois, and
received the B.S.E. degree in Music Education
from Northern Illinois University; the B.M. and
M.M. in Percussion and Composition from the
Cosmopolitan School of Music; and the D.M. in
Composition from Northwestern University. Some
of his past teachers include: Blyth Own, Alan
Stout, and Anthony Donato.
Jared Spears
“Prologue and Fight”
Spears has taught theory, history,
composition, percussion and band on
all educational levels, from elementary
school through college. Since his
retirement from ASU in May of 1999
(after 32 years of teaching), he has
maintained a heavy schedule of
composing and conducting.
Jared Spears
“Prologue and Fight”
To date he has produced over 250 original
works for band, choir, orchestra, and
chamber ensembles-a majority of which are
published by American and European
companies. His music has been performed
and recorded worldwide, and he has
conducted band festivals, camps, and clinics
in Canada, Europe, throughout the United
States, and has appeared at several
universities as a guest lecturer.
Chick Corea
“Children’s Songs Set 3”
• Armando Anthony "Chick" Corea (born
June 12, 1941)2 is an American jazz
pianist, keyboardist, and composer.
• Many of his compositions are considered
jazz standards. As a member of Miles
Davis' band in the 1960s, he participated
in the birth of the electric jazz fusion
movement. In the 1970s he formed
Return to Forever.2 Along with Herbie
Hancock, McCoy Tyner and Keith Jarrett,
he has been described as one of the
major jazz piano voices to emerge in the
post-John Coltrane era.
Chick Corea
“Children’s Songs Set 3”
• His career has been driven by his
will to operate as a free agent and
compulsively explore different
avenues of music making. This
hunger has positioned him as an
important catalyst in the world of
serious, mainstream acoustic jazz,
and he is one of the most
influential and widely studied
figures in the last 40 years.
Chick Corea
“Children’s Songs Set 3”
• Corea continued to pursue other
collaborations and to explore
various musical styles throughout
the 1980s and 1990s. He is also
known for promoting and
fundraising for a number of social
issues, such as eradicating social
illiteracy, and is a Scientologist.
“Children’s Songs Set 3”
• Children's Songs is an album by
Jazz pianist Chick Corea, released
in 1984.
• Children's Songs mainly consists
of short songs with simple themes.
There is little development in the
pieces, which capture a variety of
melodies and moods. Corea
began writing the first song in
“Children’s Songs Set 3”
• In the preface of the annotated
version Corea stated that he
aimed "to convey simplicity as
beauty, as represented in the Spirit
of a child".
• There are stylistic and structural
parallels to the cycle
Mikrokosmos, by Béla Bartók,
• Ary Barroso (Portuguese
pronunciation: ) (November 7,
1903 – February 9, 1964) was a
Brazilian composer, pianist,
soccer commentator, and talentshow host on radio and TV. He
was one of Brazil's most
successful songwriters in the first
half of the 20th century.
• Barroso's two best-known compositions are
the sambas "Aquarela do Brasil"
("Watercolor of Brazil"), written in 1939, and
"Na Baixa do Sapateiro" ("Bahia"),
composed a year earlier. "Watercolor of
Brazil" was featured in Saludos Amigos
(1942) and "Na Baixa do Sapateiro" in The
Three Caballeros (1944), both Disney films.
The two songs became international hits,
and have been recorded by hundreds of
artists around the world. Among his major
interpreters are Carmen Miranda and João
• In 1945, his song "Rio de
Janeiro", featured in the 1944 film
Brazil, was one of the five finalists
nominated for the Academy
Award for Best Original Song.1
• His song "Aquarela do Brasil"
was used as the main theme of
the 1985 film "Brazil".
• He died of liver cirrhosis in 1964.
• Brazil
The Brazil that I knew
Where I wandered with you
Lives in my imagination.
Where the songs are passionate,
And a smile has flash in it,
And a kiss has art in it,
For you put your heart in it,
And so I dream of old Brazil
• Where hearts were entertaining
We stood beneath an amber
And softly murmured “someday
We kissed and clung together,
Then tomorrow was another day
The morning found me miles
With still a million things to say
• Now when twilight dims the sky
Recalling thrills of our love,
There’s one thing I’m certain of;
Return I will
To old Brazil.
Barry Manilow
Barry Manilow (born June 17,
1943)1 is an American singersongwriter and producer. He
is best known for such
recordings as "Could It Be
Magic", "Mandy", "Can't Smile
Without You", and
"Copacabana (At the Copa)".
Barry Manilow
In 1978, five of his albums were on the bestselling charts simultaneously, a feat equalled
only by Frank Sinatra, Michael Jackson,
Bruce Springsteen and Johnny Mathis. He
has recorded a string of Billboard hit singles
and multi-platinum albums that have resulted
in his being named Radio & Records number
one Adult Contemporary artist and winning
three straight American Music Awards for
Favorite Pop/Rock Male Artist. Between 1974
and 1983 Manilow had three number 1
singles and 25 that reached the top 40.
Barry Manilow
Several well-known entertainers
have praised Manilow, including
Sinatra, who was quoted in the
1970s saying, "He's next." In
1988, Bob Dylan stopped Manilow
at a party, hugged him and said,
"Don't stop what you're doing,
man. We're all inspired by you."2
Barry Manilow
As well as producing and arranging albums for
other artists, including Bette Midler and Dionne
Warwick, Manilow has written songs for
musicals, films, and commercials. From
February 2005 to December 30, 2009, he was
the headliner at the Las Vegas Hilton,
performing hundreds of shows before ending
his relationship with the hotel. From March
2010, he has headlined at the Paris Hotel in
Las Vegas. He has sold more than 80 million
records worldwide.
I made it through the rain
We dreamers have our ways Of facin'
rainy days And somehow we survive
We keep the feelings warm Protect them
from the storm Until our time arrives
Then one day the sun appears And we
come shinin' through those lonely
I made it through the rain
I made it through the rain
I kept my world protected
I made it through the rain
I kept my point of view
I made it through the rain
And found myself respected
By the others who Got rained on too
And made it through
I made it through the rain
When friends are hard to find And life
seems so unkind Sometimes you feel
Just aim beyond the clouds And rise
above the crowds And start your own
'Cause when I chased my fears away
That's when I knew that I could finally
Rock Around the Clock
"Rock Around the Clock" is a 12-bar-bluesbased song written by Max C. Freedman
and James E. Myers (the latter under the
pseudonym "Jimmy De Knight") in 1952.
The best-known and most successful
rendition was recorded by Bill Haley and
His Comets in 1954. It was a number one
single on both the US and UK charts and
also re-entered the UK Singles Chart in the
1960s and 1970s.
Rock Around the Clock
It was not the first rock and roll record, nor was it the
first successful record of the genre (Bill Haley had
American chart success with "Crazy Man, Crazy"
in 1953, and in 1954, "Shake, Rattle and Roll"
reached No. 1 on the Billboard R&B chart).
Haley's recording nevertheless became an
anthem for rebellious Fifties youth7 and is widely
considered to be the song that, more than any
other, brought rock and roll into mainstream
culture around the world. The song is ranked No.
158 on the Rolling Stone magazine's list of The
500 Greatest Songs of All Time.
Rock Around the Clock
Although first recorded by Italian-American
band Sonny Dae and His Knights on March
20, 1954,[1] the more famous version by Bill
Haley & His Comets is not, strictly
speaking, a cover version. Myers claimed
the song had been written specifically for
Haley but, for various reasons, Haley was
unable to record it himself until April 12,
Rock Around the Clock
The original full title of the song was "We're
Gonna Rock Around the Clock Tonight!".
This was later shortened to "(We're Gonna)
Rock Around the Clock", though this form
is generally only used on releases of the
1954 Bill Haley Decca Records recording;
most other recordings of this song by Haley
and others (including Sonny Dae) shorten
this title further to "Rock Around the
Herbie Hancock
Herbie Hancock is a true icon of modern music.
Throughout his explorations, he has transcended
limitations and genres while maintaining his
unmistakable voice. With an illustrious career
spanning five decades and 14 Grammy Awards,
including Album of the Year for River: The Joni
Letters, he continues to amaze audiences across
the globe.
Herbie Hancock
There are few artists in the music industry who have
had more influence on acoustic and electronic
jazz and R&B than Herbie Hancock. As the
immortal Miles Davis said in his autobiography,
"Herbie was the step after Bud Powell and
Thelonious Monk, and I haven't heard anybody
yet who has come after him."
Herbie Hancock
Born in Chicago in 1940, Herbie was a child piano
prodigy who performed a Mozart piano concerto
with the Chicago Symphony Orchestra at age 11.
He began playing jazz in high school, initially
influenced by Oscar Peterson and Bill Evans. He
also developed a passion for electronics and
science, and double-majored in music and
electrical engineering at Grinnell College.
Watermelon Man
"Watermelon Man" is a jazz standard written by
Herbie Hancock, first released on his debut
album, Takin' Off (1962).
The first version was released as a grooving hard
bop and featured improvisations by Freddie
Hubbard and Dexter Gordon.1 A single of the tune
reached the Top 100 of the pop charts. Cuban
percussionist Mongo Santamaría released the
tune as a Latin pop single the next year on Battle
Records, where it became a surprise hit, reaching
#10 on the pop charts. Santamaría's recording
was inducted into the Grammy Hall of Fame in
1998. Hancock radically re-worked the tune,
combining elements of funk, for the album Head
Hunters (1973).
“Over the Rainbow”
-Lyrics by E.Y. Harburg
Edgar Yipsel Harburg (April 8, 1896
– March 5, 1981), known as E.Y.
Harburg or Yip Harburg, was an
American popular song lyricist
who worked with many well-known
composers. He wrote the lyrics to
the standards, "Brother, Can You
Spare a Dime?", "April in Paris",
and "It's Only a Paper Moon", as
well as all of the songs in The
Wizard of Oz, including "Over the
“Over the Rainbow”
Harold Arlen (February 15, 1905 – April
23, 1986) was an American composer
of popular music, having written over
500 songs, a number of which have
become known the world over. In
addition to composing the songs for
The Wizard of Oz, including the
classic 1938 song, "Over the
Rainbow,” Arlen is a highly regarded
contributor to the Great American
Songbook. "Over the Rainbow," in
fact, was voted the twentieth century's
No. 1 song by the Recording Industry
Association of America (RIAA) and the
National Endowment for the Arts
“Over the Rainbow”
Somewhere over the rainbow
Way up high,
There's a land that I heard
Once in a lullaby.
Somewhere over the
Skies are blue,
And the dreams that you
dare to dream
Really do come true.
“Over the Rainbow”
Someday I'll wish upon a star
And wake up where the clouds
are far
Behind me.
Where troubles melt like lemon
Away above the chimney tops
That's where you'll find me.
Somewhere over the rainbow
Bluebirds fly.
Birds fly over the rainbow.
Why then, oh why can't I?
“Over the Rainbow”
If happy little bluebirds fly
Beyond the rainbow
Why, oh why can't I?
Jim Henson
“The Muppet Show Theme”
James Maury "Jim" Henson
(September 24, 1936 – May 16,
1990) was an American puppeteer,
best known as the creator of The
Muppets. As a puppeteer, Henson
performed in various television
programs, such as Sesame Street
and The Muppet Show, films such as
The Muppet Movie and The Great
Muppet Caper, and created advanced
puppets for projects like Fraggle
Rock, The Dark Crystal, and
Jim Henson
“The Muppet Show Theme”
He was also an Oscar-nominated film
director, Emmy Award-winning
television producer, and the founder
of The Jim Henson Company, the Jim
Henson Foundation, and Jim
Henson's Creature Shop. He died on
May 16, 1990, of organ failure
resulting from a Group A
streptococcal infection caused by
Streptococcus pyogenes.
Jim Henson
“The Muppet Show Theme”
Henson, who was born in Greenville,
Mississippi and educated at
University of Maryland, College Park,
is one of the most widely known
puppeteers ever.1 He created Sam
and Friends as a freshman in College
Park. After suffering struggles with
programs that he created, he
eventually found success with
Sesame Street. During this time, he
also contributed to Saturday Night
Jim Henson
“The Muppet Show Theme”
The success of Sesame Street
spawned The Muppet Show, which
featured Muppets created by
Henson. He also co-created with
Michael Jacobs the television
show Dinosaurs during his final
years. On June 16, 2011, he
posthumously received the Disney
Legends Award.
Sam Pottle
“The Muppet Show Theme”
Sam Pottle (8 May 1934–4 July 1978) was
an American composer, conductor, and
musical director involved in many theatrical
and television productions. He is perhaps
best remembered for his work on Sesame
Street and The Muppet Show, having cowritten the iconic theme song for the latter.
However, Sam Pottle was also involved with
many theatrical productions in the 1960s and
Pottle graduated from Yale in 1955.
Sam Pottle died on 4 July 1978. His muse,
partner, and fellow Sesame writer Charles
Choset dedicated the 1982 plays Letters to
Ben and The Messiah to him.
Horace Silver
“The Preacher”
Horace Silver (born September 2, 1928),
born Horace Ward Martin Tavares Silva in
Norwalk, Connecticut, is an American jazz
pianist and composer.
Silver is known for his distinctive humorous
and funky playing style and for his pioneering
compositional contributions to hard bop. He
was influenced by a wide range of musical
styles, notably gospel music, African music,
and Latin American music and sometimes
ventured into the soul jazz genre.
Billy Joel
“It’s Still Rock and Roll to Me”
William Martin "Billy" Joel (born May 9,
1949) is an American pianist, singersongwriter, and composer. Since releasing his
first hit song, "Piano Man," in 1973, Joel has
become the sixth best-selling recording artist
and the third best-selling solo artist in the
United States, according to the RIAA.3 He
also has the third best-selling album in the
United States with his Greatest Hits Vol. 1 &
Billy Joel
“It’s Still Rock and Roll to Me”
Joel had Top 40 hits in the 1970s, 1980s, and
1990s, achieving 33 Top 40 hits in the United
States, all of which he wrote himself. He is
also a six-time Grammy Award winner, a 23time Grammy nominee and has sold over
150 million records worldwide.5 He was
inducted into the Songwriter's Hall of Fame
(1992), the Rock and Roll Hall of Fame
(1999), and the Long Island Music Hall of
Fame (2006).
Billy Joel
“It’s Still Rock and Roll to Me”
In 2008, Billboard magazine released a list of
the Hot 100 All-Time Top Artists to celebrate
the US singles chart's 50th anniversary, with
Billy Joel positioned at No. 23. With the
exception of the 2007 songs "All My Life" and
"Christmas in Fallujah," Joel stopped writing
and recording pop/rock material after 1993's
River of Dreams, but he continued to tour
extensively until 2010.
“It’s Still Rock and Roll to Me”
What's the matter with the clothes I'm
"Can't you tell that your tie's too wide?"
Maybe I should buy some old tab collars?
"Welcome back to the age of jive.
Where have you been hidin' out lately,
You can't dress trashy till you spend a lot of
Everybody's talkin' 'bout the new sound
Funny, but it's still rock and roll to me
“It’s Still Rock and Roll to Me”
What's the matter with the car I'm driving?
"Can't you tell that it's out of style?"
Should I get a set of while wall tires?
"Are you gonna cruise the miracle mile?
Nowadays you can't be too sentimental
Your best bet's a true baby blue Continental."
Hot funk, cool punk, even if it's old junk
It's still rock and roll to me
“It’s Still Rock and Roll to Me”
Oh, it doesn't matter what they say in the
'Cause it's always been the same old scene.
There's a new band in town
But you can't get the sound from a story in a
Aimed at your average teen
“It’s Still Rock and Roll to Me”
How about a pair of pink sidewinders
And a bright orange pair of pants?
"You could really be a Beau Brummel baby
If you just give it half a chance.
Don't waste your money on a new set of speakers,
You get more mileage from a cheap pair of
Next phase, new wave, dance craze, anyways
It's still rock and roll to me
“It’s Still Rock and Roll to Me”
What's the matter with the crowd I'm seeing?
"Don't you know that they're out of touch?"
Should I try to be a straight `A' student?
"If you are then you think too much.
Don't you know about the new fashion honey?
All you need are looks and a whole lotta money."
It's the next phase, new wave, dance craze, anyways
It's still rock and roll to me
George Gershwin
George Gershwin (September 26, 1898 –
July 11, 1937) was an American composer
and pianist.12 Gershwin's compositions
spanned both popular and classical genres,
and his most popular melodies are widely
known. Among his best known works are the
orchestral compositions Rhapsody in Blue and
An American in Paris, as well as the opera
Porgy and Bess.
George Gershwin
Born in Brooklyn to a Ukrainian father of Jewish descent and a
Russian mother, Gershwin studied piano under Charles Hambitzer
and composition with Rubin Goldmark and Henry Cowell. He began
his career as a song plugger, but soon thereafter started
composing Broadway theatre works with his brother Ira Gershwin
and Buddy DeSylva. He moved to Paris in an attempt to study with
Nadia Boulanger, where he began to compose An American in
Paris. After returning to New York City, he wrote Porgy and Bess
with Ira and author DuBose Heyward. Initially a commercial
failure, Porgy and Bess is now considered one of the most
important American operas of the twentieth century. Gershwin
moved to Hollywood and composed numerous film scores until his
death in 1937 from a brain tumor.
George Gershwin
Gershwin's compositions
have been used in
numerous films and on
television, and several
became jazz standards
recorded in many variations.
Countless singers and
musicians have recorded his
And the livin' is easy
Fish are jumpin'
And the cotton is high
Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky
But till that morning
There's a'nothing can harm you
With daddy and mamma standing by
Lyrics by Du Bose Heyward
Bart Howard
“Fly me to the Moon”
Bart Howard (born Howard Joseph
Gustafson; June 1, 1915 — February 21,
2004) was the composer and writer of the
famous jazz standard "Fly Me To The Moon",
which has been performed by singers (among
others) Frank Sinatra, Ella Fitzgerald, Nancy
Wilson, Della Reese, Diana Krall, June Christy
and Astrud Gilberto. It is also played
frequently by jazz and popular musicians
around the world.
Howard was born in Burlington, Iowa. He
began his career as an accompanist at the age
of 16 and played for Mabel Mercer, Johnny
Mathis and Eartha Kitt, among others.
Bart Howard
“Fly me to the Moon”
"Fly Me To the Moon" was first sung in 1954 by
Felicia Sanders at the "Blue Angel" club in
Manhattan where the composer became M.C.
and accompanist in 1951. The song received
wide exposure when Peggy Lee sang it on The
Ed Sullivan Show several years later. Bart
Howard "lived off" this song for the rest of his
life, although he had 49 other songs to his
credit. These include "Let Me Love You", "On
The First Warm Day", "One Love Affair", "Be
My All", "The Man In The Looking Glass", "My
Love Is A Wanderer", "Who Wants To Fall In
Love", "Don't Dream of Anybody But Me".
He died, aged 88, in Carmel, New York. He
was survived by a sister Dorothy Lind of
Burlington, Iowa and by his companion of 58
years, Thomas Fowler.1
“Fly me to the Moon”
Fly me to the moon
Let me swing among those stars
Let me see what spring is like On
Jupiter and Mars
In other words, hold my hand
In other words, baby, kiss me
Fill my heart with song
Let me sing forever more
You are all I long for All I worship
and adore
“Fly me to the Moon”
In other words, please be true
In other words, I love you
Why don't you fill
my heart with song?
Let me swing forever more
Because you are all I long for
All I worship and I adore
In other words, please be true In
other words In other words,
I, I love, you
“Good Times” Jerry Nowak
With over 900 published
compositions and arrangements
to his credit, Jerry Nowak taught
at the college level for 37 years
and has gained an international
reputation for his innovations in
the techniques of expressive
playing. He has appeared as a
guest conductor, adjudicator and
lecturer throughout North America
and Australia.
“Good Times” Jerry Nowak
His teachers include Lucien
Cailliet, composition and
orchestration, Charles Russo,
clarinet, and Herbert Pate and
Dr. Finley Williamson, voice
and choral conducting.
“Good Times” Jerry Nowak
Jerry brings to music education
the expertise of an accomplished
musician as well as a composer
and conductor. He is a founding
member of both the Philadelphia
and New Jersey Saxophone
Quartets and has conducted
professional recording sessions in
New York, Philadelphia,
Washington, D.C. and London,
“String of Pearls” Jerry Gray
Jerry Gray (July 3, 1915 – August 10,
1976) was an American violinist, arranger,
composer, and leader of swing dance
orchestras (big bands) bearing his name.
He is widely known for his work with
popular music during the Swing era.1 His
name is inextricably linked to two of the
most famous bandleaders of the time, Artie
Shaw and Glenn Miller. Gray, along with Bill
Finegan, wrote many of Glenn Miller's
arrangements during the late 1930s and
early 1940s. In the latter part of Grey's
career, his orchestra served as the house
band at the Venetian Room of the Fairmont
Hotel, Dallas.
“String of Pearls”
The Glenn Miller Orchestra was originally formed in 1938 by Glenn Miller. It was
arranged around a clarinet and tenor saxophone playing melody, while three
other saxophones played the harmony. Miller had already formed one band
before this in 1936, but dissolved it as he considered it too similar to other bands
of the era.
The new band became very popular and recorded a number of chart successes
— among these were the ever-popular, "Moonlight Serenade", "In the Mood",
"Tuxedo Junction", "Chattanooga Choo Choo", "Pennsylvania 6-5000", and "(I've
Got a Gal In) Kalamazoo."
“String of Pearls” The Glenn
Miller Orchestra
After the disappearance (and presumed death) of Miller in 1944, the band was
reconstituted under the direction of Tex Beneke, its lead tenor saxophonist,
singer, and one of Miller's longtime close friends. A few years later, the Miller
estate, having parted ways with Beneke, hired Ray McKinley, principal drummer
in Miller's Army Air Force band, to organize a new "ghost band" in 1956.
Hollywood contributed to the band's popularity and that of its founder and original
members with the 1953 release of The Glenn Miller Story on the big screen. The
band garnered award nominations and box office success, as well as top hit
status for its soundtrack album in 1954.
“String of Pearls” The Glenn
Miller Orchestra
The Glenn Miller Orchestra continued to record and perform
under various leaders starting in 1956 and is still touring
today. Singer Nick Hilscher became the director of the
touring band in 2012, replacing previous director Gary Tole.
“String of Pearls” Jerry Gray
"A String of Pearls" is a 1941 song recorded by
Glenn Miller and His Orchestra on RCA Bluebird,
composed by Jerry Gray with lyrics by Eddie
DeLange. 1 The song is a big band and jazz
Glenn Miller and His Orchestra recorded "A String of
Pearls" on November 8, 1941, which was copyrighted
and published by The Mutual Music Society, Inc.,
ASCAP. It was released as an RCA Bluebird 78
single, B-11382-B, backed with "Day Dreaming", in
1941 by Glenn Miller and His Orchestra.
The record was ranked No. 1 in the US for two weeks
in 1942 on the Billboard Best Sellers chart.
“Hello, Dolly” Jerry Herman
Jerry Herman (born July 10, 1931) is
an American composer and lyricist,
known for his work in Broadway musical
theater. He composed the scores for the
hit Broadway musicals Hello, Dolly!,
Mame, and La Cage aux Folles. He has
been nominated for the Tony Award five
times, and won twice, for Hello, Dolly!
and La Cage aux Folles. In 2009,
Herman received the Tony Award for
Lifetime Achievement in the Theatre. He
is a recipient of the 2010 Kennedy
Center Honors.
“Hello, Dolly” Jerry Herman
Hello, Dolly! is a musical with lyrics and music
by Jerry Herman and a book by Michael
Stewart, based on Thornton Wilder's 1938 farce
The Merchant of Yonkers, which Wilder revised
and retitled The Matchmaker in 1955.
Hello, Dolly! was first produced on Broadway by
David Merrick in 1964, winning the Tony Award
for Best Musical and nine other Tonys. The
show album Hello, Dolly! An Original Cast
Recording was inducted into the Grammy Hall of
Fame in 2002.1 The show has become one of
the most enduring musical theatre hits, enjoying
three Broadway revivals and international
success. It was also made into a 1969 film that
was nominated for seven Academy Awards.
“Hello, Dolly” Jerry Herman
I said hello, dolly,......well, hello, dolly
It's so nice to have you back where you
You're lookin' swell, dolly.......i can tell,
You're still glowin'...you're still
crowin'...you're still goin' strong
I feel that room swayin'......while the
band's playin'
One of your old favourite songs from
way back when
So..... take her wrap, fellas.......find her
an empty lap, fellas
Dolly'll never go away again
“Night Train” Jimmy Forest
Jimmy Forrest (January 24, 1920 –
August 26, 1980)1 was an African
American jazz musician, who played
tenor saxophone throughout his career.
Forrest is famous for his first solo
recording of "Night Train". It reached
No. 1 on the Billboard R&B chart in
March 1952, and stayed at the top for
seven weeks. "Hey Mrs. Jones" (#3
R&B) and "Bolo Blues" were his other
major hits. All were made for United
Records, which recorded Forrest
between 1951 and 1953. He recorded
frequently as both a sideman and a
“Night Train” Jimmy Forest
"Night Train" is a twelve bar blues instrumental standard
first recorded by Jimmy Forrest in 1951.
"Night Train" has a long and complicated history. The piece's
opening riff was first recorded in 1940 by a small group led
by Duke Ellington sideman Johnny Hodges under the title
"That's the Blues, Old Man". Ellington used the same riff as
the opening and closing theme of a longer-form
composition, "Happy-Go-Lucky Local", that was itself one of
four parts of his Deep South Suite. Forrest was part of
Ellington's band when it performed this composition, which
has a long tenor saxophone break in the middle. After
leaving Ellington, Forrest recorded "Night Train" on United
Records and had a major rhythm & blues hit. While "Night
Train" employs the same riff as the earlier recordings, it is
used in a much earthier R&B setting. Forrest inserted his
own solo over a stop-time rhythm not used in the Ellington
composition. He put his own stamp on the tune, but its
relation to the earlier composition is obvious.
“Night Train” Jimmy Forest
Like Illinois Jacquet's solo on "Flying
Home", Forrest's original saxophone
solo on "Night Train" became a veritable
part of the composition, and is usually
recreated in cover versions by other
performers. Buddy Morrow's trombone
transcription of Forrest's solo from his
big-band recording of the tune is
similarly incorporated into many
• I’m very thoughtful that I display the attributes that
I ask my guys to. I think that’s part of leadership. I
love the challenges that this profession provides,
even when it’s miserable. It’s awesome, it really is.
I love it. I don’t like where we are. But I love what I
do. I love coming in here, I love building it, and I
love the challenges. That hasn’t changed, and I
doubt that’ll ever change. That’s just my
perspective that I have on this game and my
relationship that I have with this game, and one
that I hope spills over to other people.
• -Mike Tomlin, Head Coach of the Pittsburgh
• The key to the mystery of a great artist is that for
reasons unknown, he will give away his energies
and his life just to make sure that one note follows
another... and leaves us with the feeling that
something is right in the world.
• -Leonard Bernstein
• Music washes away
from the soul the dust of
everyday life. ~Berthold
• A painter paints pictures on
canvas. But musicians
paint their pictures on
silence. ~Leopold
Less is more
Content dictates form
God is in the details
-Stephen Sondehim
• Music is your own
experience, your
thoughts, your
wisdom. If you don't live
it, it won't come out of
your horn.
• -Charlie Parker
• The second fiddle. I can get
plenty of first violinists, but
to find someone who can
play the second fiddle with
enthusiasm-that's a
problem. And if we have no
second fiddle, we have no
-Leonard Bernstein
• Music can name the
unnameable and
communicate the
• -Leonard Bernstein
Just a Thought…
• Successful people have reasons for
being successful.
• Unsuccessful people have excuses
for not being successful.
White. A blank page or canvas.
The challenge:
bring order to the whole
through design. Composition.
Balance. Light. And harmony.”
• Taken from "Sunday in the Park with George"
Book by James Lapine, Music and Lyrics by
Stephen Sondheim
Express the melody….
Hear the harmony…
Feel the rhythm…
Blend (Match)your
Balance (Listen Down)…
Three Parts of a note…
Attack (Beginning)
Sustain (Middle)
Release (End)
Match each part of the
note for the perfect
Low notes reach for high
Discipline is always…
Articulation is your friend!
You must make up a 20 minute practice
session for every absence (Excused or
Unexcused) After your 3rd absence you
are required to write a 1-page paper.
With each additional absence you
must write another paper, or add a
page to the 1st paper.Papers and
practice time must be made up by the
last day of this 9-week period. See Mr.
Miller for your # of absences.
Did you know?
You can find this power point presentation on
Mr. Miller’s Website!
That’ll help with
those study
All County Band Play-off Dates
December 11-12
You are to play off your solo at this time.
If you auditioned for All County Band
you are exempt. If you are auditioning
for All District band that will count.
The Following Students have
successfully auditioned for AllCounty Band!
Jeremy Sprinkle- French Horn
Carl Blankenship-Clarinet
Justin Park- Baritone