News & Views Thursday, April 25, 2024

5 Heroic, Energetic, and Majestic pieces for symphonic band

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recommended by Ken T., Band Education Specialist

Centennium by Brian Balmages, Grade 4.5
Heroic, sweeping melodies form the basis of this celebratory work highlighting achievement and longevity. The constant rhythmic drive is augmented by soaring countermelodies and engaging percussion. Several peaks and valleys culminate in a powerful final fanfare that brings the work to a thrilling conclusion.

Magic City Montage by Robert Sheldon, Grade 4.5
This energetic overture allows us to enjoy the sparkling skyline of Miami, also known as the Magic City, from a speedboat on Biscayne Bay. A visit to the gardens of Vizcaya is represented by an elegant Danzon. The opening tempo returns with a nod to Miami’s vibrant nightlife before taking us to our boat for the short trip home.

Song of the Fjords by Carol Brittin Chambers, Grade 4.5
Carol Brittin Chambers shows off her writing chops in this new and challenging work for concert band! Relish the great part writing and take advantage of ample opportunities to display the texture of your ensemble in “Song of the Fjords.”

The River Seneca by Rossano Galante, Grade 4.5
Capturing the proud spirit of the Salamanca community, this piece begins with powerful brass fanfares and flowing melodic woodwind lines that modulate, ebb and flow just as the Allegheny River does. Lyrical themes and heroic melodies capture the strength of the Seneca Nation.

Sword of the Titans by Rossano Galante, Grade 4.5
A brilliant and thrilling programmatic work from the pen of Rossano Galante, “Sword Of The Titans” is a musical portrayal of a journey of a group of titans in their quest to retrieve one of their stolen swords that was lost in battle. The sword possesses great magical powers and is vital to their reign. The music describes this adventure with dark, melodic lines in the horns, and majestic fanfares in the trumpets and trombones. Ultimately, the titans retrieve their stolen sword as the work concludes, utilizing powerful brass fanfares and woodwind ostinati. A magnificent tour-de-force for mature bands!

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About the Author:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.

Must reads and best-sellers for Music Educators

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recommended by Jen Sper and Lora Moore, School Choral Music Specialists

Teaching Music Through Performance in Contemporary A Cappella compiled and edited by Deke Sharon, J.D. Frizzell & Marc Silverberg
“Teaching Music Through Performance in Contemporary A Cappella” is the essential book for a cappella repertoire and rehearsal techniques, compiled and edited by educators and leaders committed to demystifying the genre and providing teachers with access to the best repertoire and pedagogy possible.

Built on the model of the best-selling “Teaching Music Through Performance” series, this volume includes chapters on the most important issues in teaching and learning contemporary a cappella, and analysis and insights for 82 works across genres: Barbershop, Contemporary A cappella, Doo-wop, Folk/Classical, Vocal Jazz. The list of composers and arrangers is diverse; the repertoire includes both arrangements and original compositions. Each selection is representative of a major a cappella trend or historical event, such as repertoire from The Sing-Off, Pitch Perfect, The Real Group, Sweet Adelines, or Pentatonix. Of course, every selection – regardless of musical style – is performed a cappella.

The authors also develop a five-point difficulty scale for evaluating literature, and each guide contains detailed information about the arrangement or composition, including where the arrangement was first performed, the history of the original song, and the styles it represents.

In creating the Teacher Resource Guides, the authors enlist the help of a cappella educators, arrangers, engineers, performers, and well-established experts. Each Guide also includes a new section called “Educational Extensions,” which provides suggestions on how to utilize the repertoire for extended classroom lessons, both as part of the rehearsal and part of a general music classroom.

Chapter topics include “A Cappella: An Overview” by Marc Silverberg; “Emotional Expression in Group Singing” by Deke Sharon and J.D. Frizzell; “Teaching Singers to Sing in All Styles: The Spectrum Method” by Erin Hackel, and “Lessons You Can Learn from Competing,” by Ben Spalding.

There is simply no better way to find and prepare the best contemporary a cappella literature available for achieving excellence in music education at all levels. “Teaching Music Through Performance in Contemporary A Cappella” is a groundbreaking volume destined to make a significant contribution.

The Art of Competitive Show Choir (The Why, What, and How of Making Better Musicians and Humans) by Jen Randall
Thinking about starting a competitive show choir? Hoping to infuse new energy into your current program with fresh ideas? Wondering what all the hype is about? Look no further! “The Art of Competitive Show Choir” is the essential how-to guide for building and sustaining a thriving show choir program, perfect for new and seasoned professionals alike. With her hallmark wit and nearly two decades of experience, author Jen Randall offers a wealth of knowledge, wisdom, and tools that address every crucial aspect of the show choir world.

This resource tackles the topic from three equally important perspectives. In Part I, Randall addresses the critical question of why students and teachers participate in show choir and why schools and students benefit from such a program.

Part II delves into the all-important what of show choir, including what it takes to get started, what a successful program looks like, and what value there is in being part of a tight-knit ensemble. She also discusses the key role competition plays in pushing groups to strive for excellence as well as the valuable lessons it provides all participants.

Part III is a practical how-to guide with information on everything from how to audition students, schedule rehearsals, and successfully fundraise to selecting music, arrangers, instrumentalists, choreographers, costumes, and even appropriate competitive experiences for your group.

Randall rounds out this resource with an explanation of the typical yearly calendar for show choir directors, a glossary of key show choir terms, and a convenient list of dozens of online resources.

“The Art of Competitive Show Choir” is the first ever resource to cover the subject with such detail and authority – all while keeping the growth and development of the students at its core. A must-read for anyone in charge of a competitive group!

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!

Does your jazz ensemble have rhythm?

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recommended by Eric Stratton, Jazz Specialist

After Dark by Bryce Newton, Grade 1
“After Dark” is an exceptional chart to introduce swing style from the very first rehearsal! This “Jazz Starter” is expertly written well within the easy level, allowing your students to sound good quickly and find success in learning to swing. Lots of great teaching material is packed into this piece. Students will enjoy the mysterious mood of this chart and will be engaged from the very start! A winner!

By George by Paul Baker, Grade 2
Based on the famous chord changes of Gershwin’s “I Got Rhythm,” this fun swinger introduces these indispensable patterns to younger players. A strong dialogue between brass and saxes sets the tone early before the saxes take the melody. The trumpet section takes over for the bridge before handing things back to the saxes to finish the chorus. The written Alto Sax solo is based on Charlie Parker’s solo on “Moose the Mooch.” The written Trumpet solo is based on solos from Ella Fitzgerald and Bud Powell. The shout section opens with the horns “trading fours” with the bassist (written bass solo provided). The Ensemble prevails until returning to a recap of the intro leading into the final chord. Trumpet range is to written G. Trombone range is to F.

High Flyer by Carl Strommen, Very Easy
This bright swing for beginning groups is based on the chord changes to “Lullaby Of Birdland” by George Shearing. The open solo section (written or ad lib) features any soloist, with solo sheets provided in all keys along with scales to assist students in improvisation.

Hold the Mayo by Howard J. Rowe Jr., Easy
The exciting and fun introduction moves to a big band swing and has a roaring finish that will have your developing group sounding like pros! The open solo section (written or ad lib) can be played by any soloist, with solo sheets provided in all keys along with scales to assist students in improvisation.

How the Mind Wanders by Lars Halle, Medium
Balance your concert program with this buoyant, medium-tempo swinger for advancing groups that evokes classics like “L’il Darlin’” and “Cute.” Although solo space is provided for alto saxophone and trumpet (written or ad lib), it’s the band that truly shines on this toe-tapping number.

It’s Go Time by Rich Woolworth, Grade 3
This straight-ahead, happy swing chart is a perfect opener for any band’s concert or contest performance. The trumpets get the first statement of the melody, followed by lots of fun ensemble work and written or ad-lib solos for Trombone, Alto, Bari and Trumpet.

Mack the Knife arr. Rick Stitzel, Grade 1.5
Recorded by both Louis Armstrong and Bobby Darin in the 1950s, this iconic standard has remained popular through the years and has been recorded by countless jazz artists. This arrangement for beginning jazz bands features a moderate swing tempo, easy rhythms, and solo (or soli) sections for saxes, then trumpets.

My Man Sam (For Sammy Nestico) by Gordon Goodwin, Grade 3.5
“My Man Sam” by Gordon Goodwin is a tribute to the late, great, brilliant arranger/composer, Sammy Nestico! The medium swing tempo is 134 BPM and the suggested written solos are for trumpet 2, alto 1, tenor 1, and trombone 1. Superb writing provides sweet sax solis, great dynamic contrasts, lead trumpet range to written B above the staff, and a wonderful shout chorus. Optional parts include flute, vibes, and more. Sammy would love this chart!

That’s the Idea by Gregory Yasinitsky, Medium
This exciting, up tempo swing chart for advancing groups, which features solos for 1st Alto Saxophone, 2nd Trumpet and Piano (written or ad lib), a saxophone soli and an ensemble chorus which moves from a whisper to a roar. Standard instrumentation with optional flute, 5th trumpet and vibes part, a guitar chord chart by Jim Greeson is included in each set.

Uptown Throwdown by Zachary Smith, Grade 1
This is a very cool shuffle-swing groove played around 140 BPM. Written solos are provided for trombone 1 and alto 1, a stop-time interlude, a big shout chorus, and an optional vocal shout-out too! Optional parts for flute, clarinet, and vibes and more. A powerful chart everyone will enjoy!

We’ll Be Right Back by Paul Baker, Grade 3
Johnny Carson looks into the camera and says, “Well Be Right Back” and the band launches into a hard swinging chart with a big brass punches answered by a hard charging sax section. The bridge is dominated by a bebop trumpet section soli before handing back off to the saxes to finish the chorus. Solo opportunities are provided for Alto Sax and Trumpet, or piano or guitar may be added or substituted. The solo changes are “Rhythm Changes” except they’re in concert Eb this time. Trumpets get to have some fun with plungers on the background figures. The Shout Section ensues featuring a trombone section soli on the bridge. A brief coda leads to the signature ending. Trumpet range is to written High C. Trombone range is to G.

Wild Card by Doug Beach & George Shutack, Grade 1
Here is the perfect combination of an infectious melody, great scoring and many of the swing figures that are essential for groups at the very easy level to learn. The approachable blues changes in F concert make this a great chart to encourage young players to improvise. Scored for four horns with rhythm section and expandable to full big band. Written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

Fantastic Full Orchestra Arrangements

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recommended by Megan W., Orchestra Specialist

It’s About Time arr. Michael Story, Grade 3
“It’s About Time!,” a wonderful pops arrangement by Michael Story, contains three timeless pops tunes that are brilliantly put together. Although some of the wind parts are independent from the strings at times, this arrangement is completely playable by strings alone or with any number of added winds and percussion. A great closer to any pops concert or season finale! Titles include: “Summertime,” “As Time Goes By,” and “Time After Time.”

Genesis by Rossano Galante, Grade 3.5
“Genesis” by Rossano Galante is a stunning original cinematic overture that will transport your students to the movie soundstage. This stunning cinematic overture is a musical journey that depicts the rebuilding of humankind into a Utopian society. The scene is set with a dramatic, rhythmic ostinato joined by the melody, which is indicative of hope for world peace, and builds to an intense peak before slowly fading away.

Symphony No. 6, 2nd Movement by Piotr Ilyich Tchaikovsky/arr. Richard Meyer, Grade 2.5
The second movement from his sixth and last symphony finds Tchaikovsky at his melodic best, arranged by Richard Meyer. This elegant “waltz” in 5/4 meter has long been a favorite of audiences and is an excellent way to introduce your students to a too often neglected time signature. The interesting instrumentation features winds and strings complementing each other as the two halves of the orchestra take turns playing the melody and accompanying. The brooding and somber Trio section will allow your students to emote in an entirely different way. Five percussion parts have been tastefully weaved into the musical tapestry. From a master of symphonic expression at the height of his abilities, this selection is sure to showcase the best your students have to offer.

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About the Author:
Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.

3 Collections of New Organ Music

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recommended by Caryn G. and Judy S., Sacred Keyboard Music Specialists

Three Hymns of Rejoicing arr. Robert J. Powell, for Advanced Organ
“Rejoice, Rejoice, Believers,” “Rejoice the Lord is King,” and “Rejoice Ye Pure in Heart” give this collection its name. Festive and celebratory in character, each with its own unique style. From the fugal type passages in “Rejoice the Lord is King” to the more march like setting of LLANGLOFFAN, the creative attributes of Robert Powell’s compositional technique are on display.

Tell Out My Soul arr. Daniel Burton, for Advanced Organ
A collection of fresh settings of eight often used hymn tunes. The writing is creative, yet accessible and can be learned quickly. A very useful set of hymn settings that can span the church year. Titles include: “Father, We Praise Thee,” “Glorious Things of Thee Are Spoken,” “God, Whose Love Is Reigning O’er Us,” “Hail to the Lord’s Anointed,” “Holy God, We Praise Thy Name,” “A Mighty Fortress Is Our God,” “Praise the Lord Who Reigns Above,” and “Tell Out, My Soul.”

It Is Well with My Soul arr. Maureen Howell, for Advanced Organ
Useful and tuneful settings of five of the most used hymns in American churches. Fresh approaches to these tunes that will fit will into most organist’s repertoire. Titles include: “Amazing Grace,” “Blest Be the Tie That Binds,” “Come, Ye Sinners, Poor and Needy,” “River of Peace (It Is Well with My Soul),” and “There’s a Wideness in God’s Mercy.”

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About the Authors:
Caryn G. is a graduate of Trinity Lutheran College (Washington state). She has over 24 years of experience working at Stanton’s in both the Piano and Choral departments, specializing in sacred piano music. She is a church pianist/accompanist and has enjoyed being a piano teacher and singing in many choirs over the years. When not working at Stanton’s or at church, she loves spending time with family members and friends, traveling and exploring, watching movies, reading, bike riding and most recently trying to better her culinary knowledge and be a little more artsy by painting rocks and water coloring.

Judy S. has 30 years of private piano teaching experience and 40 years as a church pianist. Her experience makes her a valuable connection for anybody who calls the piano department.

7 Pieces to Feature Your Band’s Development

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recommended by Ken T., Band Education Specialist

A Builder’s Dream by Adrian B. Sims, Grade 1.5
It is easy to be in awe at the level of detail and magnitude of the spectacular skyscrapers that fill the skylines of large cities. This work takes the listener on a tour of a building site as the resulting superstructure begins to take form. Grooving rhythms and memorable melodies make this an excellent choice for young bands!

Castles and Crowns by Robert Buckley, Grade 1.5
Heroic and regal, this colorful concert opener for young ensembles will spark the imagination and energize any performance. Featuring majestic fanfares, powerful percussion and dramatic contrasts, this work is skillfully scored so that developing players will sound their best. A vibrant processional with a medieval twist!

Cataclysm of the Cosmos by Amy Webb, Grade 1.5
“Cataclysm of the Cosmos” by Amy Webb depicts the powerful crash of meteors upon the Earth, decimating the dinosaurs! Propel your ensemble right into the spectacular fray with pounding eighth-note strikes, each tearing into the Earth’s crust. A brief interlude in the middle gives your audience the false sense of calm before the meteors begin striking the earth again with a measured intensity that will be a treat for students to play! A terrific opener!

The Gathering by Brooke Pierson, Grade 1.5
Brooke Pierson’s “The Gathering” is a creepily inspired waltz in 3/4 time for young bands. A great choice for Halloween performances, this waltz has plenty of excellent learning opportunities, especially if you want to work on accidentals!

Guardians of the Vanguard by Tyler Arcari, Grade 1.5
Inspired by the composer’s love of video games, specifically “Destiny,” this piece is a great introduction to the ABA form. The middle section, lyrical yet still driving, is an opportunity for expressive playing. Whether for contest and festival or for their spring concert, your students will love playing “Guardians of the Vanguard.”

Ingenuity by Larry Clark, Grade 1.5
Larry Clark’s newest march, “Ingenuity,” is the ideal introduction to the march style. This traditional march is perfect for contest and festival.

Looking Up! by Robert Sheldon, Grade 1.5
This up-tempo piece delivers a happy and energetic mood! Fun parts are provided for everyone, and the percussion section has plenty to do. Perfect as a concert opener, the rhythmic drive and tuneful melody is sure to engage the audience, leaving them with toes tapping and smiles on their faces.

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About the Author:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.

Sing and Dance Like You’re In Hawaii!

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recommended by Jen Sper and Lora Moore, School Choral Music Specialists

Hawaiian Beach Party (A 30-Minute Staycation Presentation) by Andy Beck & Brian Fisher
Celebrate the boundless beauty of Hawai’i with this delightful 30-minute presentation. Hosted by Principal Peterson and Kumu Leilani, our cultural guide, the kids (any number) at this party not only sing and dance to several Hawaiian hit songs, they also learn about the traditions, beliefs, and language of the land. Complete production notes, created with the help of Hawaiian experts, ensure that your simple staging, costuming, and decor are both effective and authentic. Accompaniment tracks feature plenty of ukulele, steel guitar, and live percussion on a playlist that includes popular hula selections, hapa-haole songs, arrangements inspired by Israel Kamakawiwo’ole, a rockin’ version of “Wipe Out!,” and more! Recommended for grades three and up.

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!

Save the World from Your Piano

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Superhero Themes
Big Note
Young fans of action movies and TV shows learning to play the piano will love playing the 14 heroic melodies in this book. Each piece is arranged with simplified melody, harmony, and rhythm. With a little practice, even beginners can sound just like their favorite heroes and sheroes! Titles include: “Theme from Ant-Man,” “Avengers Unite,” “Batman Theme,” “Captain America March,” “Elastigirl Is Back,” “Guardians Inferno,” “Immortals,” “The Incredits,” “Iron Man,” “Pow! Pow! Pow! (Mr. Incredibles Theme),” “Rocketeer End Titles,” “Theme from Spider Man,” “Wakanda,” and “X-Men: Apocalypse (End Titles).”

Easy Piano
Don your cape and tickle the ivories with this heroic collection for easy piano. Titles include: “Theme from Ant-Man,” “Avengers Unite,” “Batman Theme,” “Captain America March,” “Elastigirl Is Back (from Incredibles 2),” “Guardians Inferno (from Guardians of the Galaxy, Vol. 2),” “Immortals,” “The Incredits,” “Iron Man,” “Pow! Pow! Pow! (Mr. Incredibles Theme),” “Rocketeer End Titles,” “Theme from Spider Man,” “Wakanda (from Black Panther)” and “X-Men: Apocalypse (End Titles).”

Movie Heroes for Students arr. Tom Gerou
Book 1
“Movie Heroes for Students, Book 1” is arranged at the late-elementary level. Dotted-quarter notes and triplets have been avoided with minimal use of eighth notes. Key signatures are limited to one sharp or flat. A maximum of two-note intervals in either hand and simple meters of 4/4 or 3/4 allow for greater accessibility. Titles include: “Batman Theme.” “Hedwig’s Theme (from Harry Potter and the Sorcerer’s Stone),” “Iron Man,” “James Bond Theme,” “Luke and Leia (from Star Wars Return of the Jedi),” “The Medallion Calls (from Walt Disney’s Pirates of the Caribbean: The Curse of the Black Pearl),” “Raiders March (from Raiders of the Lost Ark),” “Star Wars (Main Theme),” and “Theme from Superman.”

Book 2
“Movie Heroes for Students, Book 2” is arranged at the early-intermediate level. Sixteenth notes and triplets have been avoided. Key signatures are limited to one sharp or flat. Chords contain a maximum of three notes in either hand and simple meters of 4/4 or 3/4 allow for greater accessibility. Titles include: “Batman Theme,” “Hedwig’s Theme (from Harry Potter and the Sorcerer’s Stone),” “He’s a Pirate (from Walt Disney’s Pirates of the Caribbean: The Curse of the Black Pearl),” “Iron Man,” “James Bond Theme,” “Princess Leia’s Theme (from Star Wars),” “Raiders March (from Raiders of the Lost Ark),” “Star Wars (Main Theme),” “Theme from Superman,” and “Wonder Woman.”

Book 3
“Movie Heroes for Students, Book 3” is arranged at the intermediate level. Sixteenth notes and triplets are included. Key signatures are limited to two sharps or flats. Chords contain a maximum of three notes in either hand. Mixed meter and 6/8 time provide rhythmic variety. Titles include: “Batman Returns,” “Harry and Hermione (from Harry Potter and the Half-Blood Prince),” “He’s a Pirate (from Walt Disney’s Pirates of the Caribbean: The Curse of the Black Pearl),” “Iron Man,” “James Bond Theme,” “Marion’s Theme (from Raiders of the Lost Ark),” “Raiders March (from Raiders of the Lost Ark),” “Star Wars (Main Theme),” “Theme from Superman,” and “Wonder Woman.”

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4 New Favorites for your Middle School Choirs

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recommended by Jen Sper and Lora Moore, School Choral Music Specialists

Dance Monkey arr. Bryan Sharpe, 3-part mixed a cappella
Developing a cappella groups will be obsessed with this Tones and I tune, which leaves listeners wanting more! According to Guinness World Records, this chart-topping viral sensation has become the most popular song ever on the music identification app Shazam. Bryan Sharpe’s awesome 3-part mixed arrangement features a soloist (or small group) on the main line, includes a fully notated vocal percussion part, and captures all the pulsating dance energy of the indie-pop original. “Dance with me, dance with me!”

The Greatest Show (from The Greatest Showman) arr. Bryan Sharpe, 3-part mixed/SAB a cappella
Presenting the dramatic opener from the blockbuster film “The Greatest Showman” in 3-part mixed/SAB and SSA arrangements for contemporary a cappella groups! Yes, even developing choirs can get in on the act with this powerhouse that is equally impressive and accessible. Surging energy grabs you right from the start and takes you to dizzying heights by the sing-your-heart-out chorus. Includes body percussion for the entire group, plus online access to a notated vocal percussion part.

What a Wonderful World arr. Andy Beck, SSAB a cappella
This inspired setting faithfully retains the Hawaiian character of Israel Kamakawiwo’ole’s cover. Andy features the sopranos, then altos, on the classic melody, accompanied by rhythmic “aloha’s” from other sections of the choir. This adaptable publication invites you to perform a cappella or with optional piano, ukulele, or guitar. A special arrangement that honors the depth of the original song, the spirit of “Brother Iz,” and the beauty of the earth.

Higher and Higher (Your Love Keeps Lifting Me) arr. Kirby Shaw, SSAA a cappella
A bona fide hit that ranks among Rolling Stone’s 500 Greatest Songs of All Time, this undeniably happy tune is also in the GRAMMY Hall of Fame. Having been recorded by popular artists in nearly every decade since the 1960s, the song truly stands the test of time. A cappella groups will love Kirby Shaw’s accessible treatment, with driving rhythms and bright choral sonorities to spare.

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About the Authors:
Jen Sper is a Choral Music Specialist here at Stanton’s Sheet Music. A native of Cincinnati, she holds a Bachelor of Music Education degree from Baldwin Wallace College (now University) Conservatory of Music, and taught 7-12 choir, music theory, class piano, and drama in Southern Ohio before joining the Stanton’s team in 2006. An active choral singer and accompanist throughout the Central Ohio area, Jen can also often be found exploring the exciting restaurant, brewery, and theater scenes in Columbus, wandering through the local metro parks, visiting family around the Great Lakes, or at home with her very friendly cat.

Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!

9 NEW Additions to the Claud T. Smith Flexible Ensemble Series

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recommended by Ken T., Band Education Specialist

Avondale Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
“Avondale Overture” is perfect for younger concert bands. Simple key changes, tempo changes, and one 7/8 measure provide appeal and interest for students and teachers alike. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Castlebrooke Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
Dedicated to William (Bill) Maupin, a friend and fellow music educator of Claude T. Smith, “Castlebrooke Overture” is a perfect piece to introduce younger ensembles to meter changes and a couple measures in 3/8 time. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Concert Variations by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
“Concert Variations” was written for the Lambda Chapter of Phi Beta Mu and originally premiered at the Missouri Music Educators Convention in 1975. This flexible arrangement allows ensembles to perform the work with as few as nine musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Declaration Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
“Declaration Overture” has a five-note motive in an opening slow section, followed by a driving Allegro where the original five-note motive is put through a series of variations. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Emperata Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 4
This is the composition that started it all! “Emperata Overture” is a wind band classic for concert and festival alike. The original publication of this work established Claude T. Smith’s use of the 7/8-time meter as his signature rhythmic device for instrumental ensembles. This flexible arrangement allows ensembles to perform the work with as few as 14 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

God of Our Fathers arr. Claude T. Smith/ed. Joseph Benjamin Earp, Grade 4
“God of Our Fathers” is based on the hymn with the same name and is one of the most iconic American Christian hymns dating back to the 19th-century. Claude T. Smith’s concert band arrangement of this hymn has become a staple of band literature. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Dramatic Prelude by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3.5
“Dramatic Prelude” begins with a “dramatic” fanfare, which is followed by an easily accessible melody; a del segno takes you back to the “dramatic” fanfare and an ending as exciting as the beginning. This flexible arrangement allows ensembles to perform the work with as few as 12 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Sonus Ventorum by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 3
Translated as “Sound of The Winds,” “Sonus Ventorum” begins with a dramatic opening for full band segueing into an energetic allegro section. This flexible arrangement allows ensembles to perform the work with as few as 14 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

Stone Mountain Overture by Claude T. Smith/arr. Joseph Benjamin Earp, Grade 2
“Stone Mountain Overture” was beautifully written to ensure success with younger ensembles. The composition is wonderfully developed with captivating rhythmic themes and dynamics. This flexible arrangement allows ensembles to perform the work with as few as 10 musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound.

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About the Author:
A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.

7 Perfectly Programmable Pieces for High School Orchestra

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recommended by Megan W., Orchestra Specialist

March of the Little Lead Soldiers by Gabriel Pierné/arr. Douglas E. Wagner, Grade 3
“March of the Little Lead Soldiers” arranged by Douglas Wagner is a delightful musical bonbon, from Gabriel Pierné’s “Album for My Little Friends.” The piece presents a refreshing out-of-the-box programming opportunity for any string orchestra concert. This arrangement, which highlights the playful recurring main theme and persistent pizzicato passages, creates an entertaining audience experience, as well as an educational vehicle full of teachable moments.

Triumph by Armond Wimberly, Grade 3.5
This dramatic and powerful original work paints a vivid image of ancient warriors returning home triumphantly from battle. Long melodic lines over heavy syncopated 16th-note figures accompanied by body slaps and foot stomps create an exciting musical landscape that young orchestras will want to experience over and over. The middle section provides a smooth contrast while keeping the tension building into an intense, climactic conclusion.

Oblivion by Larry Clark, Grade 2.5
This piece is epic, fresh, and cool. Your students will be asking to play this on loop! Great part-writing gives each section something to work towards with lots of opportunity to practice bowing technique as well as pizzicato passages. “Oblivion” is going to fit on any concert program!

Coming Back by Tyler Arcari, Grade 2
Commissioned during Covid-19, this work is meant to inspire us as we “Come Back” to normal. Hopeful, and mostly upbeat, the work has moments of tension and sadness that underscore the year that we have had through music. We all hope to get back to normal soon, and “Coming Back” is a perfect anthem for that sentiment.

Spirited Voyage by Joshua Reznicow, Grade 4
A positive spirit, joyful energy, and a carefree attitude best describe this scherzo! All sections have a lot of action and musical energy utilizing two distinct melodic themes. The opening and primary spirited themes are coupled with an emotional but gorgeous second melody reminiscent of American fiddling ballads. This section features solos for the viola and viola section as well as for violin, cello, and bass. With big sweeping cinematic moments followed by an upbeat and spirited ending, this piece promises to be a unique program choice as an opener or closer.

(You Are) Amazing by Brian Balmages, Grade 2.5-3
Pay it forward with this message of hope, joy and beauty. Inspired by a sidewalk chalk message, the uplifting music reminds us that we each bring something unique and valuable to the world. Simple time signatures combine with a driving, syncopated rhythmic background to create a work that is spirited and forever joyful!

Rhythmos by Kathryn Griesinger, Grade 3
The title refers to the Latin word for “rhythm” as well as to the ancient Greek term meaning symmetry, harmony, and rhythm in music or speech. This original work for string orchestra explores a variety of interlocking rhythmic structures that support a solemn melody in A minor. The theme moves through several dramatic modal shifts, with a spiccato rhythmic motif re-appearing throughout the sections of the orchestra.

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About the Author:
Megan W., originally from Pittsburgh PA, is happy to call Columbus and Stanton’s Sheet Music “Home.” As a musician, Megan has played in marching and concert bands, youth orchestras, full orchestras, small ensembles, and a few choirs. Her interests include fiddling, reading, writing, martial arts and yoga.

Funk it Up in Jazz Ensemble!

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recommended by Eric Stratton, Jazz Specialist

Funktion Junction by Doug Beach & George Shutack, Grade 1
This great funk original at the very easy level will kick your next “funktion” (or concert) into high gear. Plenty of fun playing for both the rhythm section and the wind sections. Scored for 4 horns with rhythm section and expandable to full big band. Written or ad lib solos for all are included, along with optional parts for flute, clarinet and horn in F.

Updraft by Jeff Jarvis, Grade 3.5
A solid, infectious 3/4 funk groove is coupled with a modern chord progression to give this driving chart plenty of audience appeal. Written or ad lib solos are offered for tenor sax and trumpet, but can be assigned to other instruments if desired. Written for advancing groups, trumpets double on flugelhorn, and a guitar chord chart by Jim Greeson is included in each set.

In Memory of Elizabeth Reed arr. Dallas Burke, Grade 3
This classic rock hit from the Allman Brothers makes a really interesting work that’s laidback and funky. This chart features ad-lib or written Tenor Sax and Trumpet solos and an ad-lib Guitar solo in between all the funky goodness.

Uptown Funk arr. Paul Murtha, Grade 3
Recorded by Mark Ronson and featuring Bruno Mars, this sassy funk tune is on its way to becoming a modern day standard. Here’s a hot version for vocal solo that captures all the excitement of the original.

Papa’s Got a Brand New Bag arr. Allen Gray, Grade 2
This funky soul classic from the great James Brown makes an exciting chart that will get your band on the good foot! The solo section features space for any instrument to solo over Eb blues changes.

Son of the Chicken by Kris Berg, Grade 2
Yep, it’s the 20-year anniversary of the original “Chicken” chart arranged by Kris Berg. This original is more accessible for younger bands with a chorale intro, written solos for trumpet 1 and tenor 1, and lead trumpet range is to written G on top of the staff. It’s funky. It’s hip ’cause everybody loves the chicken!

Workin’ Day and Night arr. Allen Gray, Grade 3
This funky pop tune from Michael Jackson will be a hit for both your audience and your students! With no solos, this tune just gets funky from the downbeat and doesn’t let up on the gas until the end.

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About the Author:
Eric Stratton is the Jazz Specialist at Stanton’s Sheet Music. From Westerville, OH, Eric received a Bachelor of Music in Classical Bass Performance and a Bachelor of Arts in Jazz Studies from Otterbein University. On both electric and double bass, he plays in various groups around Columbus, including New Albany Symphony and Westerville Symphony orchestras. He enjoys listening to and playing many types of music, from jazz, pop, to rock and metal. Some of Eric’s favorite performance opportunities are in the pit orchestras of musical theatre productions. When Eric isn’t gigging or at Stanton’s, he enjoys playing video games, hanging out with his cats, performing repair and tech work on guitars, and going to local restaurants and breweries with friends.

6 selections in 1 collection

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A Mighty Fortress: Six Hymn Improvisations for Organ arr. Jerry Westenkuehler
A creative collection featuring well-known hymn tunes that will be useful for preludes, postludes, and concert selections. Titles include: “Fantasia on Ein’ feste Burg,” “Meditation on Holy Manna,” “O Sacred Head, Now Wounded,” “Savior, like a Shepherd Lead Us,” “’Tis So Sweet to Trust in Jesus,” and “We’ve a Story to Tell to the Nations.”

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Unique voice for your elementary music classroom

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recommended by Jen Sper & Lora Moore, School Choral Music Specialists

In Their Own Words: Slave Life and the Power of Spirituals by Eileen Guenther
This groundbreaking study of slavery and spirituals is the first to place the unique voices of an enslaved people squarely within the context of their daily lives. Dr. Guenther’s deeply researched account weaves a succinct history of “America’s original sin” into an examination of the role of singing and religion in slave life and directly correlates slave testimonies – in their own words – to the themes of Spirituals. In addition to surveying the musical styles, performance practices, and melodic and rhythmic characteristics of spirituals, “In Their Own Words” includes a biblical concordance to 100 of the spirituals most frequently sung.

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About the Authors:
Jen Sper has been with Stanton’s since 2006. A former middle school and high school choral director, she holds a Bachelor of Music Education degree from Baldwin Wallace College Conservatory of Music. An active choral singer and accompanist throughout the Central Ohio area, she also enjoys good food, running (to counteract the good food…) and the Muppets.

Lora Moore joined the Stanton’s choral staff in July 2018. A former middle school and high school director of 32 years and a former church choir director of 20 years, she holds a Bachelor of Arts in Choral Music from Capital University and a Master’s of Arts in Choral Music from The Ohio State University. During the off hours, Lora enjoys scouting out new day trips in Ohio to balance what her budget allows for her frequent trips to New York City to visit family and take in a Broadway show or two!