


Hi everybody!
Finally! I hope (and know) that many of you are back to making music in small or large ensemble settings and that the students and players are flourishing thus far!
For my February 2022 Band updates, I have put together a small collection/top picks list of repertoire and book series, focusing on BACK TO BAND fundamentals! It's time to shake out those cobwebs (or, re-teach beginning band for a while)...
In addition to this I have included some information on the OBA Ensemble Festival and The Kiwanis Toronto festival, both virtual, and both upcoming in March and April respectively. Thanks for taking the time to click through to this update!
SCROLL DOWN FOR THE BAND RESOURCES AND SELECTIONS FOR REBUILDING!
I am always available to chat about repertoire, programming, resources, or anything at all! Find me quickly and easily at humberbayrealestate@gmail.com. OR on Instagram @humberbayrealestate
OBA SMALL ENSEMBLE FESTIVAL 2022
OBA INFO SITE AND REGISTRATION:
https://www.onband.ca/utsc-oba-small-ensemble-festival
The Ontario Band Association presents the 2022 Virtual Small Ensemble Festival
Deadline Submission Date: April 22, 2022 at 11:59pm
Format: Video preferred (mp4) but audio only will also be accepted
Registration Fee: $40 per ensemble (Teacher’s OBA Membership must be paid/current)
Registration/Application/Upload LINK: https://form.jotform.com/220304731359248
THE VIRTUAL FESTIVAL:
The 2022 Small Ensemble Festival (formerly known as the Chamber Music Festival) is a festival experience for small ensembles of all genres and is open to ANY combination of instruments with a minimum of two players (not including accompaniment).
In 2022, the small ensemble festival is back in virtual format, open to varied instrumentation(s) and levels – both video MP4/MOV/AVI and audio MP3/WAV will be accepted. Title/Composer/Arranger/Publisher info for each performed piece will be required, but *NO copies of music digital/scanned/or otherwise will be required.*
WHAT KIND OF MUSIC SHOULD THEY PLAY?:
Choice and level of repertoire is completely up to the teacher and students. Any and all genres are not only accepted, but encouraged.
New for 2022, We have a resource list of useful publications, in case you don’t have quick access to chamber/ensemble appropriate literature. Most of these publications can be purchased from any of our sponsors in the print music side of the Music Industry, or online in digital format.
WHY PARTICIPATE?:
This is a perfect way to have your students work toward a mid-semester assessment while developing their ensemble skills within our current limitations.
The UTSC/OBA Small ensemble festival is an additional (and supplementary) chance for your students to engage in music making in a supportive and nurturing environment.
CONTACT US!: On behalf of my team and myself, we look forward to seeing you at the festival in April. Questions?
Please feel free to contact the festival director, Shashi Ramu at sef@onband.ca or directly at 647 825 7476
ADJUDICATION:
This is a brilliant opportunity for your students to obtain external adjudication on their performances – whether they are video/audio recorded at school, or recorded and mixed online. Any and all entries are eligible for an adjudication, optional rating, and a chance to qualify for MusicFest Canada – The Nationals, 2023.
Students will receive thoughtful guidance, suggestions, and feedback offered by our adjudication team. Adjudications will focus on overall musicianship, ensemble specifics such as blend, balance, and technical/fundamental considerations of the chosen pieces of repertoire.
FESTIVAL ENTRY:
Teachers should have an active OBA membership to enter as many ensembles as they’d like.
Registration Fee: $40 per entry. Maximum music playing time is 15 minutes. (Average/Recommended is 5-10 minutes of music)
This is a perfect way to have your students work toward a mid-semester assessment while developing their ensemble skills within our current limitations.


KIWANIS MUSIC FESTIVAL TORONTO - ONLINE 2022
www.kiwanismusictoronto.org SUBMISSION DEADLINE: MARCH 31, 2022
GTA Band and Strings folks - Please consider this!- It is a wonderful performance opportunity for the keen kids. There are now classes/categories for school-program-only students which will be judged on a different scale/rubric than upper competitive classes. Encourage some of your students who have been using SmartMusic and/or working on technique and study exercises via distanced learning, to submit a quick video for a very detailed and constructive adjudication from this year’s panel. The emphasis with these new classes is to help you build up momentum with your student leaders, so that you’ve got them ready to go when you return to live classes and rehearsals.
Deadline for video submission is March 31. A woodwind/brass/or strings submission costs $40-$45 (approximately)
If you have a student who is interested in entering one of the graded classes , the syllabus includes collections and books from which to choose the piece – and it also promotes the student’s/teacher’s “own choice”. Many of these are common books (in some cases method books too) which you may have on your shelves and/or are available through music dealers and/or are available for digital download through a music dealer (Such as Harknett, for example!)
PLEASE don’t hesitate to reach out to me (humberbayrealestate@gmail.com) if you’d like to chat about pieces/repertoire/selection/appropriate levels/classes for any of your keen woodwinds/brass students. If you need to purchase books, I can also check availability/hold/forward your order at/to HMS.
USING REPERTOIRE FOR A REASON: BACK TO BAND TOP PICKS TO GET THOSE ENGINES STARTED....LET’S FOCUS ON FUNDAMENTALS!
This list of titles is curated from the newest releases from the publishers. I have included a few bulleted thoughts for each piece as well as a link to the recording and/or score video.
Most of these titles are available to purchase in bound or digital format through Harknett Music. Please contact the store 905 477 1141 or mary@harknettmusic.com for more info.
GRADE 0.5 – 1:
Rust Belt 0.5 William Owens LINK TO PUBLISHER RECORDING
- 6 Notes within limited ranges
- Beginning rhythms not exceeding an eighth note which moves around quite a bit. Most people have the eighth note movement.
- Metre, counting, rests, which lead to entrances and releases. CLEAR definitive articulation
- :45 pyramid effect with the BIG BEN/CLOCK TOWER quotation in there. MIGHT be recognizable to some students and if not, good opportunity to explain that reference.
- Talk about the Rust Belt emulation through the feelings and the sound of the piece using musical examples from either the students individual parts or what they hear across the band.
At The Water’s Edge 1 Rob Romeyn LINK TO PUBLISHER RECORDING
- 3/4
- syncopated melody
- First octave
- Squarely arranged, moving re-distributed melody with static background parts
- dynamic markings and swells, teach breathing and phrasing, fermata, rubato.
- Mallet and unpitched percussion parts
Motitus 0.5 Ryan Meeboer LINK TO PUBLISHER RECORDING
- Motitus is Finnish military slang which describes the tactic of totally encircling an enemy unit, in effect: entrapment.
- Distinct and active percussion parts which are not only accompanying the clean and clear band parts which are all based on a melody which MAKES SENSE.
- There is a clear difference between background parts and melody.
- The low group (low brass and low WW) do have a full melodic statement in the piece as well.
- Canadian Content, support Canadian composers..
- Conceptual counting of rests. Assigning values in simple time and knowing when to articulate and when to stop the air.
Fanfare and Festival 0.5 Robert Sheldon 00-48106 LINK TO PUBLISHER SITE WITH RECORDING
- Publisher graded it as a Grade 1, let’s downgrade it to a 0.5. (for real)
- Midyear (holiday) concert or performance. This is a simple piece which resembles an elongated band book exercise.
- Attention is given to dynamics.
- Passing moving parts around through the band. This is reasonably short and easy blow for the young ones.
- More engaging if played faster than recording/marked tempo.
- Articulation and stylistic differences are taught here, accents and staccatos. The two note slur patterns in upper woodwinds in the 2nd part of the melody.
- At least 3 percussion needed, but plenty of activity for 5 or more.
GRADE 1.5
Retrograde 1.5 Vince Gassi LINK TO PUBLISHER RECORDING
- The piece has a recurring motive which does make it kinda catchy and tuneful and memorable. It has a great energy to it with forward momentum.
- It has that teachable Vince Gassi SOUND – the piece is like a miniature musical puzzle and when the pieces come together, it makes for a great learning experience.
- There is a definite rhythmic “groove” throughout this piece in the fast sections.
- Recap section has percussion section feature measures and a powerful low brass intro, strong ending - Its to the point and FINAL, great concert or festival closer.
A Builder’s Dream 1.5 Adrian Sims LINK TO PUBLISHER RECORDING
- melodic interplay and countermelody
- call and response through independent lines
- active percussion
- low brass feature lines
Imperium 1.5 FLEX BAND Michael Sweeney LINK TO PUBLISHER RECORDING
- This is a great discussion to have surrounding the many musical elements
- accents, distinct articulation
- dynamic shifts
- percussion section mini-solos and more
- blocked – not much independent movement
Destiny Fanfare Mekel Rogers. 1.5 LINK TO PUBLISHER RECORDING
- memorable melodies, bold harmonic progressions
- active parts for every instrument
- appropriate ranges
- variety of timbres
GRADE 2
Never Gonna Give You Up 2-2.5 arr Conaway LINK TO PUBLISHER RECORDING
- Recorded by Rick Astley in 1987, this familiar rock hit has remained popular due in part to its prank value!
- 80’s rock/pop unit. Listen to the original (and of course, WATCH THE VIDEO) and UNSQUARE the band parts to match the actual rhythms in the song
- Parent pleasing concert selection
Wellerman (Flex) 2 arr. Murtha. LINK TO PUBLISHER RECORDING
- This well-known whaling song from New Zealand has been at the forefront of the rise in popularity of sea shanties.
- TikTok Sensation
- Use to teach Form and structure
- Repetitive even through modulation
- Kids all know it so this will assist in rhythm reading
- If you play the rhythm or especially articulation without exact precision, the melody becomes WRONG and they won’t let that happen
- Articulation (tongue-slur combos) easier to teach because of familiarity
- Easy fun piece to get back into things
Count to Ten (Flex) 1-2 Alex Shapiro LINK TO PUBLISHER RECORDING
- Alex Shapiro specializes In electroacoustic genres, check out “Paper Cut”
- So many things to do here. This is GRADELESS. Can be as easy or as diversely difficult as you choose
- Gives opportunity to work with that underlaying percussive groove.
- Teach chromatics earlier than you would have.
- Engage all levels of student with something that is far more unique
- You really need to use the backing track
- Mixed meter
Lake Of Sorrows 2 Randall Standridge LINK TO PUBLISHER RECORDING
- Expressive and noticeable dynamics
- Tone production and proper note length
- Navigating Slight Tempo Changes
- Teaching Chromaticism at a basic level and with limited range. Copyable Chromatic exercise sheets have been included with this work and are keyed for all instruments
GRADE 2.5 +
In Blue or Green Flex. 2.5-3.5 Giovanni Santos LINK TO PUBLISHER RECORDING
- "Based on rhythmic and melodic cells, this works pays tribute to Terry Riley’s In C. What if Terry Riley met Miles Davis while vacationing in Cuba? Well, it might sound like this. The work is composed for fully flex ensemble. Any number of musicians are welcome, including singers."
- This is a great chance for wind instrumentalists to have active involvement with percussion and create a rotation of small ensembles where each student gets to learn multiple parts.
- This piece can be a grade 2 if you want. It probably can also stretch up to Grade 4.
- Mixing around parts, subtracting, modifying, shortening or lengthening especially the LOUD/Final sections when all of the percussion and riffs are in.
- Improv?
- It sounds like a dance club.
- This piece would encourage composition
South Shore Soliloquy 2.5 – 3 Robert Sheldon LINK TO PUBLISHER RECORDING
- This is a tribute piece.
- Rob Sheldon is probably one of the finest MELODY composers of ALL TIME across this entire genre. They are always identifiable and this means the process will go faster but will instill more ownership by all of the players.
- Modulations happen in the peaks/big moments and its really a great way to get kids engaged (working on the builds especially)
- Theres melodic interplay – what I mean by that is, in an 8 bar phrased melody, different sections of the band will each get portions of this (example 2 bars each and then pass it on)
SUGGESTED FUNDAMENTAL/WARM UP/CHORALE TECHNIQUE METHODS
Grade 0.5 – Grade 2.5:
SI Ensemble Development Young Band www.alfred.com/SIED
Sound Innovations: Ensemble Development for Young Concert Band is a complete curriculum for beginning band students to help them grow as ensemble musicians. The series complements any band method and supplements any performance music. It contains 167 exercises, including more than 100 chorales by some of today's most renowned young band composers. Various exercises at the grade 1/2, 1, and 1 1/2 levels are grouped by key, including:
* Long Tones
* Passing the Tonic
* Pitch Matching
* Scale Builders
* Interval Builders
* Expanding Intervals
* Chord Builders
* Moving Chord Tones
* Diatonic Harmony
* Rhythmic Subdivision
* 5-Note Scales
* Scale Canons (5-, 6-, or 8-Note Scales)
* Scale Chorales (5-, 6-, and 8-Note Scales)
* Chorales.
The compositions were written by Roland Barrett, Chris Bernotas, Jodie Blackshaw, Matt Conaway, Ralph Ford, Tyler S. Grant, Rob Grice, John O'Reilly, Robert Sheldon, Todd Stalter, Randall Standridge, Michael Story, and Scott Watson. Whether your students are progressing through exercises to better their technical facility, or improving their musicianship with beautiful chorales, we are confident your performers will be excited, motivated, and inspired by using Sound Innovations: Ensemble Development for Young Concert Band. The Ensemble Development Series is also available for Intermediate and Advanced Band.
Habits of a Successful Middle School Musician www.habitsuniversal.com/habits-series
-is a field-tested, vital, and—most importantly—musical collection of more than 300 sequenced exercises for building fundamentals.
Perfect for use by an entire band or solo player for years two, three, and beyond, this series contains carefully sequenced warm-ups, chorales, sight-reading etudes, rhythm vocabulary exercises, and much more. In one place, this series presents everything an aspiring player needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature.
Habits of a Successful Middle School Musician:
• Provides material for use during fundamentals time that promotes a comprehensive approach to developing skills necessary to fill the musical toolbox.
• Presents effective exercises for clarinets going over the break, trombones in second and fifth position, flutes going from C to D, percussion sticking, trombone F- attachment tips, and L and R indicators for clarinet.
• Includes a sequential format that leads to the mastery of reading rhythms and ultimately, to musical sight-reading.
• Provides chorales for the development of tone quality, ensemble sonority, and musicianship.
• Combines pedagogy, technique building, fundamentals development, sight-reading and musicianship into one book under one cover.
Habits of a Successful Middle School Musician is the answer to the question: “What should I be learning during fundamentals time?”
THE OMEA 2021 ADAPTABLE BAND REPERTOIRE SESSION IS NOW ONLINE!
If you'd like the handout for this session, please drop me a line: humberbayrealestate@gmail.com