Conductor Score First Chorales or Band Arranged by James Swearingen Features: + Full Conductor Score + Sixteen warm-up chorales in each book + Written in eight major and eight relative minor keys + Sixteen major and minor scales in each book + Skilfully scored to be playable by large or small groups + Performance tips included for each chorale to improve musictanship + Books include a comprehensive reference lst of musical terms HOUSE COMPANY, CL. BARN) ise bnere PO. boxe ote Coan “Oskaloea, lowa 52577 USANOTES TO THE CONDUCTOR “The beginning of a rehearsal, commonly called the warmup, is often looked upon as the most critical stage in the development of quality band program. Considered by many to be one of the highest areas Of recall, ivi essential that funéamentally sound performance goals be established ducing this time frame. ‘These goals, based on high standards of musicality, should then transfer to the remainder of the rehearsal, First Chorales For Band is designed to assist you in attaining those objectives and to allow your students the opportunity to reach their fullest potential as musician, Encourage the ensemble to play the chorales without breaking the indicated phrases. Promoting the abil {ty to phiy long sustained lines helps to develop breath support which, in turn, aids in the improvement ‘ftone quality. When the quality of tone is enhanced, better intonation is more likely to occur. Many into. ftion dificulies are oftcn compounded when student musicians attempt to tune with an immature or fess developed tone. The following isa suggested list of performance rules created to achieve the goal of playing with improved breath support, These guidelines not only will provide benefit tothe performance Df the chorales, but may aso be applied to other aspects of sustained playing during the warm-up as wel. 1. Play as many notes as you can, with as nice a sound as you can, before you take a breath. 2. When you need to take a breath, avoid taking it at an obvious place. 3.qTry not to take a breath at the same time as the person next o you. “To aid inthe improvement of aural sil, Its strongly recommended that you sometimes ask the mem bers to sing the chorales. Select a syllable and suggest that they lsten carefully and, if needed, adjust quickty. Be creative in your daily approach to conducting the chorales. Varying the tempo, altering the dynamics, and stretching the phrases are just a few ways to help prevent student familiarity, It should be stressed that when the students actively respond to your musical gestures it means that they, t00, are focused on the creative process of musical expression. This magical moment will become a common occurrence ‘when both teacher and performer realize that musiality is generated, not from habituation, but from the inspieation of the baton and the music James Swearingen, INSTRUMENTATION AND PART DISTRIBUTION, G@ part harmony - SATB) cFiute Melody (©) Oboe Melody (8) Bb Clarinet 1 & 2 Melody & Second Part (S,A) (Divi ‘Bb Bass Clariner/Baritone TC ‘Third Part & Bass (1B) (Divisd) Bb Alto Saxophone 1 & 2 Melody & Second Part (S.A) (Divis) [Bb Tenor Saxophone/Opt. Bb Clarinet 3 Third Part CD) [Eb Baritone Saxophone/Eb Ato Clarinet ass B) Bb Trumpet 1 & 2. Melody & Second Part (S.A) (Divis) FHom 1 & 2a ‘Second & Third Part (A.1) Divs) ‘Teombone/Baritone BC/Bassoon ‘Thied Part & Bass (1,8) (Divs) ‘Tuba Bass (B) Percussion. Bells ($) & TimpantCONTENTS Conductor Student ‘Book ‘Book Chorale No. 1 (Concert Bb Majoe) 4 Chorale No, 2 (Concert G Minor) 7, 2 Chorale No. 3 (Concert Eb Major). 10. 3 Chorale No, 4 (Concert C Minor) 13. 3 Chorale No, § (Concert Ab Major) 16. 4 Chorale No. 6 (Concert F Mino®) 19. 4 ‘Chorale No, 7 (Concert Db Major) 22. 5 Chorale No. 8 (Concert Bb Minor) 25, 5 Chorale No, 9 (Concert Gb Major) 28. 6 Chorale No.10 (Concert Eb Minor) 31 6 Chorale No.11 (Concest F Majo) 34 7 Chorale No.12 (Concest D Minor) 37. 7 Chorale No.13 (Concert € Major) 40. 8 Chorale No.14 (Concert A Mino®) a. 8 Chorale No.15 (Concert G Major) 46 9 Chorale No.16 (Concert E Minor) 49. 9 Seales... 52,53. 10 Seales. 54,55. u Musical terms, 56. BR DEDICATION ‘This book is respectfully dedicated to the memory of Alan Zinn ABOUT THE ARRANGER Noted composer and arranger James Sweatingen is currently Associate Professor, Department Chair of Music Education, and one of several resident composers at Capital University located in Columbus, Ohio, In addition to his teaching respons bilities, he manages to be very active as a guest conductor, adjudicator, and educa: tional clinician. Appearances have included trips throughout the United States, 35 well a8 Japan, Australia, Europe, Canada, and The Republic Of China. Mr. Swearingca's numerous compositions for band have been enthusiastically received by schoo! directors, student performers, and audiences worldwide. “Ten of Swearingen's most popular band compositions have been recently recorded by The Washington Winds and are available on a new Walking Frog Records compact, disc entitled “IN ALLITS GLORY: The Music of James Swearingenor Chorale No. 1 ‘mate sue the is pas ae (Concert Bb Major) Sed oe Legato Frederick C. Atkinson, 1870 Arr, by James Swearingen crue 7 Oboe ™ BL Clarinet 42 ” ws Base Be.Cl-botiom notes Clarinet Baritone TC. Bs Ato Saxophone we Bb Tenor Saxophone BL Clarinet 3 Eb Baritone Saxophone Bb Trumpet 12 F Horn 1.2 ‘Trombone Baritone Bawon > Plastic Mallets > ‘Timpani Ea 2 1 ean an donrgasces Aires resered Pred BUSA ‘Wamingt This omposton ie protcod oy copyhton To cepy &rerac yan mato isa inrgeret fh cop wB.C. Bar. Sax Toe Hn 1,2 Teh, Bae. Ben. Tube Batis ‘Timp.A o. cu? Bar. Sax| Hn. 1,2 re. iF Timp.