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The Snake Pit
20767197
20767197

The Snake Pit Concert Band - Sheet Music

The Snake Pit Concert Band scores gallery preview page 1
The Snake Pit Concert Band - Sheet Music
Concert band Bass Clarinet, Bass Drum, Bassoon, Bb Euphonium, Cabasa, China Cymbal, Clarinet in Bb 1, Clarinet in Bb 2, Congas, Cowbell, Euphonium, Flute, Flute 2, Gong, Horn, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 1.5

SKU: CF.FPS151

Composed by Tyler Arcari. Folio. First Plus Band (FPS). Score and parts. With Standard notation. 75 pages. Duration 1 minute, 36 seconds. Carl Fischer Music #FPS151. Published by Carl Fischer Music (CF.FPS151).

ISBN 9781491152119. UPC: 680160909612. 9 x 12 inches.

Everyone remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use ofxa0auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students.
Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebies” experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss” of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy” effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color” instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center” but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space.

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