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Four Original Warm-Ups for Band

By Bert Appermont

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Grade 2-3
Composed by Bert Appermont. Fanfare. Full score. Duration 0:11:35. Published by Hal Leonard Europe (BT.0605-6-329).

Item Number: BT.0605-6-329

From my experience as a conductor and a jury member, I know that many orchestras are faced with typical problems: lack of sound control, intonation difficulties, uncontrolled articulation and insufficient phrasing. Practising these aspects is very demanding of an orchestra and there is little material available that is also enjoyable to play. Four Original Warm-Ups is therefore intended to improve this situation. It consists of four enjoyable warm-up pieces. Each piece focuses on one of the said issues without the music being dull as a result of this. Part 1: Waves of Sound Long chords are played crescendo and diminuendo, thus practising breathing and sound control. These surging chords are reminiscent of the sound of waves, hence the title Waves of Sound. The tempo can be increased or decreased, depending on the skills of the orchestra. It can be decreased slightly every week, thus training the stamina of the musicians. Part 2: Tuning Tones At the start, several instruments take over the tone of the oboe. The aim is to correct the intonation immediately by comparing the two tones carefully. As they are in immediate succession, this is easier to hear. This is followed by a choral theme alternated with a flat chord that is developed repeatedly from the base. This section can be used to practise the tuning of chords. Part 3: Articulation Train All aspects of articulation are addressed in this hellish train journey. The gradual acceleration not only suggests a train that is driving faster and faster, but is also intended to practise staccato playing. For a concert performance, a child or a musician could be dressed up as an engine driver and sound the train departure whistle. A real train whistle can enhance the atmosphere in certain places that have been marked for this purpose. This part can also be used as an encore piece for a concert. Part 4: Cantilene The tuneful melody is played by several parts (instruments). The object is to play every phrase in one breath and to give the melody sufficient tension. This part develops towards a crescendo in which accurate phrasing is an absolute must! The changes in time give the piece a special character. These four pieces can but do not have to be played in succession. Each part can be used separately for a rehearsal or concert. I truly hope that these four parts will contribute to improving the standards of many orchestras without spoiling the fun of playing!

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