Prelude  Up a Level         

CAPTAIN HORNBLOWER is a lively solo for the young trumpet player and is modelled on the 18th century ‘trumpet tune’ with its major and minor sections. As is the case with all solos, the balance between band and soloist must be carefully handled and the bands with the benefit of many bass instruments may wish to rest the brass while the soloist is playing. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

The percussion in CLOCKWISE represents the ticking or winding of a clock and should, therefore, be as rhythmic as possible. Other ‘clock’ effects could be added, such as a scraper on the first beat of each bar and even a cuckoo or alarm bell at the end. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

COOL DUDE needs controlled playing to achieve the ‘laid back’ feel. It is not necessary for everyone to do the finger clicks at the start – accuracy is more important than quantity! Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

This gentle Caribbean song is a useful introduction to syncopation for all instruments. Such rhythms should, however, be played smoothly and without undue accents to maintain the character of the melody.

MELTING THE ICE is a lilting solo for the young alto saxophone player. While not taxing technically, it will require good breath control to achieve a nice flow in the solo part. Although it has a slow ‘feel’ to it, be careful not to play it too slowly. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

MUMBO JUMBO is a piece with a Latin American flavour though not specifically in any of the recognised dance styles. The first percussion part can be elaborated if additional players and instruments are available: bongos, tambourine and claves will help here. Dynamics play an important part in this piece and should be carefully graded. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

OPENIN' TIME is a good introduction to syncopation for the young player and the various rhythms employed could be used as part of the preliminary exercise. The oboe solo can be played by divided flutes. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics

PROCESSIONAL OVERTURE provides a good opportunity for developing a healthy band tone in both soft and loud dynamics and introduces the concepts of ‘DS al Coda’. .

SPACEWALTZ gives young bands the chance to learn waltz style and too wooden an approach should be avoided by achieving the right amount of stress on the first beat of each bar (bass drum beware!).

STARBOUND is a strong, driving piece and relies on good rhythmic playing from the bass instruments. It is a good introduction to playing triplets for all sections of the band and this could be introduced in the preliminary exercise. The trumpet solo could be played by the whole section if preferred. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

Three Folk Miniatures (Good Mornin' to Ye; Shepherd Song; When the Sun Shines) reflect the style of old English folk songs offering young players the opportunity to show off several acquired skills in performance. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

Here is an opportunity for the trumpets to go through their paces! The syncopated nature of the tune may be unfamiliar to many young players, but once the sound is in their heads there shouldn’t be a problem. The middle passage is a good test of counting and needs everyone to be confident of their entries. Players are also introduced here to the concept of first-and second-time bars (endings) and the D.C. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

TOTALLY TROPICAL! is in bright Caribbean mood and will benefit from good, rhythmic playing. Flutes, oboes, clarinets and trumpets all have to play the little chromatic figure that starts the main tune and this may need slow practice to become fluent. Additional percussion instruments may be added to give a ‘Calypso’ sound. Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

.Titles in the 'Prelude Series' are specifically scored for bands with few, if any, bass instruments but will sound well on larger ensembles. The bass line is playable by any combination of bass clarinet, bassoon, baritone saxophone, trombone, euphonium or tuba; in the event that none of these is available, the part for trombone/euphonium (B flat TC) can be played by tenor saxophone. The tuned percussion part is entirely optional and can be played by any available instrument(s). Each piece also includes a preliminary exercise. This is always in the same key as the accompanying piece and consists of a scale and chord progression that can be used for improving ensemble, balance, intonation and instrumental facility by changing tempo, articulation and dynamics.

WHIRLWIND is a flute solo and (despite the title!) it will be found that a steady waltz tempo works best. Obviously, it is important that the accompaniment remains delicate and that dynamics are adhered to.

WINDFALL should be taken at a steady march tempo, with full note values and is a useful piece for developing a good band sound. Dynamic changes are particularly important to avoid monotony in the overall sound and young players are introduced to the concept of D.C. al fine.

This piece reflects the style of Elizabethan dance music. The opening tempo should be quite steady, though played with energy. Good balance is required to achieve the contrasts. The change of tempo should be easily achieved, again taking care with the balance, dynamics and accents to produce an energetic performance. Performance time 1’45”

YO, BRO! has a Latin feel about it which requires good rhythmic playing with a strong beat supplied by the percussion.