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Imperium
Considered by many to be one of the very best teaching pieces ever written, "Imperium" features contrasting styles, contemporary harmonies, and exciting percussion. This dramatic overture offers a memorable learning and performance experience for your beginning band. Estimated Performance Time: 2:30 Technical Notes: The oboe, French horn and bells parts are optional. The 1st percussion part is for snare drum and bass drum. The 2nd percussion part is for crash cymbals, suspended cymbal, gong, and triangle. Teaching Aids For The Director: This composition is built primarily on a 3-note melodic motif (concert G, F, and A flat). In Addition, a 2-measure pulsating rhythmic pattern is used as a unifying element throughout. These two musical ideas are developed using a variety of harmonic and textural settings to create dramatic points in the music as well as a final sense of resolution. Throughout, there may be sounds and harmonies that your players are not used to. For example, some of the chords will involve 1/2 steps. At these points, each player needs to play his or her part confidently, while being aware of the different sounds around them. Point out how these temporary dissonant points in the music create tension and heighten the impact when the more traditional triads are reached. Practice the tempo change at measure 11 with the percussion section. Make sure they know ahead of time exactly how fast the new tempo is in order to make a smooth transition. The whole note in measure 10 should be released exactly on beat 1 of measure 11. The reoccuring rhythmic figure (measure 17-18 and similar places) should be played lightly and in strict rhythm. Separate the eighth notes and hold the quarters for full value. The percussion section is featured in the 4 transitional measures starting at measure 41. Make sure dynamics are followed carefully in this section. The section starting at measure 45 uses more traditional harmonies with elongated note values. Encourage your players to use plenty of air support for these sustained phrases. Logical breathing places are written into the parts. The underlying rhythmic intensity from the first section is carried through at this point in the percussion. Careful attention to the dynamics is necessary to providing the feeling fo drama and motion. The rhythmic motif returns in the trumpets in measure 61, followed by the original 3-note fragment, now harmonized in the low voices. From this point, the piece should build in intensity to the ending statement, which is a paraphrase of the opening now harmonized instead of unison. Composer(s): This piece was composed by Michael Sweeney. Publisher: This piece was published by Hal Leonard Corporation. Series: This piece is part of the series "Hal Leonard MusicWorks Series".
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