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All Around the Circle: Concert Band Conductor Score & Parts

$65.00 USD
$65.00 USD
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All Around the Circle Cover Image
All Around the Circle: Concert Band Conductor Score & Parts

All Around the Circle: Concert Band Conductor Score & Parts

I'se the B'y

By Bill Thomas

Grade: 3

Item: 81-CB10180
$65.00
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All Around the Circle: Concert Band Conductor Score

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Description
This piece is based on the Newfoundland folk song "I'se the B'y" (I'm the Boy). All Around the Circle was composed to introduce students to quartal harmonies, which are constructed using intervals of the fourth, rather than the far more common tertian harmonies that are comprised of major and minor thirds. These unique harmonies give this work a fresh, exciting sound.

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
Page Count: 242
ISBN10: 1-55473-521-1
ISBN13: 978-1-55473-521-1
UPC: 685462015221
SKU: 81-CB10180

More about this title

Why we love this

Bill Thomas built this piece around a real pedagogical goal: introducing quartal harmony in a way that sounds modern and energetic rather than theoretical. The Newfoundland folk tune grounds the harmonic experiment in something immediate and memorable, so students aren't learning an abstract concept in isolation. It's the kind of writing that makes young musicians excited about harmonic color.

What to expect

Fresh and open, with the earthy charm of a Newfoundland folk melody lifted into unexpected harmonic spaces. The quartal sonorities create an almost modal brightness that feels distinctly different from conventional concert band arrangements while remaining fully accessible to younger players.

Who it's for

Grade 3 concert bands looking to introduce quartal harmony without leaving the folk-song tradition. This works especially well for ensembles that appreciate cultural repertoire and want to explore harmonic color beyond functional tertian harmony.

How to get the most out of it

  • Highlight the distinction between the quartal harmonies and any traditionally voiced sections by adjusting dynamic shape subtly. The novelty of the sound should emerge naturally from the balance, not from artificial contrasts.
  • Work the folk melody's phrasing before focusing on the harmony parts. Once the tune sits securely, the harmonic foundation will support it without clouding the line.
  • Check intonation carefully in the quartal sonorities, especially in the lower voices. Fourth-based chords can sound muddy if the intervals are even slightly flat.

How to use it

Position this early in a concert to establish a contemporary-thinking approach to folk material, or pair it with other pieces that explore non-traditional harmony to show students that harmonic innovation isn't limited to 20th-century classical music. Its festival-friendly quality also makes it a strong choice for ensemble development in the competition season.

Skills your students will build

  • Recognizing and performing quartal harmony (intervals of fourths rather than thirds)
  • Aural discrimination between tertian and quartal sonorities
  • Balancing folk melody with unfamiliar harmonic accompaniment
  • Intonation precision in non-functional harmonic contexts
  • Understanding how harmonic language can refresh traditional material

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