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Sound Innovations for Concert Band: Ensemble Development for Intermediate Concert Band: Oboe Book

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Sound Innovations for Concert Band: Ensemble Development for Intermediate Concert Band: Oboe Book

Chorales and Warm-up Exercises for Tone, Technique and Rhythm

By Peter Boonshaft and Chris Bernotas

Item: 00-34572

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Sound Innovations: Ensemble Development for Intermediate Concert Band is a valuable resource for helping your students grow in their understanding and abilities as ensemble musicians. It contains 412 exercises, including more than 70 chorales by some of today's most renowned concert band composers. An assortment of exercises is grouped by key and presented in a variety of intermediate difficulty levels. Where possible, several exercises in the same category are provided to allow variety, while still accomplishing the goals of that specific type of exercise. You will notice that many exercises and chorales are clearly marked with dynamics, articulations, style, and tempo for students to practice those aspects of performance. Other exercises are intentionally left flexible for the teacher to determine how best to use them in facilitating and addressing the needs and goals of their ensemble. Whether your students are progressing through exercises to better their technical facility, or challenging their musicianship with beautiful chorales, this book can be used after any band method or as a supplement to performance music. Contains chorales composed by Roland Barrett, Andrew Boysen, Ralph Ford, Rossano Galante, Robert Sheldon, Todd Stalter, Randall Standridge, and Michael Story. The Ensemble Development Series is also available for Young Band and Advanced Band. Learn more at www.alfred.com/SIED.
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Sample Pages

Sample Audio
1 Exercise 003 - Passing the Tonic --:--
2 Exercise 014 - Scale Pattern --:--
3 Exercise 018 - Flexibility --:--
4 Exercise 022 - Intervals --:--
5 Exercise 029 - Balance and Intonation - Shifting Chord Qualities --:--
6 Exercise 032 - Expanding Intervals - Downward in Triads --:--
7 Exercise 040 - Rhythmic Subdivision --:--
8 Exercise 049 - Etude --:--
9 Exercise 050 - Balance and Intonation - Diatonic Harmony --:--
10 Exercise 050 - Chorale - Jesu, Meine Zuversicht, arr --:--
11 Exercise 052 - Concert B-flat Major Scale and Chorale by Chris Bernotas --:--
12 Exercise 057 - Chorale by Robert Sheldon --:--
13 Exercise 059 - Chorale by Chris Bernotas --:--
14 Exercise 060 - Chorale by Rossano Galante --:--
15 Exercise 087 - Chorale by Michael Story --:--
16 Exercise 088 - Concert G Minor Scale and Chorale by Chris Bernotas --:--
17 Exercise 267 - Concert A-flat - Scale and Chorale by Chris Bernotas --:--

Exercise 003 - Passing the Tonic

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Additional Details
Series: Sound Innovations for Concert Band: Ensemble Development
Publisher: Alfred Music
Page Count: 56
ISBN10: 0-7390-6767-2
ISBN13: 978-0-7390-6767-3
UPC: 038081383408
SKU: 00-34572
Instrumentation: Oboe

More about this title

About the Authors

Peter Boonshaft
Peter Loel Boonshaft stands as one of today's most dynamic voices in music education. He serves as Director of Education for Jupiter Band Instruments and maintains a widely followed weekly blog that reaches music educators across the country. His speaking engagements and conducting appearances have taken him to every state and internationally, establishing him as a sought-after leader in the field.

His achievements have garnered exceptional recognition. Boonshaft received the inaugural George M. Parks Award for Leadership in Music Education from the National Association for Music Education and Music For All. He holds membership in Pi Kappa Lambda and Alpha Chi honor societies and earned the University of Hartford's Outstanding Music Educator Award as well as the Regent's Award twice. Additional honors include three National Endowment for the Arts "Artist in Residence" designations, three Honorary Life Memberships in the Tri-M Music Honor Society, and the Al G. Wright Award of Distinction from Women Band Directors International. He has been recognized by five state governors and received a Certificate of Appreciation from former President Ronald Reagan.

Boonshaft is Professor Emeritus of Music at Hofstra University and was selected for the Center for Scholarly Research and Academic Excellence there. He earned a Bachelor of Music (Summa Cum Laude), Master of Music Education in Conducting, and Doctor of Musical Arts degrees, along with a Certificate from the Kodály Musical Training Institute. His earlier academic positions included faculty roles at Moravian College and the University of Hartford. He founded and directed both the Pennsylvania Youth Honors Concert Band and the Connecticut Valley Youth Wind Ensemble.

Chris Bernotas

Why we love this

This book treats ensemble development as a deliberate skill, not an afterthought. The 412 exercises move beyond simple warm-ups; they're scaffolded by key and difficulty level, giving you real flexibility to address your band's specific needs while maintaining musical substance. The inclusion of 70 chorales from eight respected concert band composers means your students aren't grinding through anonymous etudes—they're learning from the composers whose music they'll perform.

What to expect

Opening this book reveals purposeful variety. You move between focused technical work and moments of genuine musical expression through the chorales, each shift intentional rather than random. The exercises feel like they were written by people who understand the oboe's place in a concert band context, not generic woodwind material retrofitted to multiple instruments.

Who it's for

Intermediate concert band oboists who have moved beyond foundational method book instruction need a resource that bridges technical development and musical thinking. This book serves ensembles at the point where directors can stop waiting for musicianship to happen and start teaching it intentionally. Use it with programs working through standard intermediate repertoire or as a standalone supplement to deepen your band's ensemble awareness.

How to get the most out of it

  • Study the marked exercises first. Dynamics, articulation, style, and tempo markings embedded in these exercises teach precision; use them to establish non-negotiable standards before moving to the unmarked exercises where you set the parameters.
  • Rotate through exercises in the same category across multiple rehearsals rather than exhausting one key before moving on. This reinforces retention and prevents the mechanical feel that can come from drilling identical types of material in succession.
  • Layer the chorales into your warm-up routine once the ensemble has developed enough technical facility. A chorale used consistently across several weeks becomes a diagnostic tool; you'll hear exactly where balance, intonation, and blend need work.
  • Pair technical exercises with a chorale in the same key to demonstrate how technical security directly supports musical expression and phrase shape.

How to use it

Deploy this throughout the year as your primary warm-up resource. Spend 5 to 8 minutes of each rehearsal rotating through different exercise types and keys; this approach maintains technical focus without consuming the time needed for full-ensemble repertoire. When preparing a full concert, anchor your rehearsal process in these exercises during the weeks leading up to the performance to ensure the entire band has internalized the same approach to blend, intonation, and style.

Skills your students will build

  • Reading exercises and chorales in multiple keys with increasing security
  • Balancing individual technical development with ensemble blend and balance
  • Responding to marked dynamics, articulations, and style markings with precision
  • Sustaining long tones with steady tone quality and intonation control
  • Recognizing how scales and arpeggios connect to melodic shape and phrasing
  • Adapting to unmarked exercises by responding to a conductor's interpretive choices

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