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Sound Innovations for Concert Band: Ensemble Development for Young Concert Band: Snare Drum/Bass Drum Book

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Sound Innovations for Concert Band: Ensemble Development for Young Concert Band Cover Image

Sound Innovations for Concert Band: Ensemble Development for Young Concert Band: Snare Drum/Bass Drum Book

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

By Peter Boonshaft and Chris Bernotas

Item: 00-40722

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Description
Sound Innovations: Ensemble Development for Young Concert Band is a complete curriculum for beginning band students to help them grow as ensemble musicians. The series complements any band method and supplements any performance music. It contains 167 exercises, including more than 100 chorales by some of today's most renowned young band composers. Various exercises at the grade 1/2, 1, and 1 1/2 levels are grouped by key, including:

* Long Tones
* Passing the Tonic
* Pitch Matching
* Scale Builders
* Interval Builders
* Expanding Intervals
* Chord Builders
* Moving Chord Tones
* Diatonic Harmony
* Rhythmic Subdivision
* 5-Note Scales
* Scale Canons (5-, 6-, or 8-Note Scales)
* Scale Chorales (5-, 6-, and 8-Note Scales)
* Chorales.

The compositions were written by Roland Barrett, Chris Bernotas, Jodie Blackshaw, Matt Conaway, Ralph Ford, Tyler S. Grant, Rob Grice, John O'Reilly, Robert Sheldon, Todd Stalter, Randall Standridge, Michael Story, and Scott Watson. Whether your students are progressing through exercises to better their technical facility, or improving their musicianship with beautiful chorales, we are confident your performers will be excited, motivated, and inspired by using Sound Innovations: Ensemble Development for Young Concert Band. The Ensemble Development Series is also available for Intermediate and Advanced Band. Learn more at www.alfred.com/SIED.
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Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Sound Innovations for Concert Band: Ensemble Development for Young Concert Band: Snare Drum/Bass Drum Book comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Sample Pages

Sample Audio
1 Exercise 02 - Passing the Tonic --:--
2 Exercise 05 - Scale Builder --:--
3 Exercise 07 - Expanding Intervals - Diatonic --:--
4 Exercise 08 - Expanding Intervals - Chromatic --:--
5 Exercise 11 - Chord Builder --:--
6 Exercise 15 - Diatonic Harmony --:--
7 Exercise 19 - 5-Note Scale --:--
8 Exercise 22 - 5-Note Scale --:--
9 Exercise 26 - 8-Note Scale --:--
10 Exercise 28 - Chorale by John O'Reilly --:--
11 Exercise 30 - Chorale by Michael Story --:--
12 Exercise 31 - Chorale by Randall Standridge --:--
13 Exercise 34 - Chorale by Rob Grice --:--
14 Exercise 36 - Chorale by Scott Watson --:--
15 Exercise 39 - Chorale by Tyler Grant --:--
16 Exercise 62 - Chorale by Robert Sheldon --:--
17 Exercise 72 - Chorale by Jodie Blackshaw --:--

Exercise 02 - Passing the Tonic

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Sample Video
Additional Details
Series: Sound Innovations for Concert Band: Ensemble Development
Publisher: Alfred Music
Page Count: 24
ISBN10: 1-4706-3399-X
ISBN13: 978-1-4706-3399-8
UPC: 038081520544
SKU: 00-40722
Instrumentation: Snare Drum/Bass Drum

More about this title

About the Authors

Peter Boonshaft
Peter Loel Boonshaft stands out as a prominent figure in contemporary music education, serving as Director of Education for Jupiter Band Instruments while maintaining an influential weekly blog read by music educators worldwide. His work has taken him across all fifty states and internationally, where he conducts ensembles and delivers lectures on music pedagogy and leadership.

His accomplishments include receiving the inaugural George M. Parks Award for Leadership in Music Education from the National Association for Music Education and Music For All, as well as recognition from five state governors and a Certificate of Appreciation from President Ronald Reagan. He has performed for Presidents George H. W. Bush and Bill Clinton, and also for Margaret Thatcher. As Professor Emeritus of Music at Hofstra University, Dr. Boonshaft earned selection to the Center for Scholarly Research and Academic Excellence and previously taught at Moravian College and the University of Hartford, where he received the Outstanding Music Educator Award and Regent's Award multiple times.

Dr. Boonshaft founded and directed the Pennsylvania Youth Honors Concert Band and the Connecticut Valley Youth Wind Ensemble. His honors include three "Artist in Residence" appointments from the National Endowment for the Arts, the Al G. Wright Award of Distinction from Women Band Directors International, and honorary memberships in Pi Kappa Lambda and Alpha Chi. He earned his Bachelor of Music (Summa Cum Laude), Master of Music Education in Conducting, and Doctor of Musical Arts, supplemented by training at the Kodály Musical Training Institute on a Connecticut General Fellowship.

Chris Bernotas

Why we love this

The percussion writing here mirrors the clarity and pedagogical intention you'll find in the full band parts. Rather than relegating drums to timekeeping, the exercises build rhythmic independence and ensemble listening skills that drummers desperately need in young bands. The 167 exercises move progressively enough that your section will maintain confidence while stretching their musicianship.

What to expect

These exercises have an understated musicality that respects both the learner and the instrument. Chorales by composers like Robert Sheldon and Michael Story invite genuine expression within accessible ranges, while the progressively layered rhythmic work builds confidence rather than frustration.

Who it's for

Young concert band drummers at grades 1 through 1.5 who are ready to move beyond basic technique into genuine ensemble musicianship. Teachers seeking a structured warm-up sequence that strengthens rhythm reading, listening, and rhythmic subdivision without pulling focus away from method book progress.

How to get the most out of it

  • Lock in the pulse with your bass drum partner before the ensemble enters; this foundation transforms how the rest of the band settles rhythmically.
  • Use the chorales to develop dynamic control. Snare and bass drum dynamics should mirror the harmonic weight you hear in the wind parts, not drive independently of it.
  • Count rests as actively as you count notes. The silence between exercises builds awareness of phrasing and prepares students for how accompaniment figures shape musical lines.
  • Rotate who plays snare and who plays bass drum across rehearsals. Each voice teaches different listening skills, and your section gains flexibility for future repertoire.

How to use it

Open rehearsals with the warm-up sequence that matches your students' current technical level, then use a single chorale as a cooldown exercise to cement the day's work in ensemble listening. You can also extract individual exercises to address specific rhythmic or pitch-matching challenges without interrupting your main rehearsal flow.

Skills your students will build

  • Rhythmic subdivision and pulse stability
  • Reading and executing rests with intention
  • Dynamic control matched to ensemble context
  • Listening for harmonic content while maintaining accompaniment
  • Interval recognition and pitch awareness through rhythm exercise
  • Scale knowledge across multiple keys at beginner levels

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