A Questionable Alliance Of Warm, Tasty Baked Goods
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
SR-457 Reproducible Kit
A Questionable Alliance
Of Warm, Tasty Baked Goods
(Hot Cross Buns)
Wolfbane Armadillo Mozart
and Prunehilda Matata Mozart
arr. Paul Jennings
An Important Notice About Your Rights To Duplicate
With the purchase of this product, you (one teacher or director) may legally duplicate the reproducible players’ pages
for use with your players, no matter how many players you have, even if you work with more than one school or with
more than one congregation. Permission to duplicate and/or share the music or recording with anyone else is not
granted and is considered a copyright infringement. Permission is granted to duplicate the accompanying recording
for back-up purposes only.
Please don’t teach your players to steal.
The people who write and publish this music depend on its sales for their livelihood. Not only is it illegal for you to
freely duplicate their work without their permission, it is also unfair and it sets a bad example for your players. We
will always fight for your rights to better pay and working conditions, and as one of the few publishers of children’s
music, we invest most of our profits in new music and resources for you. We also take care to provide real value in our
products. In return, we ask for your support of our rights. Thank you.
P. O. Box 26627
Wauwatosa, WI 53226RECORDER
A Questionable Alliance
Of
Warm, Tasty Baked Goods
(Hot Cross Buns)
Wolfbane Armadillo Mozart
8 beats rest and Prunehilda Matata Mozart
arr. Paul Jennings
play 3 times
#
& c ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó
F
#
& œ œ œ œ œ œ œ œ ˙ ˙ ˙ Ó
© 2008 Plank Road Publishing, Inc.
International Copyright Secured • All Rights ReservedA Questionable Alliance
Of
Warm, Tasty Baked Goods
(Hot Cross Buns)
Wolfbane Armadillo Mozart
and Prunehilda Matata Mozart
arr. Paul Jennings
Å
in the style of mozart (Î=104)
3
#
recorder & c ∑ ∑ ˙ ˙
F
G G/B C D G D/A
#
& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
F harpsichord, strings, and lite winds
?# c œ œ œ œ œ œ
œ œ œ œ œ
œ
# Å
7
rec. & ˙ Ó ˙ ˙ ˙ Ó œ œ œ œ
G/B G D/A
G G/F# G/B Emi Emi/D
#
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
&
œ œ œ œ
?# ˙ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
© 2008 Plank Road Publishing, Inc.
International Copyright Secured • All Rights Reserved 1A Questionable Alliance Of Warm, Tasty Baked Goods
driving rock! (same tempo)
# Å11
rec. & œ œ œ œ ˙ ˙ ˙ Ó ˙ ˙
(harpsichord) +big guitar power chord
Ami/C A/C# G/D D7 G D G F/G
#
œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ ˙˙˙˙˙˙˙] ˙˙
*
& n ˙˙˙
^
˙
ˇˇˇˇˇ
œ œ #œ nœ
big rock dr. fill
’ ’
?# œ œ ˙ ˙ ˙
œ #œ œ œ œ œ œ œ œ œ œ œ
œ #œ œ œ ˙
+el. bass
>>>>>>>>
# Å
15
rec. & ˙ Ó ˙ ˙ ˙ Ó œ œ œ œ
(as voiced)
+hi, soaring gtr. solo
——
« G/F F7/E b
+soaring gtr. solo
«
————
E b7/D b Cmi Cmi7/B b
# E b/G
& b ww ˙˙ n ˙˙˙ b ww b œ˙˙ œ œ˙ œ
b w ˙ b w ˙
?# w n˙ b˙ bw
œ œ œ œ œ œ œ œ n œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ ˙œ œ œ œ b ˙
bœ œ œ œ
>>>>>>>> >>>> >>>> >>>>>>>>
>>>> >>>>
# Å
19
rec. & œ œ œ œ ˙ ˙ ˙ Ó ˙ ˙
a la mozart
G÷
#
F/A D/F# G/D
œ œœ œœ œœ œœ Dœœ œœ œœ œœ
G/D
F/D orchestra
& n œ˙˙ œ # œ˙˙ œ ˙˙ n ˙
˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ ˙ œœ œ
>
> > ^ œ œ œ ˙ ˙
(stop) (strings, hrpsi)
?# ˙ ˙ ‰ J œ œ
˙ #˙ œ
œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > ∫> > > > > > > >
2 *dream strat, rich synthA Questionable Alliance Of Warm, Tasty Baked Goods
# ı
23
rec. & ˙ Ó ˙ ˙ ˙ Ó œ œ œ œ
G ^ rock
+hi, soaring gtr. solo
———
«
F/G classical
# œœ œœ E b/G Emi Emi/D
& œ œ œ œ œ œ [œ˙˙˙
œ œ
n ˙˙˙ w œ nœ œ œ
b b ww nœ œ œ œ
+dr. fill
œ ’ ’ short fill
’
?# œ œ ^
œ œ œ˙ œ œ œ ˙œ œ œ œ w
œ œ œ œ œ œ œ œ œ
œ œ
œ
⇓> > > > > > > >
classical stop
>>>>>>>> ⇓
rock stop
#
rec. & œ œ œ œ ˙ ˙ ˙ Ó
( G )orch
rock rock and orch
G
^œ
. œœ
rockers
Ami/C Ami(∫5) G/D
# F/D
œ œ
& œ˙ œ b œ˙˙ œ ˙˙ n ˙˙˙ œœ œ œ
J
˙ ˙ œ
œ œ .
?# ˙ œ œ œ ^
˙ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
v œ
⇓ > > > > > > > > > > > > > > > >
orch. stop
3Notes For
A Questionable Alliance
Of
Warm, Tasty Baked Goods
Not just any composer is up to tackling the At the end of many phrases in the first and
challenging job of finding a new angle on the third verses are snippets of familiar tunes.
weighty leitmotif that is “Hot Cross Buns,” so we Listen and identify them with your classes.
called on the prodigious talents of Wolfbane In order, they are: “Wedding
Armadillo Mozart and his partner in March” from Lohengrin, by Richard
things artistic, Prunehilda Matata Wagner (or “Here Comes The
Mozart. Herr Mozart has always Bride”); “Camptown Races” by
been an admirer of his Stephen Collins Foster; and
contemporary, P. D. Q. Bach, “Entrance of the Gladiators”
so he took inspiration from (also known as “Thunder and
his mentor’s famous Echo Blazes”), a circus march by
Sonata For Two Unfriendly Julius Fucik. At the beginning
Groups Of Instruments to create his of the last verse you also hear a
new opus. And when we say “he hint of “The Old Gray Mare.”
took inspiration from” we mean that A Great Time For Variation -
he stole just enough not to bring While this arrangement is ideal for
legal action. But we digress. playing this tune in a concert situation or to break
A Simple Concept... Gone Wrong? - You the monotony, it is a great opportunity to study
will note that the recorder part for this work musical concepts and develop better technique.
looks amazingly like what you will find in many - Practice legato versus staccato - As a lesson
recorder methods... intentionally. But in this case, in contrast, play every section that the classical
the players are asked to play the melody three group plays legato, and all of the rock section
times. The magic here is the crazy staccato. Then reverse the two. As a further
accompaniment tracks. extension, play the staccato section as all quarter
As you can see on the piano/recorder score notes or all eighth notes.
included in this kit, our work opens with a polite - What would Artie do? - In her excellent
“classical” orchestra of strings, harpsichord, horns, recorder method Recorder Express (published by
and occasional short melodic fillers by the Alfred and available in the MUSIC K-8
woodwinds (to be discussed later). Just as they MARKETPLACE ), Artie Almeida creates a clever
TM
are ending the first verse, a fairly raucous rock inverted form of this tune called, “Buns Cross
band arrives to kick them aside and take the Hot.” If this is one of the methods you use, you
stage. For this verse, the melodic fillers come in the can also adapt this tune to these tracks. And for
form of Sandy Williams’ screaming guitar solos. more fun, do the regular tune, then the variation,
For the third verse, the two groups seemed and finish with the tune again.
to have reached a peace agreement that allows - From The National Standards - Give Content
them to trade phrases and finish the work with Standard 4 a workout guiding your students
a flourish. through creating their own variations for two or
With your class, identify the instruments in even all three verses using rhythmic variation or
each group. (The orchestra includes violins, violas, any other creative techniques they are learning.
celli, harpsichord, horns, trombones, flutes, And why not have the students compose
clarinets, and tuba; the rock band features a separate lyrics for the classical and rock sections,
drummer, electric guitars, and electric bass.) and perform each verse in the appropriate style?You can also read
