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Title	Dancing In The Rain  NEW!
Article no.	4123472
Category	Concert/wind/brass band
Subcategory	Concert music
Instrumentation	Ha (concert/wind band); YB (young band)
Format	PrtStm (full score and parts)
Country of publication	USA (us)
Publisher *	C.L. Barnhouse Company
Publisher's article no. *	BA 011-4739-00
Year of publication	2019
Price	click here
Composer	Jarvis, Rebecca
Difficulty level	2+
Duration	2:56
Additional info/contents	Remember how you felt as a child when you ran outside to play in the rain? That joy and childlike abandon is the spirit of this African-influenced work, “Dancing In The Rain.” A percussion groove complete with rain stick gives a foundation for the simple dancing song that is played by every instrument at some time during the piece. Tuneful countermelodies and rhythmic clapping by the winds joining with the percussion groove make this very fun to play and perform! Your students will feel like they are truly “Dancing in the Rain!” (© Barnhouse Music)
Sample sheet music	click here
Sample score *	click here
Sound sample *
Video sample *
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Programme notes *: “Dancing In The Rain” by Rebecca G. Jarvis – A Piece About Movement and the Joy of Playing “Dancing In The Rain” by Rebecca G. Jarvis is arranged for concert band at a difficulty level of 2.5, making it well-suited for intermediate-level concert bands and youth ensembles. The composer describes the work as an expression of the carefree joy of playing in the rain. The character of the piece is defined in the score with the instruction “Bright, happy!” and a tempo of 120 beats per minute (quarter note = 120). The piece combines a distinctive percussion rhythm with a catchy melody. A rainstick opens the soundscape, providing—along with other percussion instruments—the rhythmic foundation. Over this, a simple dance theme unfolds, which is later complemented by counter-melodies and rhythmic clapping. The music, therefore, relies not just on the melody, but on the interplay between various rhythmic and melodic layers. • Timbres and Musical Structure The instrumentation includes the standard sections of a concert band: woodwinds, brass, and percussion. Additionally, it features glockenspiel, temple blocks, bongos, congas, triangle, guiro, vibraslap, cabasa, and a rainstick. The score thus offers diverse opportunities to contrast different timbres and to clearly define the roles of the various instrument groups. The percussion section forms the rhythmic foundation. The rainstick provides a fluid, continuous sound, while the other instruments contribute more defined rhythmic accents. The composer notes that the specific assignment of percussion instruments can be adjusted; the essential requirement is that the individual rhythms remain distinguishable through their distinct timbres. This allows the instrumentation to be adapted to the instruments available and the number of players in the ensemble. Above the rhythm lies a clearly defined, accessible melody. Counter-melodies expand the musical texture, providing other sections with their own distinct musical material. In the section featuring clapping rhythms—measures 52 through 59—the rhythmic motifs stand out with particular clarity. According to the composer’s notes, these clapping patterns draw upon rhythmic ideas heard earlier in the piece, creating an audible connection between the various sections. The term "African-influenced" in the publisher’s description refers to a stylistic inspiration; it should not be interpreted as a comprehensive representation of African musical traditions. For rehearsal purposes, the focus should remain on the specific musical elements present: a crisp percussion groove, recurring rhythmic patterns, and the interplay between the melody, counter-melodies, and clapping. • Challenges and Learning Opportunities A key objective is achieving rhythmic precision. The wind players must reliably anchor their phrases within the percussion foundation, ensuring that the underlying pulse retains its fluidity. At the same time, the different musical layers must remain clearly distinguishable. A balanced sound is essential so that the melody is not obscured by the percussion and the counter-melodies can effectively fulfill their role. The percussion section also requires coordinated preparation. With multiple instruments involved, entrances, timbres, and transitions must be carefully aligned. The rainstick should sound as consistently and continuously as possible, allowing its sonic effect to serve as a unifying element. Regarding the clapping: rhythmic accuracy and a unified entrance are more important than sheer volume. From a pedagogical perspective, the work offers numerous opportunities for development. Musicians can practice their sense of pulse, rhythmic confidence, and the ability to listen to other sections. The percussion parts, meanwhile, foster collaboration within a larger percussion ensemble. The clapping passage physically engages the entire ensemble in the rhythm, making rhythmic motifs tangible even without the use of instruments. At the same time, the wind players learn to distinguish between the lead melody, counter-melody, and accompaniment. • Notes on Rehearsal and Performance A step-by-step approach is recommended for rehearsals. The percussion rhythms can be worked on individually and then combined. Subsequently, the melody and accompanying parts are added. Rehearsing the various musical functions—melody, accompaniment, and clapping—separately helps to clarify each part's specific role within the arrangement. The clapping patterns in measures 52 through 59 should be practiced separately before being integrated with the other parts. When performing as an ensemble, pay special attention to balance and articulation. Rhythmic impulses should be clear, yet without sounding harsh or heavy. The melody requires sufficient presence, while counter-melodies should remain audible as distinct, independent lines. A tempo of 120 beats per minute provides a concrete starting point; what matters most is that the pulse remains steady and the music retains its dance-like character. • "Dancing In The Rain" is suitable for concert programs, youth concerts and school performances. Its vivid musical concept makes it easily accessible to a young audience. At the same time, the instrumentation offers specific challenges for various instrument groups and allows for adjustments based on available resources. The work thus combines an immediately understandable atmosphere with learning opportunities in rhythm, ensemble balance, and musical role distribution. Text: © musicainfo.net (KI) Quellen/Sources: Barnhouse Music: Dancing In The Rain

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	Format
	Dancing In The Rain (concert/wind band; young band), full score and parts
	Dancing In The Rain (concert/wind band; young band), full score
	Dancing In The Rain (concert/wind band; young band), full score, large
	Catalyst, audio CD

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