Matériel : Livre
SKU: HL.14004918
ISBN 9780711998278. 5.5x8.5x0.266 inches. English.
This handbook was written in 1920 for private circulaton amongst members of the Conducting Class at the Royal College of Music, and published later. This is the revised version aimed at helping thise who work with choirs, orchestras, wind, military or brass bands, as well as teachers of music in all schools and music colleges.
SKU: GI.G-9524
This remarkable book contains twelve short musical excerpts of great instrumental works—“mini scores” designed to accompany any instrumental conducting texts and intended to be performed in any instrumental conducting class. Each excerpt presents specific challenges for developing conductors to explore as they acquire knowledge, gain experience, and develop conducting techniques. The orchestration of each excerpt is designed to be flexible while at the same time providing high-quality music for use in any instrumental conducting class. The full score and parts of each excerpt, all in one spiral-bound book, are designed to help any conducting student mark and memorize a score, learn to conduct using the limited instrumentation in a typical conducting class, and experience working with a wide range of repertoire. Even if players are not able to cover all the parts for an excerpt, there are still numerous possibilities for using this music in a classroom setting. States author John M. Laverty: “I hope this resource will give you the materials to enhance your level of conducting skill, and as a result give you confidence to step in front of live musicians playing real instruments and make music.” Excerpts from: Brahms: Symphony No. 1, op. 68: Mvt. IV, Adagio Fučík: The Florentiner March, op. 214 Janáček: Lachian Dances, op. 2: “Pilky” and “Star odálvný” Mahler: Symphony No. 3: Mvt. VI, Langsam Maurer: 12 Kleine Stück: “du Style” Mozart: Requiem, K. 626: Mvt. 1 (“Requiem”) Mussorgsky: Pictures at an Exhibition: “The Great Gate of Kiev” and “The Hut of Baba-Yaga” Schumann: Zigeunerleben (“Gypsy Life”), op. 29, No. 3 Tchaikovsky: Symphony No. 4: Mvt. 1, Andante sostenuto, Symphony No. 6: Mvt. 2, Allegro con grazia.
SKU: HL.237719
ISBN 9781495097911. UPC: 888680698522. 9x12 inches.
Learn the essential practices of contemporary conducting. This book will teach you to use the motions, cues, patterns and practices used to lead ensembles, whether for orchestra, band, musical theater, opera, film orchestra, or other type of ensemble. You will learn techniques for keeping time, signaling musicians, and crafting your unique interpretation of the score, as well as how to command the stage presence necessary to lead a large ensemble – whether for concert performances or synching live performers to other media, such as film, recordings, musical theater and dance.Video demonstrations and annotated scores of orchestral excerpts from Beethoven, Mozart, Tchaikovsky, and others illustrate and let you practice various conducting challenges, such as cadenzas, rubato and quickly changing time signatures. Also included are interviews with some of the most accomplished conductors of your time, such as John Wiliams, Lalo Schifrin, JoAnn Falletta, John Morris Russell and others, providing perspective from the concert hall podium to the Broadway pit to the Hollywood sound stage.
SKU: GI.G-6577
“There is no doubt in my mind about the pedagogical potency of the use of the Swiss Ball for conducting study. This simple device transfers responsibility for teaching from heretoforeused verbal explanations to a new world of instruction that uses body awareness as the primary vehicle.” — James Jordan, Learn Conducting Technique with the Swiss Exercise Ball Traditional conducting methods rely on how conductors look––not how they feel. James Jordan’s groundbreaking Learn Conducting Technique with the Swiss Exercise Ball takes the study of conducting beyond the mechanics to a higher plane. Using the Swiss Exercise Ball, everyone from the most experienced conductor to the beginner can tie into a state of awarenessthat opens the door to increased musical expression and kinesthetic awareness. With the aid of a Swiss Exercise Ball and the Body Mapping techniques described in this book, conductors can reach a new level of artistic expression and mastery. The Swiss Exercise Ball is available in four sizes from GIA Publications, and each comes with a pump. Choose the ball size based on the height of the conductor: • 45 cm ball, under 5’ tall (G-6575) • 55 cm ball, 5’ to 5’8” tall (G-6576) • 65 cm ball, 5’9” to 6’3” tall (G-6577) • 75 cm ball, 6’3” and taller (G-6578).
SKU: GI.G-6575
SKU: GI.G-6576
SKU: GI.G-6578
SKU: FJ.SB302VN3
UPC: 674398215591. English.
FJH is pleased to introduce Lessons in Performance for Beginning and Developing Strings, Book 1: Journey Through North America. Featuring 15 pieces with full score analyses, techniques for conducting and teaching, background information and supplemental exercises, Lessons in Performance bridges the gap between rehearsal and concert halls. Also ideal for cross-curricular teaching, all supplemental materials incorporate the National Standards. In addition, this publication provides a perfect theme for summer string camps. You are sure to find multiple uses for this outstanding educational publication!
SKU: CF.BF128
ISBN 9781491153413. UPC: 680160910915.
Wohlf ahrt’s Foundation Studies have long been successful tools forviolinists and violists in mastering the technical difficulties of theirinstruments. Originally conceived for a complete comprehension offirst position on the violin and viola, Richard Hughey presents thisnew edition for cello students. Transcribing these etudes for the cellopresents new challenges for the performer. Particular passages, forexample, require the student to make use of the second and eventhird positions. The fingerings chosen for these passages reflectthese shifting positions in a coherent and logical way. Trainedcomprehensively in both cello and conducting, Hughey shares hiswealth of experience and knowledge in Wohlfahrt’s FoundationStudies for the Violoncello.The violin etudes and exercises of Franz Wohlfahrt havebeen and continue to be used by violin and recently violateachers the world over. Franz was the son of HeinrichWohlfahrt (1797, Kößnitz–1883, Leipzig), a noted pianoteacher who also published many studies for piano thatwere very successful with younger students. Heinrichdeveloped a keen sense for the pedagogical development ofchildren and composed excellent studies accordingly. Withthe education of his sons Robert (1826, Weimar–deathdate unknown) and Franz (1833, Frauenpriesnitz–1884,Le ipzig), he passed these pedagogical abilities to the nextgeneration.In the preface to his Violin Studies Opus 45, FranzWohlfahrt wrote:The study of the violin presents certain difficultiesfor beginners which are frequently the cause of a suddendecrease in the pupil’s zeal and ambition, even before he hasmastered the first fundamentals.The blame for this is commonly laid on the teacher,who is called incapable or negligent; losing sight of thefact that the pupil began his studies without the slightestnotion, not merely of the difficulties to be encountered,but also of the regular and diligent effort indispensable forovercoming them.It is important, therefore, to smooth these first severitiesby showing their usefulness and making them agreeable; tothis end my Violin Method was published and the presentexercises have been written, which latter may be consideredas forming a supplement to the former.If practiced carefully and intelligently, they will serve asa solid foundation for the technique of any player ambitiousto become an artist.These studies have been successful tools for violinistsand violists to begin to master the technical difficulties oftheir instruments. Clearly conceived for a more completecomprehension of the use of the first position on the violinand similarly for the viola, presenting these etudes forthe cello presents a new challenge. As ongoing violinistsand violists can use the fourth finger to play the note ofthe next higher open string, this is not possible on thecello. To perform these exercises on the cello, particularlyreaching the “E” on the A-string, requires the studentto make use of the second and even third positions. Thefingerings chosen for these passages reflect the necessityof shifting to these positions. This is of great advantage,as a new set of studies now can be used by the studentto practice shifting to and from those positions and thusincreases technical proficiency in the second and thirdpositions of the cello.
SKU: HL.14023298
ISBN 9788759871591. English.
Per Norgard 's Gennem Torne / Through Thorns (2003) Harp Concerto No. 2 - Passage for Harp Solo with Flute, Clarinet and String Quartet. Premiered by Tine Rehling (Harp) and the Esbjerg Ensemble, conducted by Kaisa Roose at the Concert Hall of the Western Jutland Academy of Music, Esbjerg, 28th January 2004. Programme Note THROUGH THORNS has a duration of about 20 minutes, in one continuous movement, thus the subtitle passage. The work is scored for harp solo, flute, clarinet and string quartet. The title is borrowed from the lines from an old Virgin Mary Hymn: Mary wanders through thorns, a hymn which ends with the following line: then roses grew forth amongst thethorns. I only came across the poem after finishing the composition, the passage of which is a journey of sometimes dramatic events, concluding with a rose-blooming, as does the hymn. For THROUGH THORNS to borrow its title from a Virgin Mary Hymn has to do with the musical material and current of the piece, which brings motives from an earlier choral piece of mine, FLOS UT ROSA (Latin for a flower like a rose), and the rose in question is of course the one which grew forth when the Virgin Mary gave birth to the Infant Jesus in a hitherto unheard-of fashion, a NOVA GENITURA (new birth), which is the title of another work of mine that also derives its material from my original rose-melody from 1975. THROUGH THORNS is dedicated to Tine Rehling, and together with her I have tried to expand the sonorities of the harp, by exploring existing techniques and their more remote regions, in order to gain access to new territory and new soundscaoes, as realised by the constantly experimentally-minded and virtuoso player. Per Norgard, 2004. .
