Matériel : Partition + Accès audio
SKU: HL.35028944
UPC: 884088900106. 4.75x4.75 inches. Arr. Joseph M. Martin /Brad Nix.
Uses: General, Lent, Ordination, Baccalaureate, Graduation, Youth ChoirScripture : Proverbs 3:5-6Inspired by a beloved Scripture passage, this powerful admonition in song provides musical beauty and spiritual depth. A sweeping theme takes this Biblical mandate and gives it artful wings while a lushly produced orchestration and StudioTrax CD provide several options for performance. Unison singing mixes with expressive four-part writing, adding depth and power. Available separately: SATB, StudioTrax CD (Accomp., SplitTrax, Perf.), Orchestration (Score & Parts for Flute 1 & 2, Oboe, Clarinet 1 & 2, Bassoon, Horn 1 & 2, Trumpet 1-3, Trombone 1 & 2, Bass Trombone/Tuba, Timpani, Percussion, Harp, Piano, Violin 1 & 2, Viola, Cello, Double Bass). Duration: ca. 3:41.
SKU: GI.G-10919
ISBN 9781622777464.
SKU: GI.G-9607
ISBN 9781622772865. English.
Emotion in Choral Singing explores what it truly takes to experience the transcendent power of choral music and achieve genuine emotional connection between composer, performer, and listener. With unmatched detail and authority, legendary conductor Jameson Marvin surveys the history of singing, effective rehearsal, score study, repertoire selection, and the relationship between a composer’s intentions, music notation, and expression. Specifically, this book looks at six complementary areas: Musical Gesture and Emotion: A Guide to Teaching and Performing The Historical Roots of Singing: Notation and Expression Performing Polyphony in the 21st Century Style and Expression in Renaissance Choral Performance The Conductor's Process Mastery of Choral Ensemble A particularly noteworthy feature of this book is its emphasis on polyphony, which, Marvin reminds us, encourages an individual expressivity and musicality in singers that can be applied to all styles of choral music, making it as relevant and vital today as ever. Links to recordings included within this book provide a range of examples from throughout Marvin’s career. Emotion in Choral Singing offers a new perspective on the choral art. It is chock-full of practical ideas, tips, and wisdom that will empower and inspire choral directors and musicians of all levels to achieve authentic emotional connection in their work. Jameson Marvin is Emeritus Director of Choral Activities and Senior Lecturer at Harvard University. Under his leadership, the Harvard-Radcliffe Collegium Musicum, Harvard Glee Club, and Radcliffe Choral Society rose to be among the premier collegiate choruses in America. Dr. Marvin’s choral artistry is mirrored by his knowledge of style and performance practice of historical eras and his insightful, communicative, and inspiring performances.  Click Here to Download FREE MP3's by Harvard University Ensembles!
SKU: HL.345976
ISBN 9781540093172. UPC: 840126921229. 6.75x10.5x0.015 inches. John 14:15-18, Psalm 51:10.
Ideal for Lent or any time of year, this gentle anthem expresses a desire to live more like Christ in all we say and do. Short, optional prayers introduce each verse before the choir sings the graceful, flowing melody. Options for solo singing, descant, and use of chime tree (or finger cymbals) complement the reflective spirit of the piece fitting for older elementary, youth, and adult choirs. Available separately: Unison/opt. 2-Part Treble. Duration: ca. 2:50.
SKU: GI.G-10833
ISBN 9781574635614.
From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan   Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson   Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman   Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse   Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller   Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid   University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II   Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos   Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams   Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson   Grass Valley Elementary School, Camas, WA.
SKU: AP.6-450414
ISBN 9780486450414. UPC: 9780486450414. 9x12 inches. English.
How long should I practice? Which pieces should I study? How can I develop a singing tone? All violinists ponder these questions, striving to make the most of their practice and performances. This enlightening and encouraging book holds the answers, offering a series of interviews with the most celebrated violin teachers and performers of the nineteenth and early twentieth centuries.Twenty-four famous violinists reveal the secrets of their success, sharing the lessons of their artistry and experience. In addition to aesthetic and technical aspects of playing, they discuss their personal conceptions of violin mastery. Eugene Ysaye reminisces about his studies with Vieuxtemps and Wieniawski, and Leopold Auer emphasizes the importance of fostering students' individual talents. Maud Powell describes her pioneering role as a female orchestral musician, and Jascha Heifetz voices his views on technical mastery and temperament. Hints and advice from other masters include tips on efficient practice, immproving bow technique, and refining intonation. A rare find in musical literature, this book is essential reading for every serious violinist.Dover (2006) unabridged republication of the work originally published by Frederick A. Stokes, New York, 1919.
SKU: HL.254192
UPC: 196288020622. 9.5x12.25 inches.
The songs of Mieczyslaw Karlowicz appeared in the history of Polish song as a rather unusual phenomenon. In the output of this outstanding symphonist - as youthful works - they formed an anacrusis, albeit a significant one, to his fully mature and masterful output. Nearly all of them were written over the course of a single year. Composed on the margins of his academic course in composition, they appear to represent a document of deeply personal feelings and thoughts, seismographically recording his current states of mind. Of the twenty-nine songs known to have existed, twenty-two have come down to us; the seven unpublished works, some merely sketched, were lost during the Second World War. Overlooking a couple of them, of a separate character, they form a remarkably coherent body of work. On closer inspection, it turns out that this cohesion of a distinctive character marks the whole of Karlowicz's oeuvre. Thesymphonic poems of the composer of Eternal songs are set within the same space of ideas and meanings as the songs; they are marked by analogous categories of expression. And it is a space which the composers main biographer, Adolf Chybinski, described as teeming with tragedy and boundless woe, resignation and a longing for another world'. In terms of the style of utterance, Mieczyslaw Karlowiczs songs - although deeply rooted in late Romantic style - have often been described as output standing on the threshold of a modernist phase. Zdzislaw Jachimecki wrote in 1930:A warm lyrical note in many of them, a genuine inspiration manifested in the very natural way inwhich the melodies are drawn, unsophisticated forms of accompaniment, which are nevertheless suited to the mood of the poetry in question and organically linked to the song, and the accomplished declamation and construction of these works have earned Karlowicz's songs deserved popularity in Polish singing circles.
SKU: CF.YAS184F
ISBN 9781491151860. UPC: 680160909360. 9 x 12 inches.
Alan Lee Silva's Northwestern Skies?is lyrical and fresh,? with his signature open and expressive style. Young string orchestras will sound rich and full with this sweeping composition.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. MoreA instrtuments areA added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower stringsA carry the C theme in m. 49, supported byA tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The movingA legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in theA violas and then the violinsA over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS184
ISBN 9781491151495. UPC: 680160908998. 9 x 12 inches. Key: G major.
SKU: CF.CM9427
ISBN 9781491142356. UPC: 680160630417. 6.875 x 10.5 inches. Text: Lee R. Kesselman. Lee R. Kesselman.
Lee R. Kesselman is known for his unique choral writing. Ani Ehh'yeh is a memorial laden with opportunities for dramatic expression, contrasting moods, and expressive singing. With or without the violin, the music and text in both English and Hebrew will captivate audiences.
SKU: GI.G-9088
ISBN 9781622771691. English.
In 2010 the Congregation for Divine Worship and the Discipline of the Sacraments granted a recognitio to The Revised Grail Psalms. This translation was prepared as a liturgical translation intended for use in the Roman Catholic Liturgy. Within a year of its publication, Christian leaders from groups beyond the Roman Catholic Communion expressed appreciation for certain aspects of The Revised Grail Psalms, particularly the poetic quality of the text and the sprung rhythm which facilitates recitation, chant, and musical settings of the texts. They further inquired if we might consider publishing another edition of The Revised Grail Psalms, focusing more directly on the original Hebrew while yet seeking a more inclusive final text of the sort preferred in the current worship of their respective communions. Thus The Ecumenical Grail Psalter came to be. Extracted from the Introduction to The Ecumenical Grail Psalter  Endorsements for The Ecumenical Grail Psalter “A lovely translation! The Ecumenical Grail Psalter retains the elegant simplicity, beauty, and rhythmic flow of earlier Grail Psalms. This makes it ideal for public reading and singing, as well as for individual devotional use. I applaud the inclusive language, and I hope it will be widely read and sung. It is a wonderful gift to the Church!†—J. Clinton McCann, Jr. Evangelical Professor of Biblical Interpretation Eden Theological Seminary “Lyrical in language with an ear for the musicality of words, this fresh revision of the Grail Psalter voices the longing, lament, and lavish praise contained in the Psalms. I especially appreciate the attentiveness to inclusive language, which invites women readers and prayers of these texts to feel more at home in this richly hued rhetorical landscape. The monks of Conception Abbey have offered a gift to the larger ecclesial family, further shaping our liturgical life through engagement with the Psalter. As a Baptist theologian and seminary president, I am deeply grateful.†—Molly T. Marshall President and Professor of Theology and Spiritual Formation Central Baptist Theological Seminary “A translation of the Psalms marked by noble simplicity, accessibility, freshness, and candor. These texts are beautifully singable—well poised for chanting and singing in a variety of cultural contexts. They are also well suited for devotional and liturgical reading, inviting worshipers into the world of the Psalms with vivid, uncluttered language. May this volume be widely received across Christian traditions.†—John D. Witvliet Calvin Institute of Christian Worship Calvin College and Calvin Theological Seminary.
SKU: HL.49030432
ISBN 9781902455013. English. John Minnion.
In this sixth book of the series, the authors builld upon the lower junior stage, and use a similar modular format. Designed to extend skill acquisition in performance, improvising and composing, listening and appraising, and notating music, pupils are challenged by incresingly demanding musical materials. At the same time there is an emphasis on pupils acquiring knowledge and expertise of the deep structures of a range of music, and a greater acknowledgement of musical purpose and context. Attuned to the National Curriculum experiences, particular features of this book are: a consolidation and deepening of vocal and instrumental techniques and performance * an integrated approach to improvising and composing, combing skills in listening and appraising, knowledge and understanding * a module focusing on aural observation, representation, recording and notation of sound * an active, analytical and frequently physical approach to listening and appraising * a focus on music in its social and historical context in relation to dance.
SKU: BR.EB-9240
ISBN 9790004185407. 9 x 12 inches.
Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).
SKU: GI.G-9818
ISBN 9781622773534.
â œFor a long time, there has been a perception that Catholics can’t or won’t sing in church. But this is not accurate: Catholics can and do sing… We all are called by Christ to love one another. If singing is a way to do that, why hold back?†--Diana Kodner Gökçe “Singing with one another,†the author reminds us, “is both prayer and an act of love. It heightens our worship, and helps us remember words of praise, thanks, petition, and most importantly, the Word of God. A great voice is not required. Singing is beneficial, and a precious gift from God.â€Music is sung prayer, when we sing, we give voice to a mystery that cannot be expressed in mere words…and yet, many are hesitant to raise their voices in song when we gather together to worship.  Filled with wisdom for new Catholics as well as those who have been attending liturgy all their lives, this book gives the person in the pews prayerful insight and solid foundation in the basics of the music we sing every week at Mass. Why Do We Sing? examines why but also when and how we sing in church: What is the significance of the different things we sing? What difference does it make if I sing, especially since I am not a very good singer? How do I get over my self-consciousness with singing? A book for everyone in the parish, this book seeks to help every liturgical gathering find its musical voice and more fully embrace its ability to participate fully, actively, and consciously in the liturgy. Diana Kodner Gökçe is the author of Handbook for Cantors, 3rd edition (GIA Publications, Inc.). She has taught liturgical music at Loyola University and worked as a music minister in numerous Chicagoland parishes including Holy Name Cathedral. She is currently Liturgical Music Coordinator at The Frances Xavier Warde School. To receive the quantity discount (25 or more copies—$4.00 each) call our customer service department at 1-800-GIA-1358.  .
