Matériel : Partition
SKU: HL.233789
ISBN 9781495094385. UPC: 888680683542. 9.0x12.0x0.151 inches.
This fantastic folio of favorite film selections arranged by Phillip Keveren falls into the new â??Piano Solo Plusâ? category, containing nine piano solos, PLUS two great medleys â?? one featuring the music of John Barry, and the other from The Wizard of Oz â?? and two piano/vocal arrangements (â??Moon Riverâ? and â??Over the Rainbow.â?) The piano solos include: Don't Rain on My Parade â?¢ The Godfather Waltz â?¢ My Heart Will Go On â?¢ Singin' in the Rain â?¢ and more.
SKU: GI.G-6390B
English.
Every choir needs a leader to inspire, train and direct it. That person needs all kinds of musical, social, and administrative skills, and these are all explored in depth in The Voice for Life Guide to Choir Training. Here is a comprehensive manual dedicated to the theory and practice of choir training, drawn from the collective knowledge and wisdom of seasoned practitioners in the field. Conceived for experienced leaders and novices alike, it systematically addresses the many different aspects of choir training from conducting and rehearsal management to legal, financial, worship and pastoral issues. It offers countless practical strategies that will be of enormous assistance to all choir trainers and directors, whether or not they are running a Voice for Life scheme. Choir training is a challenge and it demands commitment, but it is hugely rewarding. The Voice for Life Guide to Choir Training will equip musicians in this role with all the skills they need to develop their talents – and those of the singers in their care – so that everyone can grow in confidence and skill, give pleasure and enrichment to those who hear them, and help to inspire the worship of the gathered community. From the Table of Contents: Part 1: Face to face with the choir, Introduction, Rehearsal management, Planning, Warm-ups, Developing technique, Developing musicianship, Working on repertoire Part 2: Behind the scenes, Introduction, The purpose of the choir, Setting up a choir, Recruiting and retaining singers, Jobs within the choir, Choir in context, Legal and administrative matters, Financial matters, Health and safety, Safeguarding Part 3: The choir in public, Introduction, The choir in worship, The content of church services, Different types of church music, Preparing worship music with the choir, Hymns, Worship songs, Anthems, Settings of the Mass, Singing the psalms, Chant from the Taizé tradition, World music, Improving congregational singing, The choir in performance, Repertoire selection, Copyright and licensing, Arranging and composing for choir Part 4: You as a choir trainer, Introduction, Managing your time, Understanding people, Leadership skills, Communication skills Part 5: The choir trainer’s toolkit, Introduction, Some thoughts about music literacy, Conducting skills, Positioning the choir, Keeping it all together, Focus the choir!, Energize the choir!, Working with young singers, Changing and developing voices, Voice change in older singers, Falsetto, Vibrato, The individual voice and its registers, Getting a good sound: intonation, Getting a good sound: blending, Troubleshooting, Music reference, Photocopiable resources, Voice for Life publications and resources, Other RSCM publications and resources, Index.
SKU: HL.14042467
ISBN 9781783051069. UPC: 888680694913. 6.75x9.75x0.137 inches.
Little Voices: Film Musicals brings together five classic songs from big screen musical favourites selected and arranged for young groups and choirs. Practice and performance is made easy thanks to an included audio CD containing complete vocal andpiano demonstrations plus piano-only accompaniments to each song.Each themed book in the Little Voices series contains five songs that make a perfect introduction to part-singing for beginner groups.
SKU: GI.G-CD-450
The incomparable Cathedral Singers, conducted by Richard Proulx, have graced the music of Bob Moore with their glorious choral singing. This recording is second to none: masterfully crafted compositions resplendent with interesting harmonies married to texts selected from the works of the finest hymn writers of our time. Lovers of serious choral music are going to be thrilled with this new offering. Musical styles are varied, from gospel to a distinctly classical sound, sprinkled with a wide variety of instruments. Selected works include All Glory Is Yours-rich and melodic, with a memorable and singable refrain, Build Your City on the Hill-rousing, with an early American flavor, Christ Is the Day-mysterious, for Advent, Cleanse the Thoughts of Our Hearts-choral music at its finest, Before the Song Was Done-majestic and lilting, for Christmas, This Our Joy and This Our Feast-Joyful, for Easter, with trumpets and alleluia! Just consider this roster of text writers: Brian Wren, Delores Dufner, OSB, Sylvia Dunstan, Richard Leach, and Timothy Dudley-Smith. In addition, traditional texts include The Prayer of St. Patrick, a selection from Piae Cantiones, and one from The Book of Common Prayer. There are also a selection from ICEL and adaptations by Bob Moore.
SKU: BA.BA08349
ISBN 9790006540877. 32.5 x 25 cm inches. Text Language: Latin. Preface: Rainer Heyink.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: HL.50606645
ISBN 9781705199770. UPC: 196288153528.
This book is to some extent a continuation of Dr. Kiss's 2015 textbook A Practical Approach to Harmony: From the Birth of Polyphony to the Baroque Era. The aim of this book is to support conservatory students (aged 14-22) and their teachers with a collection of carefully selected material from which to learn the necessary musical concepts and practical knowledge of music theory, form, and harmony. The target era is the Viennese Classical period, which spans just under one hundred years between around 1730 and 1830. The focus ison the greatest representatives of their time: Haydn, Mozart, and Beethoven. The book concentrates on the practical aspects of studying music theory, form, and harmony. This means that all musical concepts become practical knowledge and are integrated into skills that a cultured musician needs (score reading, writing, singing or playing, composing, memorizing, transposing, arranging, analyzing, and so on). The book consists of ten units grouped into three levels of difficulty: Basic (units 1 to 5), Intermediate (units 6 to 8), and Advanced (units 9 and 10). The structure of each unit is identical: 1. Listening and Analysis Analysis of selected compositions based on the following considerations: the structure of melody, rhythm, harmony, tonality, instrumentation, and form. 2. Theory and Practice Learning theoretical concepts from masterpieces, and applying them to singing, playing, transposing, piano reduction writing, improvising, composing, and analyzing. 3. Keyboard Harmony Creative activities such as: writing and realizing figured basses; harmonizing melodies; and playing, composing, and transposing chord progressions. 4. Ear Training Harmonic singing exercises and notating chords and complex musical excerpts after listening to them. 5. Appendix The Appendix of each unit contains the solutions to the tasks in that unit.
SKU: GI.G-10661
ISBN 9781622776399.
Hara mbee (Swahili): a festive gathering for singing and dancing. This beautiful collection of songs and games for elementary and middle school students showcases the vibrant and varied musical traditions of Tanzania, and in particular those of the Wagogo people of central Tanzania. As with all books in the World Music Initiative series, this collection guides students and teachers to an understanding of world music traditions by providing cultural and historical context for each selection, including information on geography, ethnic groups, languages, music genres, and traditional instruments—comple te with pictures and video links. Audio recordings—both a spoken pronunciation track and a singing track—are available online for all songs and chants, as well as PowerPoint slides for many of the materials. Each selection also includes notation, translations, phonetic pronunciations, and optional ideas for pedagogical extensions. Created with the generous support and input of many Tanzanian children, teachers, and friends, this collection presents the music of Tanzania in an accessible way that honors the music’s original context while adapting it for a new context and to teach new musical concepts. Kedmon Mapana is a senior lecturer of music in the Department of Creative Arts at the University of Dar es Salaam, founder of the Cigogo Music Festival, and is one of the directors of the Chamwino Arts Centre. As a member of the Wagogo ethnic group of Tanzania, his research and community interests include highlighting local communities throughout Tanzania and empowering young Tanzanians. Karen Howard (series editor) is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota, where she teaches courses in music education, vocal pedagogy, research, and global music traditions. She has extensive training in global vocal, instrumental, and dance traditions from many music cultures, and her research interests and publications include works on world music cultures, music activism, and global singing traditions. CLICK HERE to download the Online Resources.
SKU: LO.99-2110H
UPC: 000308113907.
Your choir will have a blast singing this lively and animated original setting of Blake's poem from Songs of Innocence. Filled with Ha ha and Hee hee jovial refrains and enhanced by a fun-filled accompaniment, this selection 'laughs' its way from start to finish.