Come, Join in Singing

It's Carnival Time ... come join the lion the turtles the singing donkeys waltzing elephants and a host of other animals as they bring to life the music of Camille Saint-Saëns. Designed specifically for elementarystudents this all-school revue may be produced with minimal set and costuming or if time and resources permit a more elaborate production. The Teacher's Manual comes complete with the accompanied songs script stagingdirections and ideas for set and costuming. The Singer's Edition includes the script with staging directions and vocal lines only. The ShowTrax CD includes the spectacular orchestration by John Higgins for a truly professionalproduction. Your performers and their parents will enjoy the timeless music of Camille Saint-Saëns and you'll enjoy the opportunity to introduce your classes to a great orchestral classic. Available: Teacher's Manual Singer's 5-Pak Preview CD ShowTrax CD. Performance Time: 30 minutes. For grades 1-6.

Uses: Christmas Eve ChristmasScriptures: Luke 2:1-20; Matthew 2:1-12Majestic and inspirational this setting of O Come All Ye Faithful makes the ideal addition to any service during theChristmas season. The choir of unison voices opens the piece accompanied by a stellar organ part that beautifully supports the noble ADESTE FIDELES tune. In stanzas 2 and 3 a resounding vocal descant joins the melody thatheightens the spirit of glorious celebration. The congregation also has the opportunity to join the singing in stanza 3 making the anthem an excellent selection for use in corporate worship. Available separately: Unison/opt.2-Part Treble/opt. Cong. CelebrationTrax CD. Duration: ca. 3:04

40 well-loved festive backing tracks-All the festive favourites are here on this new set of backing tracks including carols chart hits and songs made famous by legendary singers and the movies.Disc 1All I want for Christmas is youDo theyknow it’s Christmas?Do you hear what I hear?Frosty the snowmanHave yourself a merry little ChristmasI wish it could be Christmas every dayIt’s the most wonderful time of the yearJingle bell rockLastChristmasLet it snow let it snow let it snowLittle Saint NickMerry Christmas everyoneMerry Christmas everybodyRockin’ around the Christmas treeSanta Claus is coming to townSleigh rideStep intoChristmasThe Christmas songWalking in a winter wonderlandWhite ChristmasDisc 2Away in a mangerBorn in the night Mary’s childCome and join the celebrationCome they toldmeLittle drummer boyDeck the hallDing dong! merrily on highHark the herald-angels singIn the bleak mid-winterJingle bellsJoy to the world!Kings came riding from the eastLittle donkeyO come all ye faithfulO little town of BethlehemSee him lying on a bed of strawSilent nightThe first nowellThe holly and the ivyWe three kings of Orient areWe wish you a merry Christmas

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Come on a musical safari into a magical jungle where you can drum with the monkeys sing with lions and shake like a rattlesnake! Educationally based this fun-filled collection of songs is jam-packed with practical ideas forenhancing children's musical development through singing movement playing percussion instruments and other hands-on activities! Jammin' in the Jungle is a fantastic resource for both classroom and home use and is suitedto children aged 4-8 years. Come along and join in the fun of making music! Songs include: Jammin' in the Jungle; Snappity Snap; Elephant Paint; Monkey Rhythm; We Can Shake Like a Rattle Snake; Amazing Snakes; Hippo Rock; I'mWalking Through the Jungle; Bongo Bob; Jungle Wash Day; Barrel of Monkeys; Tigers Are a-Creeping; Monkey Hug; Tiger Jive.

On Come Christians Join To Sing-Part of a series of special publications devoted to encouraging congregational singing this adaptation of a favorite hymn is designed as a powerful anthem for choir with optional brass and handbells. This invitation to worship and praise is also an ideal service opener. The octavo follows the standard 'Concertato' format featuring a verse of free harmonization and a final verse that includes a soaring descant along with choral intros and tags. Dynamic!

From hoola hoops to handygrams here are 14 delightful original songs by the creator of “Cat Paws” Lee Campbell-Towell. Perfect for music class phy. ed. or the general classroom AMIGOS comes complete withreproducible songsheets corresponding movement and additional activities for hours of fun....all under one cover! The separate CD features the full performance of each song so leaders can free themselves from the piano and jointhe kids in singing and movement. So come on guys come on gals and grab yourself an alphapal!Available: Song Collection CD (full performance only). For gr. K-3.

Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.

Together We Sing Series-This a cappella best-seller is now available for TB voices! Using the optional percussion accompaniment creates a Renaissance sound and a madrigal effect. A simple melody starts of the work then each part joins in with its own melody. Soon the polyphonic singing becomes gloriously forte building to a strong ending that includes an optional descant.

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano