SKU: HL.123456
ISBN 9781480363083. UPC: 884088958350. 8.5x11.0x0.824 inches.
An Express Musical for Young Voices. “Move that car! We're ready to begin. A garage is a place to make music in. With keyboard, drums, guitar and bass; add a singer and we're all in place!” Explore the instruments of a rock band and start your own garage band. This unique musical revue features fresh new arrangements for unison voices with optional harmony that are accessible and appropriate for upper elementary and middle school singers. Use the program dialog for performance options; connect to the standards with teaching objectives for each song; and extend learning with online video interviews featuring John Jacobson and the studio musicians who recorded the songs in musical revue. “Here we go; the band is complete. We got the singer and we got the beat! Let's twist and shout and harmonize, too. We're ready to play a tune for you.” Songs include: We Got the Beat, Twist and Shout, Stand By Me, Your Song, Livin' on a Prayer, Making the Band. 25 Minutes. Suggested for grades 4-8.
SKU: GI.G-10245
ISBN 9781622774487.
What are our musical sins? Are they obvious or subtle? When do we unwittingly commit such transgressions? And above all, how can we avoid them? In this sequel to his acclaimed bestselling book The Artistry of Teaching and Making Music, master teacher and conductor Richard Floyd makes a compelling case for The Seven Deadly Sins of Music Making, which he identifies and expounds upon as the following: articulation, dynamics, rhythms, tempo, line, silence, and proportion. Using dozens of excerpts from the wind band repertoire to illustrate his points, Floyd guides readers through the thorny landscape of our musical wrongdoings, offering wisdom and actionable solutions that lead to, in the words of the author, “a world of artistic, expressive music making that goes beyond the printed page.” Though the book addresses the wind band medium specifically, its observations and lessons about music making are universal. Musicians and educators in all disciplines are certain to profit from the nearly six decades of experience Richard Floyd expertly brings to the page. Richard Floyd has enjoyed a distinguished career at virtually every level of wind band performance. He most recently retired from the University of Texas at Austin and now holds the title of Texas State Director of Music Emeritus. He also serves as Musical Director and Conductor of the Austin Symphonic Band, one of the premier adult concert bands in America. He maintains an active schedule as a conductor, clinician, lecturer, and mentor.
SKU: HL.333136
ISBN 9780982320730. UPC: 884088533854. 9.25x13.75x2.653 inches.
This limited edition silver-embossed, facsimile-autographed, slipcase holds both books. These books are essential for anyone who is interested in a comprehensive account of the modern guitar, and how a highly responsive guitar is made. They offer info from one of the most-revered luthiers of our times. No publication has ever presented trade secrets and practical information to truly change the way a person makes or appreciates the steel-stringed guitar. Ervin Somogyi is a Hungarian-born master luthier whose guitars are renowned for their responsiveness and tone - trademarks for a great guitar. After almost five decades of making this instrument, teaching and writing about the development and construction of the guitar, Somogyi reveals the methods, techniques and philosophy behind his legendary instruments. The Responsive Guitar is about physics, dynamics, acoustics and construction of the guitar. It's about the mechanics of tone; what materials to build with, when to add or remove wood for maximum benefit, and why those techniques work. Somogyi explains in exquisite detail how the guitar makes sound, and what musicians and luthiers need to know in order to appreciate a really well-made guitar. This book sets the foundation for the matching volume Making the Responsive Guitar. Making the Responsive Guitar is the second volume on a two-volume set of books that set out the principles and methods of building fine hand-made guitars. Where Volume 1 sets up the knowledge, this book is about how to build a guitar, from the very first step to the last.
SKU: UT.QC-5
ISBN 9788881095223. 6.5 x 9.5 inches.
Essays by Louise Benrard de Raymond, Muriel Boulan, Thomas Christensen, Etienne Jardin, Ellen Lockhart, Fabio Morabito, William O'Hara, Alban Ramaut, Annette Richards, Michael B. WardThe nineteenth-century composer has a persistent image problem: inspired, unworldly, male, writing works of genius for posterity. If it has been the project of musicologists for the last 30 years to erode this checklist, he lingers still like a bad smell. This book uses Antoine Reicha (1770-1836) as a case study through which to develop alternative approaches to the nineteenth-century composer. That Reicha was a composition teacher and prolific writer of instruction manuals, for example, provides an opportunity (and new types of sources) to focus on composers' attempts at becoming composers. How can we catch them 'in the making', exploring not a body of works and achievements, but the priorities and anxieties of these individuals (the knowledge they followed or created) in crafting their artistic identities for the public? What modes of music historiography and analysis might help explore Reicha's and his contemporaries' music beyond mapping it within local or national traditions and their transfer? Can a networked model of music-history writing - we might call it 'a history of music with no protagonist' - assist musicologists in working on non-canonical composers without retrospectively making monuments out of them? These and other questions frame this volume, in order not only to reassess Reicha, but also our disciplinary toolkit: to ask how/why/to what end we tell stories about composers in musicology more generally.
SKU: PR.114423770
UPC: 680160688579.
When RoseWind Duo’s Clifford Leaman and Scott Herring commissioned me for Silver Linings, we could not have anticipated that we would be in the middle of the COVID-19 pandemic when I composed the piece. In the early summer of 2020, when the three of us met virtually to discuss possible topics, we had all been in lockdown for several months; the causes and effects of the lockdown were at the forefront of our discussion. In themidst of daily tragedies, I had been seeing news stories using the words “silver lining” to describe unexpectedly positive situations arising from our global situation, ranging from small effects (i.e. people having time to work on projects they never could get around to doing) to global ramifications (resurging animal populations in areas where they’re no longer challenged for space with humanity).Silver Linings consists of two movements. Groundhog Day, the first movement, is slow and brooding. It embodies the strong feeling of déjà vu that so many of us experienced early on into lockdown, as we seemed to live the same day repeatedly with minor variances to our schedules. There are two main musical gestures: the first opens the piece as a slow, ascending minor chord which is a representation of uncertainty, and the secondis a falling minor scale. These gestures depict how our lives were reduced to the basic building blocks of life – wake up, eat, work, eat, sleep – as our daily activities and livelihoods were suddenly knocked down. These same two gestures are utilized in the energetic second movement, Making Lemonade, except that they are spun around to reveal their silver linings: the minor chord falls to sound centered and decisive, and the minor scale rises as it bubbles with activity. Among the seeds of despair are also foundseeds of hope, and the saxophone and marimba explore this hopefulness with great vigor and excitement.
SKU: AP.12-0571507719
ISBN 9780571507719. English.
The Faber Early Organ Series is among the most comprehensive anthologies of early organ music ever published. In 18 volumes it spans two centuries and six geographical regions, presenting a broad and balanced view of the main forms, styles and composers. Within each geographical region the pieces, most of which are for manuals only, are arranged by date of composition or publication. The presentation is both scholarly and practical; all of the music has been newly edited from the earliest surviving sources according to a systematic editorial method that preserves as many features of the original notation as possible while making it fully accessible to modern players. In every volume, an informative Introduction sets the music in historical context. There are also helpful sections on Ornamentation and Registration, and a Critical Commentary giving detailed information on the sources.
SKU: PE.EP66372
ISBN 9790300721460.
Charles Wuorinen composed his 15-minute piano Duet Making Ends Meet for Jean and Kenneth Wentworth in 1966.This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
