Raise the Bar! Piano book 1 (Initial-Grade 2)

Für Violine und Orchester Op. 64-Mendelssohn’s Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the premi?re; the ‘child prodigy’ Joseph Joachim; and Hubert L?onard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to L?onard.The letter informs us that the composer invited L?onard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to L?onard.The recently discovered proofs reveal how L?onard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how L?onard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for L?onard’s playing and offers to lend his support in finding employment in Germany.This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (BA9060) (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099)

Easy collection of 85 patriotic songs spirituals hymns and carols appropriate for most any setting. Individual part books are marching band size.Song List: * Abide With Me * All Through The Night * Alma Mater * Aloha Oe * America The Beautiful * Auld Lang Syne * The Band Played On * Battle Hymn Of The Republic * Beautiful Dreamer * A Bicycle Built For Two (Daisy Bell) * Blow The Man Down * Camptown Races * Carry Me Back To Old Virginny * Columbia The Gem Of The Ocean (The Red White And Blue) * Come Ye Thankful People Come * Cradle Song * Crusaders Hymn * Deck The Hall * (I Wish I Was In) Dixie * Fairest Lord Jesus * Farewell To Thee * Finlandia * The First Noel * For Hes A Jolly Good Fellow * Forgotten Yesterdays * God Of Our Fathers * Good Night Ladies * Hail Columbia * Hail To The Chief * Hail Hail The Gangs All Here * Hark! The Herald Angels Sing * Home On The Range *Home Sweet Home * In The Gloaming * It Came Upon The Midnight Clear * Jeanie With The Light Brown Hair * Jingle Bells * Jolly Old St. Nicholas * Joy To The World * Lead Kindly Light * Little Brown Jug * Loch Lomond *Loves Old Sweet Song * The Man On The Flying Trapeze * Marines Hymn * Maryland My Maryland * A Mighty Fortress Is Our God * My Country Tis Of Thee (America) * My Faith Looks Up To Thee * My Old Kentucky Home * Nearer MyGod To Thee * Nobody Knows The Trouble Ive Seen * Now The Day Is Over * O Christmas Tree * O Come All Ye Faithful (Adeste Fideles) * O Little Town Of Bethlehem * Oh! Susanna * Old Black Joe * Old Folks At Home (SwaneeRiver) * Old Hundred * Onward Christian Soldiers * Praise God From Whom All Blessings Flow * Rock Of Ages * Sailing * Shortnin Bread * Silent Night * Silver Threads Among The Gold * The Star Spangled Banner * SweetAnd Low * Swing Low Sweet Chariot * Taps * Tis The Last Rose Of Summer * Tramp! Tramp! Tramp! * Viennese Refrain * When Johnny Comes Marching Home * While Shepherds Watched Their Flocks * Yankee Doodle

Raise the Bar is a series of books showcasing favourite repertoire from past Trinity exam syllabuses. Each book contains an appealing selection of pieces pitched at a particular difficulty level featuring music from a range of styles and periods. Designed for use alongside exam preparation or simply for pleasure the books provide an essential resource for musicians looking to broaden their repertoire. A series of three books containing the most popular pieces from past Trinity Violin syllabuses accompanied by teaching notes by orchestral/chamber violinist and teacher Anna Dryer-Beers. Designed for use alongside exam preparation or simply for pleasure thebooks provide an essential resource for musicians looking to broaden their repertoire. Expertly graded by leading music educators covering a wide range of styles and genres. Beautifully designed and presented making for easy reading ? aesthetic and functional.

Raise the Bar is a series of books showcasing favourite repertoire from past Trinity exam syllabuses. Each book contains an appealing selection of pieces pitched at a particular difficulty level featuring music from a range of styles and periods. Designed for use alongside exam preparation or simply for pleasure the books provide an essential resource for musicians looking to broaden their repertoire. A series of three books containing the most popular pieces from past Trinity Violin syllabuses accompanied by teaching notes by orchestral/chamber violinist and teacher Anna Dryer-Beers. Designed for use alongside exam preparation or simply for pleasure thebooks provide an essential resource for musicians looking to broaden their repertoire. Expertly graded by leading music educators covering a wide range of styles and genres. Beautifully designed and presented making for easy reading ? aesthetic and functional.

The Raise The Bar series arranges the most popular pieces from past Trinity exam syllabuses and enhances them with enlightening teaching notes. Each book from the series contains an appealing and varied selection of pieces pitched at a particular difficulty level featuring music from a range of styles and periods. Designed for use alongside exam preparation or simply for pleasure the books provide an essential resource for musicians looking to broaden their repertoire. A series of three books containing the most popular pieces from past Trinity Guitar syllabuses accompanied by teaching notes by Guitarist and teacher Anders Rye.Designed for use alongside exam preparation or simply for pleasure the books provide an essential resource for musicians looking to broaden their repertoire. Expertly graded by leading music educators covering a wide range of styles and genres. Beautifully designed and presented making for easy reading — aesthetic and functional.

Raise the Bar brings together the most popular pieces from past Trinity exam syllabuses and enhances them with informative teaching notes. Each book contains an attractive and varied selection that will help drummers expand their repertoire and discover more music from different styles and genres. Backing and/or demo tracks are included for the accompanied pieces as free audio downloads.

Book 2 of the Guitar Worship Method picks up where Book 1 left off teaching you more important concepts to improve your guitar playing and more great songs in praise of God. Demonstrated in the context of contemporary and classic worship songs you'll learn movable power chords barre chords rhythm guitar techniques arpeggios scales tips on leading worship and lots more! The companion CD features 61 tracks including tuning notes and 12 songs.

The ten songs in this collection were especially written to encourage children to use percussion instruments in worship.The contents of the book are: BartimaeusBuild on a rocky placeChoices choicesJesus is my rockJesus' love lights up the worldPenny on the groundPoor old NaamanShine shine shineThank you thank youWatching over meThe free CD includes accompaniments to all thesongs.All the songs have been scored for six different percussion instruments: claves an egg-shaker a jingle stick maracas small drum (tambour) and a triangle. Of course these parts may be freely adapted for otherpercussion instruments. The children's percussion set supplied separately includes all the instruments in the book in a cool rucksack.

Kidsource is an exciting collection of praise and worship songs for children. It is compiled by one of the country's favourite children's songwriters Alan Price known to kids as Captain Alan of Captain'sCrew. It contains over 400 songs from the UK's most renowned children's songwriters including Doug Horley Ishmael Sammy Horner Richard Hubbard Paul Field Ian White and the Captain himself as well as a significant numberof well-known 'adult' praise and worship songs from writers such as Matt Redman Graham Kendrick and Darlene Zschech. All of the Keyboard accompaniments have been arranged for maximum clarity and ease of use with muchconsideration given to the pitch of the tunes and their suitability for young voices. Guitar chords are given for every song.

100 ideas to raise the bar-The two lead choir mentors from BBC's The Naked Choir. which airs autumn 2015 provide a practical dip-in book of tips and techniques to get choirs to excel. Perfect for all Choral leaders enthusiasts and singers Dominic Peckham and Mark De-Lisser explain how to raise your game and take your choir to the next level with advice on technical excellence creating a good working environment and managing people. With over 25 000 choirs in the UK and the numbers growing Mark De-Lisser (Vocal coach on BBC's 'The Voice' and mentor on 'The Naked Choir') and Dominic Peckham (leading choral director & ambassador and mentor on 'The NakedChoir') provide 100 ideas on how to take choirs to the next level. Sharing their wealth of knowledge and experience De-Lisser and Peckham's advice will get great groups started keep choirs moving forward and encourage the best from individual singers keeping it fun along the way. With advice on how to start a choir from scratch develop your own musicianship rehearse effectively and excel in performance this pocket-sized guide is an essential resource and its practical guidance will get all choirs on the right track!

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