Format : Vocal Score
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: AP.50148
UPC: 038081573182. English.
A Great American Songbook standard famously recorded by Nat King Cole. With tight stylistic sonorities, a lively swing feel, and Kirby's signature scat singing, this arrangement is a dream come true for vocal jazz groups. An optional SoundPax includes parts for guitar, bass, and drums.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: AP.50146
UPC: 038081573168. English.
SKU: AP.50147
UPC: 038081573175. English.
SKU: AP.50150
UPC: 038081573205. English.
SKU: HL.323563
ISBN 9781540071507. UPC: 840126910568. 6.0x9.0x0.204 inches.
Keeping singers in our ensembles excited and energized during the warm-up process is a consistent hurdle for educators across the nation. By using songs that are indigenous to different parts of our country, teachers in choral classrooms can help students prepare their minds, bodies and voices while sharing a bit of our culture and history from different areas of the United States. All of the songs can be used with both inexperienced beginners and advanced singers. The lesson suggestions introduced with each song are intended to be a springboard for teachers to modify and adapt to their own students' needs and skill levels. Each melody includes strategies that are accessible for those who are just learning how to use their voices, and also for those more sophisticated singers who enjoy a good challenge.
SKU: AP.50149
UPC: 038081573199. English.
SKU: GI.G-003502
UPC: 641151035024. English.
The Care and Feeding of Singers is an exciting approach to building the choral instrument. Written by the internationally acclaimed composer/choral conductor William Ferris, it is based on over thirty years of experience working with all types of choirs. This resource provides a proven method for healthy‚ choral singing and for creating a rich, sonorous choral ensemble. It is filled with practical step-by-step rehearsal techniques and with unique vocalises that are fun to sing. A treasure trove of valuable information for conductors and choristers alike.
SKU: MB.30582M
ISBN 9780786698844. 8.75 x 11.75 inches.
The best way to learn an instrument is to play it as often as you can with other musicians. Trading songs and interacting with other instrumentalists and singers will foster learning at a faster pace and promote development of an ensemble sound. This play-along series encourages this kind of fun, collaborative approach to learning an instrument. Aspiring mandolinists can practice chords and rhythm, singing and lyrics, melodies, solos, licks and backup playing along with a real band. The online audio includes Dix Bruce on the guitar, mandolin and vocals, Bill Evans on the banjo and vocals, Julie Cline on vocals and Cindy Browne on the string bass. The recorded songs are performed with introductions kickoffs , vocals and solos-just how they would be at jam sessions and performances. Solo sections in the recordings allow you to play chords and solos from the book. Create your own improvised solos or sing the lyrics while the band provides accompaniment. The book includes fifteen of the most popular bluegrass, old-time and gospel songs, recorded at slow and regular tempos for players of any skill level. Includes mandolin tablature, chords, solos, backup parts and more. Great for beginning to intermediate players. Well jam ALL night long.
SKU: AP.51083
UPC: 038081581200. English.
A classic jazz standard in a classic Kirby Shaw arrangement! The snappy rhythms, tasty contrapuntal writing, and clever lyrics keep things interesting but always accessible. Perform with the included piano accompaniment or the swingin' SoundPax featuring trumpets, saxophone, trombone, and rhythm section. Vocal jazz singing at its best!
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.)..
SKU: GI.G-9082
ISBN 9781622771752. English.
Contributors: Sandra Babb, Bronwen Fox, Talia Greenberg, Stuart Chapman Hill, Tara Sievers-Hunt, Michele Kaschub, Mary Copland, Kennedy Chi-hin Leung, Tom Lopez, Wendy Northrup, Stephen A. Paparo, Sarah Price, Carlos Xavier Rodriguez, Julia Shaw, Philip Silvey, Janice Smith, Brent C. Talbot, Raymond Wise, Paulina Wai-Ying Wong. By seeking to open the act of composing to students of all ages, colors, classes, and backgrounds, Strand and Kerchner seek to demystify the act of composition itself. . . . The chorus is the ideal place to affect this kind of change. —Dominick DiOrio From the Foreword Musicianship: Composing in Choir is a pioneering and practical answer to one of the great music education mysteries: how to effectively bring music composition to the choir room at all levels, in alignment with the National Core Arts Standards. Written and edited by Jody Kerchner and Katherine Strand together with a team of 18 nationally recognized teachers, researchers, and musicians, this book is truly a landmark publication. Central to this book are engaging project-based activities for individuals, small groups, and full ensembles. The authors’ goal is to provide singers with exciting new tools for exploring music. By promoting comprehensive choral musicianship, teachers will celebrate their students’ creativity, and their own. Section 1, Principles and Foundations, provides a rationale for the critical importance of including composition in the choral classroom, pedagogical principles upon which to base composition activities, and practical examples that can be taken directly from the page into the classroom. Section 2, Looking in on Composing in Choir, shares the latest the latest in practices and research related to teaching arranging and composing at a variety of levels and choral styles, with practical ideas suitable for a wide range of choral programs, student ages, ability levels, and interests. Section 3, Composition Projects for Choir, includes lesson plans with goals, outcomes, and procedures for page-to-classroom activities. Examples include composing ostinatos, rounds, partner songs, and songs over a bass line, lessons on arranging, leveraging technology, and using composition to teach sight singing. These lessons are a gold mine of ideas for choral educators and students alike. Every lesson has been “test-driven” with diverse student populations. Ultimately, Kerchner, Strand, and their team show that composing and arranging are not superhuman gifts, activities, or experiences that need to occur in solitude: Creativity and composition should be for everyone. With Musicianship: Composing in Choir, teachers and their students have access to tools and ideas that have the potential to transform their music making. Jody L. Kerchner is Professor & Director of Music Education at the Oberlin Conservatory of Music, where she is the secondary-school music and choral music education specialist. She is also founder and conductor of the Oberlin College Women’s Chorale and the Oberlin Music at Grafton Prison Choir. Her research interests include music listening, choral pedagogy, reflective praxis, empathetic leadership, and music teacher preparation. Katherine Strand is Associate Professor of Music and Chair of the Music Education Department in the Jacobs School of Music at Indiana University, where she teaches classes in participatory music practices, curriculum, and qualitative research methods. She taught K–12 choral and general music in rural and urban settings and served as choral director for the Virginia Governor’s School for the Visual and Performing Arts and Humanities. Her research interests include teaching for creativity, multicultural music pedagogy, and curriculum. Clint Randles, Series Editor, is Assistant Professor and Coordinator of Music Education at the University of South Florida School of Music in Tampa, Florida.
SKU: AP.47638
UPC: 038081543314. English.
A folk-infused ballad celebrating the miracle of Hanukkah. Originally recorded by 90s pop sensation Lisa Loeb, this reflective change-of-pace choral features a rhythmic yet mellow accompaniment and straightforward but expressive vocal parts. Whether you perform with the guitar-inspired piano part, the optional SoundTrax CD, or a folk ensemble of your own, this is truly a special touch for holiday concerts.Because of changes in our school's schedule and the taking away of the music requirement in 7th and 8th grade, our choir numbers have dropped significantly. Searching for music that has educational value and that the choir will sound good on (we know that's important for the parents and faculty) I came across Light arranged by Andy Beck. This quickly became a favorite of my choir! The kids are excited to rehearse it every day and the sound they are achieving fits the folk-like feel of the piece. We are using the 2-Part version. Being 7th and 8th graders, of my nine boys, three are unchanged voices (singing alto as written) and my other six are in varying stages of voice change. Those six are bouncing back and forth between alto and soprano parts, singing them down an octave. Thank you for providing a great piece for the holiday season!Matt AlbrechtChoir DirectorCopley-Fairlawn Middle School
SKU: AP.47640
UPC: 038081543338. English.
SKU: AP.47641
UPC: 038081543345. English.
SKU: AP.47639
UPC: 038081543321. English.
SKU: AP.48324
UPC: 038081551470. English.
Here's a dramatic detour into choral theater! Using a fictional language from an imaginary oracle, this exceptional piece effectively combines narration, rhythmic chanting, singing, and percussion to create an atmosphere of awe and mystery. A selection that your audience will be talking about for weeks afterward, and your singers will never forget. Newly available: a range-sensitive SAB voicing, and an epic accompaniment track (orchestrated by Ruben Reyes), available as a free download.
SKU: AP.48980
UPC: 038081563046. English.
Here's a dramatic detour into choral theater! Using a fictional language from an imaginary oracle, this exceptional piece effectively combines narration, rhythmic chanting, singing, and percussion to create an atmosphere of awe and mystery. A selection that your audience will be talking about for weeks afterward, and your singers will never forget. Newly available: a range-sensitive SAB voicing, and an epic accompaniment track (orchestrated by Ruben Reyes), available as a free download. This title is available in MakeMusic Cloud.
SKU: AP.48323
UPC: 038081551463. English.
