Making The Grade For Voice With Piano Accompaniment Grades 4 & 5

SKU: HL.14041996

ISBN 9780711982963.

Easy popular pieces for young singers, selected and arranged by Olga Lantham and Jerry Lanning.

This collection of 13 popular melodies has been carefully arranged and graded to provide attractive teaching repertoire foryoung singers. The familiarity of the material will stimulate pupils' enthusiasm and encourage their practice. With piano accompaniment.

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: CA.220420

ISBN 9790007171513.

The performer's volume for bigger scorings with more extensive accompaniments for many pieces in the choral collection. For every youth choir, making the transition from singing in unison to singing in parts is an exciting process. chorissimo! blue, the new volume for equal voices in our successful choir series chorissimo!, accompanies and supports this process. It contains a wide range of carefully-chosen and stylistically varied pieces, presented for flexible use, as well as versatile practical working material, including playback, audio and practice track CDs, and a DVD of video clips. The volume, structured for graded learning, progresses in six steps from unison singing, via canons and quodlibets, to homophonic and polyphonic two- and three-part pieces. Different workshops, some of which feature on the video clips, focus on individual aspects of choral work, such as warm-ups or beatboxing. All the pieces have a piano accompaniment; in addition, some pieces can be accompanied by additional instruments or band. Flexible part material is available for this. Score available separately - see item CA.220400.

SKU: CA.220405

ISBN 9790007171575.

Edit ionchor without piano accompaninemt. For every youth choir, making the transition from singing in unison to singing in parts is an exciting process. chorissimo! blue, the new volume for equal voices in our successful choir series chorissimo!, accompanies and supports this process. It contains a wide range of carefully-chosen and stylistically varied pieces, presented for flexible use, as well as versatile practical working material, including playback, audio and practice track CDs, and a DVD of video clips. The volume, structured for graded learning, progresses in six steps from unison singing, via canons and quodlibets, to homophonic and polyphonic two- and three-part pieces. Different workshops, some of which feature on the video clips, focus on individual aspects of choral work, such as warm-ups or beatboxing. All the pieces have a piano accompaniment; in addition, some pieces can be accompanied by additional instruments or band. Flexible part material is available for this. Score available separately - see item CA.220400.

SKU: CF.CAS113

ISBN 9781491151327. UPC: 680160908820. 9 x 12 inches. Key: E minor.

Composed by Bruce W. Tippette, Drifting?utilizes musical passages to allude to the image of something drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters.
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting< /em> opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting< /em> opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures.

SKU: CF.CAS113F

ISBN 9781491151693. UPC: 680160909193. 9 x 12 inches.

Composed by Bruce W. Tippette, Drifting?utilizes musical passages to allude to the image of something drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters.
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting< /em> opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting< /em> opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures..
The musical passages in this piece for string orchestra conjure images of something, perhaps a leaf, gently drifting down a river in the woods. It journeys through twists and turns, placid streams and roaring rapids, eventually making a grand entrance into open waters. As Drifting opens, soft pizzicato strings are uttered in the lower string voices, while the upper voices slowly swell into the appearance of the main motive in m. 9. This theme develops and passes through several voices until being replaced by a new motive in m. 36, accompanied by driving rhythms and frequent modulations. A powerful resurgence of the original motive occurs in m. 60. Melodic remnants of the previous sections are presented in a new fashion as the piece comes to a dramatic close with all voices playing in rhythmic unison in the closing measures.

SKU: CF.CPS243

ISBN 9781491158500. UPC: 680160917105. 9 x 12 inches.

This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.
This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.

SKU: CF.CPS243F

ISBN 9781491158517. UPC: 680160917112. 9 x 12 inches.

This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.
This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.

SKU: FJ.B1095

UPC: 674398208555. English.

Finally... a beginning band piece that introduces students to meter changes. The quarter note is constant throughout, making this a great teaching tool. With simple rhythms and ranges very compatible with first year reading skills, your group will have lots of fun with this one. (1:45).

About FJH Beginning Band

Appro priate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.

SKU: CA.745005

ISBN 9790007310387. German/Latin.

This small but perfectly formed collection enables atmospheric Christmas musicmaking – together with the congregation, if desired – without the need for lengthy rehearsals. Your next Christmas concert can be transformed into a moving shared community experience!The collection contains arrangements of five well-known carols along with a newly written Gloria. Carsten Klomp has arranged individual verses as variations with differing scoring, so that the songs can be performed together by congregation (melody), choir (descant, or optionally as a solo or an instrumental) and organ. Depending on requirements a version for a one to two voice choir with organ or simply for congregation and organ is also possible. The organ parts for each song are appealing, with a prelude and an accompaniment which varies from verse to verse. The choir can be single or mixed voice (medium to higher range); a children’s or youth choir could also be included. The texts of the songs are presented in two variant forms, following the German Protestant and Catholic hymnbooks, so that the songs can be used in both Protestant and Catholic contexts.- Christmas carols for choir and congregation- Light and effective- Animates the audience to sing along.

SKU: CA.745000

ISBN 9790007310370. German/Latin.

This small but perfectly formed collection enables atmospheric Christmas musicmaking – together with the congregation, if desired – without the need for lengthy rehearsals. Your next Christmas concert can be transformed into a moving shared community experience!The collection contains arrangements of five well-known carols along with a newly written Gloria. Carsten Klomp has arranged individual verses as variations with differing scoring, so that the songs can be performed together by congregation (melody), choir (descant, or optionally as a solo or an instrumental) and organ. Depending on requirements a version for a one to two voice choir with organ or simply for congregation and organ is also possible. The organ parts for each song are appealing, with a prelude and an accompaniment which varies from verse to verse. The choir can be single or mixed voice (medium to higher range); a children’s or youth choir could also be included. The texts of the songs are presented in two variant forms, following the German Protestant and Catholic hymnbooks, so that the songs can be used in both Protestant and Catholic contexts.- Christmas carols for choir and congregation- Light and effective- Animates the audience to sing along.

SKU: FJ.B1870

English.

Experie nce sheer bluesy delight with this skillfully-crafted arrangement of The Blue Danube waltz. This modern New Orleans take on the old Viennese classic will instantly connect with your audience while making 3/4 time and swing feel accessible for even the youngest players. Elvis may have left the building, but Strauss is in the house!

About FJH Beginning Band

Appro priate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.

SKU: FJ.B1870S

English.

Experie nce sheer bluesy delight with this skillfully-crafted arrangement of The Blue Danube waltz. This modern New Orleans take on the old Viennese classic will instantly connect with your audience while making 3/4 time and swing feel accessible for even the youngest players. Elvis may have left the building, but Strauss is in the house!

About FJH Beginning Band

Appro priate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.

SKU: CL.026-4069-01

This spirited work by Ed Huckeby features unique rhythmic accompaniment rhythms in the lower parts contrasted with simple, but musically effective upper voice melodic lines. The moderato middle section utilizes subtle syncopation to create a pleasant contemporary character. Ed's medium-easy arrangement for the Build-A-Band Series makes it playable with very small bands and bands with severe instrumentation issues, and insures that it will be a favorite concert and contest selection for years to come for these groups. As usual with this series, optional parts are included for percussion and keyboards.

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

SKU: CF.FAS109F

ISBN 9781491151778. UPC: 680160909278. 9 x 12 inches.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing orchestras that emphasizes expression, phrasing, and dynamics. Lower strings will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.
Good music played well inspires the imagination. Whether it is a grandfather, grandmother, mom, dad, aunt or uncle, everyone has had someone they cuddled with before bedtime. The warmth of their body, their arms protectively around you, their soothing voice, and the faint thumping heartbeat rumbling from their chest, all created a trusting and warm place for you to drift off to slumber land. In their arms you were adored, you were special, you were loved, and you always knew that there was a tomorrow.

SKU: CF.BPS121F

ISBN 9781491152751. UPC: 680160910250.

A lively and exhilarating new piece for beginning bands, Effervescence lives up to it's title, but is so much more. It also contains lush harmonies, sweeping melodic gestures reminiscent of the America school of composers like Copland.  It is a sophisticated musical presentation, but with limited technical demands, making it easy for young students, but very musically satisfying.
Effervesce nce is commonly known as the act of a gas escaping a liquid and the “fizzing” result that occurs. A secondary definition, however, is a show of liveliness or exhilaration. It is this secondary definition that is the inspiration for this piece.The piece begins with a broad, sweeping introduction followed by a statement of the main theme in the upper voices at m. 11. The trumpets perform the melody at m. 19, while the upper voices perform a countermelody which morphs into the main idea of the B-section that follows at m. 27. The lower voices restate the main theme at m. 35 while the upper voices provide a sweeping harmony with a somewhat “Americana” feel. After a restatement of the B-section at m. 43, a subdued section with new material occurs at m. 51. This pushes into a final restatement of the main theme at m. 59 and leads to a vibrant conclusion followed by a pianissimo afterthought.

SKU: CF.BPS121

ISBN 9781491152072. UPC: 680160909575.

A lively and exhilarating new piece for beginning bands, Effervescence lives up to it's title, but is so much more. It also contains lush harmonies, sweeping melodic gestures reminiscent of the America school of composers like Copland.  It is a sophisticated musical presentation, but with limited technical demands, making it easy for young students, but very musically satisfying.
Effervesce nce is commonly known as the act of a gas escaping a liquid and the “fizzing” result that occurs. A secondary definition, however, is a show of liveliness or exhilaration. It is this secondary definition that is the inspiration for this piece.The piece begins with a broad, sweeping introduction followed by a statement of the main theme in the upper voices at m. 11. The trumpets perform the melody at m. 19, while the upper voices perform a countermelody which morphs into the main idea of the B-section that follows at m. 27. The lower voices restate the main theme at m. 35 while the upper voices provide a sweeping harmony with a somewhat “Americana” feel. After a restatement of the B-section at m. 43, a subdued section with new material occurs at m. 51. This pushes into a final restatement of the main theme at m. 59 and leads to a vibrant conclusion followed by a pianissimo afterthought.

SKU: CF.FAS109

ISBN 9781491151402. UPC: 680160908905. 9 x 12 inches. Key: G major.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing orchestras that emphasizes expression, phrasing, and dynamics. Lower strings will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.
Good music played well inspires the imagination. Whether it is a grandfather, grandmother, mom, dad, aunt or uncle, everyone has had someone they cuddled with before bedtime. The warmth of their body, their arms protectively around you, their soothing voice, and the faint thumping heartbeat rumbling from their chest, all created a trusting and warm place for you to drift off to slumber land. In their arms you were adored, you were special, you were loved, and you always knew that there was a tomorrow.