Time Awareness for all Musicians

SKU: MB.97884

ISBN 9780786652808. UPC: 796279075428. 8.75 x 11.75 inches. By Bret Willmott.

Many polyrhythms and polymeters simultaneous combinations of more than one rhythmic pattern exist in todays music, with some being so common they could be referred to as rhythm licks. This book presents a unique and comprehensive approach to polymetric applications of various rhythms over common chord progressions and song forms in 3/4 and 4/4, written primarily for instruments with chordal capabilities. Non-chordal instrumentalists interested in rhythmic development and contemporary phrasing may also benefit. Polymetric rhythms will force a variety of harmonic anticipations and delays which can have a profound and beneficial effect on harmonic, melodic, and improvisational phrasing. In addition, the focused attention and expanded awareness needed to master these exercises can also help in your sensitivity and response to the surrounding environment and your interactions with other musicians and audience.

SKU: HL.4008643

ISBN 9798350114997. UPC: 196288189664.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: HL.4007483

UPC: 196288058175.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: GI.G-10069

ISBN 9781622774517.

Help music students learn more in less time, reach higher goals, and become active participants in their education. This important book takes you through the steps needed to create an effective music education curriculum for you, your school, and your district. This Second Edition now aligns with the national standards for music released in 2014 (The National Arts Standards for Dance, Media Arts, Music, Theater, and Visual Arts). A sequenced music curriculum is the ultimate win-win for your program: it gives direction to your teaching, builds cohesion among your colleagues, engages students and parents in goals you set, and builds awareness and support from your school’s administrators. Music Curriculum Writing 101 (Second Edition) contains the blueprint and examples to help you build the right curriculum for your music program, demystifying the processes of developing a standards-based curriculum with related assessments of student learning. This book provides help with three simple steps: S.O.S. Sequence curriculum throughout the year so music understanding unfolds for the student instead of teaching “from cover to cover.” Organize curriculum and documentation of student progress—essential if you are to build on prior learning. Standards are here to stay and help focus the breadth and depth of learning that is to take place, producing better musicians over time. Contents include: Overview of the National and State Music Standards Documents Aligning District Standards to the National or State Standards Suggested Activities for Each National Standard Sequencing Method Books, Literature, Theory, and Teaching Aids Designing an Organized Curriculum Lesson Plan Assessments Organizing Assessment Documentation Student Involvement  Curriculum Sample Resources and Websites Denese Odegaard taught fifth through ninth grade orchestra for twenty-five years in Fargo (ND) Public Schools and was the District Performing Arts Curriculum Specialist for eleven years. She is a past board member of the American String Teachers Association and is a past president of NAfME (National Association for Music Education). She was on the third through fifth grade writing team for the 2014 National Music Standards.