2 Cultures Come Together

SKU: BT.XYZ1347

International.

SKU: BT.XYZ1345

International.

SKU: BT.XYZ1349

International.

SKU: HL.261481

ISBN 9781540020376. UPC: 888680727437. 8.5x11.0x0.208 inches. By Marty Gross and Sally Haines.

Get on board! Using ukuleles in an elementary general music class can open new experiences for your students. These fun, accessible instruments encourage singing while promoting confidence and musical independence. Ukuleles also provide an additional way for you to observe student progress and assess musical understanding. UKULELES ON BOARD is a collection of sequential lessons that illustrate how teachers can use ukuleles along with other common classroom resources to create engaging, robust musical activities for students. Examples are provided for using ukuleles together with Orff instruments, recorders, a variety of percussion and even jug band instruments. Each unit includes digital access to step-by-step projectable lesson slides so you can project all the visual cues your students will need. In addition to being easy to learn and fun, the folk songs used throughout the book provide students with cultural and historical connections. The activities and concepts found in UKULELES ON BOARD are based on the National Standards for Music Education. The material has been field-tested in grades 2-4, but is also appropriate for fifth grade students new to the ukulele. This is a valuable guide to using ukuleles to support and enhance the music curriculum in your school. Songs include: Are You Sleeping? (Frere Jacques!), Michael Finnegan, Buffalo Gals, Joe Turner Blues, Shalom Chaverim, I Love the Mountains, Little 'Liza Jane, Hambone, One Bottle of Pop, Pay Me My Money Down, Let Us Chase the Squirrel, Go Tell Aunt Rhody, Old Joe Clark. Suggested for grades 2-5.

SKU: PR.140401340

ISBN 9781491134450. UPC: 680160684953.

Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.
In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland” that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.

SKU: GI.G-10515C

UPC: 785147051510.

The first comprehensive resource of its kind, Gloriosi contains a treasure trove of ritual music that bridges linguistic, cultural, and musical differences for the liturgies of Holy Thursday, Good Friday, and the Easter Vigil. Weaving together familiar tunes and ancient chants with newly-composed pieces, Tony Alonso has meticulously crafted the music of Gloriosi to inspire the participation of a diverse assembly during these celebrations at the heart of the liturgical year. In addition to settings of all of the ritual texts found in the Roman Missal / Misal Romano for the Three Days, this collection contains settings of every prescribed psalm drawn from texts approved for liturgical use in English and in Spanish. El primer recurso completo de su tipo, Gloriosi es un tesoro rebosante de música ritual que supera las diferencias lingüísticas, culturales y musicales para las liturgias del Jueves Santo, Viernes Santo y la Vigilia Pascual. Tejiendo melodías familiares y cantos antiguos con piezas recién compuestas, Tony Alonso ha elaborado meticulosamente la música de Gloriosi para inspirar la participación de una asamblea diversa durante estas celebraciones que están al centro del año litúrgico. Además de proporcionar los textos rituales que se encuentran en el Misal Romano / Roman Missal para los Tres Días en forma musicalizada, esta colección también ofrece nueva música para todos los salmos prescritos para las liturgias del Triduo utilizando los textos oficiales en español y en inglés. Listen to Music Samples on the Gloriosi Recording Page by Clicking HERE. CONTENTS: Holy Thursday Mass of the Lord’s Supper / Jueves Santo de la Cena del Señor: We Should Glory in the Cross / Que Nuestro Único Orgullo Sea la Cruz • Blessed Be God Forever / Bendito Sea Dios por Siempre • Kyrie, Eleison • Our Blessing-Cup / El Cáliz que Bendecimos • Glory to You / Gloria a Ti • A New Commandment / Un Mandamiento Nuevo • Love One Another / Ámense Unos a Otros • Lord, Hear Our Prayer / Te Rogamos, Óyenos • Ubi Caritas • Agnus Dei • Called to the Supper of the Lamb / Llamados al Banquete del Señor • Called to Keep Vigil with the Lord / Llamados a Velar con el Señor • Tantum Ergo Sacramentum Good Friday of the Passion of the Lord / Viernes Santo de la Pasión del Señor: Into Your Hands / En Tus Manos • Glory to You / Gloria a Ti • Adoramus Te • The Solemn Intercessions of Good Friday / La Oración Universal del Viernes Santo • Behold the Wood of the Cross / Miren el Árbol de la Cruz • Faithful Cross / Cruz Fiel • Forgive Us, Your People / Perdona a Tu Pueblo • O Come, Let Us Worship / Venid, Oh Cristianos • Called to the Supper of the Lamb / Llamados al Banquete del Señor The Easter Vigil in the Holy Night / Vigilia Pascual en la Noche Santa: The Easter Proclamation / Pregón Pascual • Lord, Send Out Your Spirit / Envía Tu Espíritu, Señor • Keep Me Safe, O God / Protégeme, Dios Mío • Let Us Sing to the Lord / Cantemos al Señor • I Will Praise You, Lord / Te Ensalzaré, Señor • You Will Draw Water Joyfully / Ustedes Sacarán Agua con Gozo • Words of Everlasting Life / Palabras de Vida Eterna • Like a Deer that Longs / Como Busca la Cierva (Psalm 42, 43 / Salmo 42/41, 43/42) • Easter Alleluia / Aleluya Pascual • Litany of the Saints / Letanía de los Santos • Alleluia Popular: Blessing of Water / Aleluya Popular: Bendición del Agua • Alleluia Popular: Baptism / Aleluya Popular: Bautismo • Alleluia Popular: Acclamation / Aleluya Popular: Aclamación • Veni Sancte Spiritus • Alleluia Popular: Sprinkling / Aleluya Popular: Aspersión • Lord, We Ask You, Hear Our Prayer / Te Rogamos, Óyenos • Called to the Supper of the Lamb / Llamados al Banquete del Señor.

SKU: CF.H84

ISBN 9781491165539. UPC: 680160924530.

Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.

SKU: GI.G-10452

ISBN 9781622775576.

Contributors: Jill Gagliardi, Elise Hackl, Meghan Hickey, Mary Jensen, Jessica Kwasny, Andrew M. Ladendorf, Brandon Larsen, Sandra Lewis, Darlene Machacon, Rachel Manchur, Bobby Olson, Michael J. West, and William Winters This book showcases the inspiring stories and innovative ideas of music educators who are implementing Social Emotional Learning (SEL) instruction with intentionality in their classrooms at the elementary, middle, and high school levels. By utilizing and adapting materials in Scott N. Edgar’s pioneering first book, Music Education and Social Emotional Learning, these teachers—representing all areas of music education—share their real-world challenges and triumphs with SEL instruction, along with many tips, activities, lesson plans, and suggestions for embedding SEL in a way that is musical, intentional, and meaningful. Importantly, Portraits of Music Education and Social Emotional Learning approaches SEL from a culturally relevant and equitable lens, accounting for the ways in which SEL instruction interacts with culture, race, background, and uniqueness, therefore making it a powerful tool for embracing social justice and student empowerment. At its core, SEL gives students the ability to have difficult conversations, cope with stress, and navigate challenges. And while each teacher presents their unique approach to SEL, they come to the same conclusion: SEL is critical to the success of their students and programs. Scott N. Edgar is Associate Professor of Music at Lake Forest College. He is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on the topic. Dr. Edgar serves as Director of Practice and Research for The Center for Arts Education and Social Emotional Learning (www.artsedsel.org). Dr. Edgar is a Music for All Educational Consultant, a Conn-Selmer Educational Clinician, and VH1 Save the Music Foundation Educational Consultant.   Finally, the go-to book for music educators who have intuitively and intentionally created classrooms where music and Social Emotional Learning (SEL) are seamlessly aligned. These practical ideas of how to teach music at all levels, grounded in the practices of SEL, will inspire all educators to not only teach from the heart, but to lead with empathy and compassion. —Pamela Randall-Garner, Ed.D.     Senior Staff Advisor     CASEL: Collaborative for Academic, Social, and Emotional Learning   This book is a must-read as well as a compelling study. Wisely, Dr. Scott Edgar brought together an amazing group of remarkable educators who share their own experiences as they avail their students to the immeasurable value of the Social Emotional Learning landscape. Be prepared to be challenged, educated, and enlightened. You have in your hands a rare gift bearing benefits to everyone traversing the educational highway. We are all indebted to this great team of first-class authors and educators. BRAVO! —Tim Lautzenheiser In this new publication, Scott Edgar continues to provide teachers with rich insights and practical suggestions for understanding and implementing Social Emotional Learning (SEL) into music education classes, from elementary through high school grades. Practicing music educators share pragmatic ideas for successful embedding of SEL into their teaching. A must-read for any music teacher wishing to better understand and promote well-being in their students. —John M. Feierabend.

SKU: SU.80101389

Sonata for Flugelhorn and Piano (2015) was written for and is dedicated to Anne McNamara. The work was commissioned with support from the University of Utah and Campbellsville University and a trumpeter consortium. The stated intent behind the commission was to develop a work of serious content for flugelhorn that explored the range of possibilities of the instrument: not only its characteristic warm lyricism, but also its technical and virtuosic possibilities. The work employs the Cantus/Ludus form that I have used in several of my instrumental sonatas over the years. The two movements are balanced in their emotional affects and together thus explore a very fundamental musical and cultural dichotomy. In general, the Cantus movement concerns itself with song and the Ludus movement with play, but these boundaries begin to blur. Thus, while the Cantus movement develops largely lyrical material, it does so with a distinctly nervous energy. Finally, at the end of the movement, we get the song-like material presented unhindered. The Ludus movement becomes a game of rhythm and harmony--it is a series of little journeys to and away from triadic material. Instrumentation: Flugelhorn and Piano Duration: 12'30 Composed: 2015 Published by: Zimbel Press.