Language Through Music, Book 2 (Sheet Music and CD Pack)

Language Through Music brings to life the process of developing and nurturing knowledge and understanding of the English language using interesting involving songs and actions. These songs will support pre-school curriculum and National Curriculum in school and make singing and language learning fun. Easy to use for both musicians and non-musicians Language Through Music is printed with simplified piano parts and guitar chord symbols and each song is demonstrated on the CD (which also includes an accompaniment for Children's Choir).

The Theory section of Excellence in Theory Book One concentrates on learning the basic language of music that helps develop well-rounded musicians.Lesson & Assignment pages introduce staves treble and bass clef timesignatures and simple rhythms. Melodic elements are presented in accidentals enharmonics and whole and half steps as well as tetrachords and major scales. Each lesson is carefully reinforced through Review pages.EarTraining pages are incorporated throughout the book providing the listening tools and oppertunities needed to put recently learned theory into practice. Listening examples and exercises accompany each of the pages and areaccessible for free to students and teachers through the Kjos Multimedia Library at www.kjos.comThe History section of Book One broadens students' understanding of music by providing the historical context during each ofthe musical eras - from the Middle Ages through the 20th Century - using text and full colour images. Each reading assignment is followed by an assessment page with a timeline to help strengthen the learning process.

Playing Piano Is Fun Book 4 is a keyboard tutor series for beginners. It is designed to meet the developmental needs of children as they journey through the wonderful world of music.The tunes are specially composed by Alice Chua and are based on the characters and subjects from the classic stories of 'Alice's Adventures in Wonderland' and 'Through the Looking-Glass' by Lewis Carroll. The literary experience is translated into the language of music with the intention of awakening the musical interests of children.Playing Piano Is Fun is a novel approach developed through the author's practical experience derivedfrom teacher-pupil interaction. The large music font size captures the student's attention and helps them to focus. Meanwhile pages are left intentionally without pictures to encourage students to further express their creativity by providing illustrations for the songs themselves. New elements are introduced incrementally and are incorporated progressively. Teacher's accompaniment is encouraged to enhance the musical experience thus inspiring and motivating students. Some suggestions for the enhancement of the teaching elements can be found inside the front cover. In addition to playing piano this series' unique approach includes listening singing transposing harmonising improvising and composing at an early stage.

Playing Piano Is Fun Book 1 is a keyboard tutor series for beginners. It is designed to meet the developmental needs of children as they journey through the wonderful world of music.The tunes are specially composed by Alice Chua and are based on the characters and subjects from the classic stories of 'Alice's Adventures in Wonderland' and 'Through the Looking-Glass' by Lewis Carroll. The literary experience is translated into the language of music with the intention of awakening the musical interests of children.Playing Piano Is Fun is a novel approach developed through the author's practical experience derivedfrom teacher-pupil interaction. The large music font size captures the student's attention and helps them to focus. Meanwhile pages are left intentionally without pictures to encourage students to further express their creativity by providing illustrations for the songs themselves. New elements are introduced incrementally and are incorporated progressively. Teacher's accompaniment is encouraged to enhance the musical experience thus inspiring and motivating students. Some suggestions for the enhancement of the teaching elements can be found inside the front cover. In addition to playing piano this series' unique approach includes listening singing transposing harmonising improvising and composing at an early stage.

Alfred's Essentials Of Music Theory is designed for students of any age whether listeners or performers who want to have a better understanding of the language of music. In this all-in-one theory course you will learn the essentials of music through concise lessons practice your music reading and writing skills in the exercises improve your listening skills with the Ear Training CD's and test your knowledge with a review that completes each unit. This is Book 2 of 3 and contains Lessons 26-50. Alfred???s Essentials Of Music

Alfred's Essentials Of Music Theory is designed for students of any age whether listeners or performers who want to have a better understanding of the language of music. In this all-in-one theory course you will learn the essentials of music through concise lessons practice your music reading and writing skills in the exercises and test your knowledge with a review that completes each unit. This is Book 1 of 3 and contains Lessons 1-25.

Cahier 4 Piano-Conceived for Piano beginners who have already been introduced to music reading  Le Voyage Magique - Level 4 Traveller follows up on Piano Discoveries - Level 3 A & B Adventurer. Seventh of a series of eight it familiarises the young Pianist to more complex melodies and rhythms to minor chords and minor tonalities and to the techniques of playing. This volume uses the same characters as the previous books who evolve through new illustrations to guide the young pianists. Le Voyage Magique is the translation and adaptation by Stéphane Blet of the American series Piano Discoveries by JanetVogt and Leon Bates. The pedagogy of this book has been studied to be quite close to the language of children in order to develop their interest and concentration. A CD is provided to accompany the player while learning with Le Voyage Magique offering some small melodic pieces to develop a musical ear. Janet Vogt is an American Pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American Pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. Stéphane Blet is an international Solo Pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the École Normale de Musique “Alfred Cortot”.

This classic manual explains how you can use theoretical concepts to improve your playing referring to influential recordings and using the language that working jazz musicians use.If you've ever heard jazz musicians play chords or improvised lines that you couldn't figure out not only will you find them here but you'll also learn exactly how and where you can apply them in your own playing.In over 500 pages the author guides the reader from basic chord construction and the II-V-I progression through scale theory the blues 'I Got Rhythm' changes slash chords the bebop and pentatonic scales to a comprehensive study of reharmonisation and advice on how toread a lead sheet and memorise tunes.All of these topics and many more are discussed in a conversational style and brought to life with over 750 music examples transcribed from actual recordings of the jazz greats. You can treat The Jazz Theory Book as a complete course or you can dip into it for specific advice on pentatonic scales or the Coltrane changes.However you use it is full of inspiring ideas and information that you can put straight into practice.'A great jazz solo consists of: 1% magic; 99% stuff that is explainable analyzable categorisable doable. This book is mostly about the 99% stuff.' - Mark Levine

Lyrical Conducting: A New Dimension in Expressive Musicianship is the latest soon-to-be hit from master musician and music educator Ed Lisk. The concepts and instructional techniques discussed here prompt new and differentconsiderations for what teachers and conductors of instrumental music must strive for. Lyrical Conducting expands one's awareness through the beauty of musical expression and its direction for greater musical meaning. Manyattempts have been made to define artistry expression and the mysteries of music's finest detail. This publication will lead you to this discovery through: enhancing expressive approaches to conducting; building poise andfinesse into one's conducting body language in order to visually express music's lyricism; searching beyond notation to develop a unique and personal rendering of a composition; developing a performance vocabulary or reservoir forartistic considerations that will stimulate your “artistic vocabulary”; and sensitizing one's emotional response to shape the beauty and expressive qualities of a personal conducting interpretation.

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

This book was written for bassists who wish to learn to read music as well as for those who wish to sharpen their music reading skills. The studies in the book progress from beginning to professional levels and represent anvariety of styles that modern bassists are likely to encounter in real-world musical situations. For those conversant in music's universal language a whole world of musical styles ideas and sounds is always available. Thisbook aims to sharpen the skills of serious student bass players so that they may partake of this endless stream of ideas information and inspiration. Standard notation only. None of the exercises in this book contain fingeringindications. This omission was made in order to make these exercises useful to players of all types of bass instruments both electric and acoustic. The author strongly recommends that students work through this book with thesupervision of a qualified teacher. If you are a professional musician the author hopes this book will help you stay in top sight-reading form giving you an edge in a highly competitive market. If you are a novice bassist thisbook will help you hone your skills in becoming a skilled professional.

Ultimate Collection of Puzzles and Games-Music MasterMINDS challenges children to learn more about the 'fun'damentals of music – rhythm melody tempo harmony form timbre style expression and musical careers as they connect musical learning across thecurriculum to reading language arts spelling math science social studies history art and foreign language. And through play children develop such life-learning skills as observation reasoning decision-making andproblem-solving skills! Designed for Grades 1-6 each section of this creative resource focuses on a musical element and the puzzles are sequenced in order from easiest to most challenging. Use Music MasterMINDS as asupplement to regular music lessons or as activities for the sub or for those days that need a special activity! Share these puzzles with classroom teachers for ongoing cross-curricular integration. Puzzles include: Find theHidden Instrument Spell a Story Fast and Slow Match-Up Find the Music Alphabet Loud and Soft Match-Up State the States Music Symbol Crossword Composers' Word Search World Instrument Quest Meet Mr. Mozart Connect theMusic Careers and many more intriguing challenges! Available: Activity Book. For Gr. 1-6.

'Marco Polo' is an opera about journeys and marks a further stage in the composer Tan Dun (now best known for his work on the film Crouching Tiger Hidden Dragon)'s own journey - an exploration of a new language of musicand performing arts through the fusion of Western avant-garde style with Eastern accent. The spiritual journey - the cycle of the spirit and of Nature - coexists with a physical journey from West to East. The former is explored in'The Book of Timespace' through the participation of Shadows Memory and Nature in Peking opera style. Interwoven are the legendary adventures of Marco Polo as he makes his journey from Italy to China. These sections are writtenin a more Western opera style combining avant-garde and theatrical traditions and are played out by Beings although with underlying echoes of the simultaneous spiritual journey provided by historical figures of Dante Shakespeare and Li Po. Along with the geographical journey from West to East there is an important musical journey. Above the orchestra and chorus there is a spicy ensemble of medieval European Indian Tibetan andChinese instruments which illustrate the changing scenes of the geographic journey. The fantasy-dream world of the spiritual journey and the exciting stories of Marco Polo's voyage are two operas that merge to the same goal thediscovery of experience from past to present to future - from the known to the unknown. This is the Schirmer edition of the Libretto in English only with a libretto by Paul Griffiths.