Format : Textbook
SKU: GI.G-6577
“There is no doubt in my mind about the pedagogical potency of the use of the Swiss Ball for conducting study. This simple device transfers responsibility for teaching from heretoforeused verbal explanations to a new world of instruction that uses body awareness as the primary vehicle.” — James Jordan, Learn Conducting Technique with the Swiss Exercise Ball Traditional conducting methods rely on how conductors look––not how they feel. James Jordan’s groundbreaking Learn Conducting Technique with the Swiss Exercise Ball takes the study of conducting beyond the mechanics to a higher plane. Using the Swiss Exercise Ball, everyone from the most experienced conductor to the beginner can tie into a state of awarenessthat opens the door to increased musical expression and kinesthetic awareness. With the aid of a Swiss Exercise Ball and the Body Mapping techniques described in this book, conductors can reach a new level of artistic expression and mastery. The Swiss Exercise Ball is available in four sizes from GIA Publications, and each comes with a pump. Choose the ball size based on the height of the conductor: • 45 cm ball, under 5’ tall (G-6575) • 55 cm ball, 5’ to 5’8” tall (G-6576) • 65 cm ball, 5’9” to 6’3” tall (G-6577) • 75 cm ball, 6’3” and taller (G-6578).
SKU: GI.G-6575
SKU: GI.G-6576
SKU: GI.G-6578
SKU: GI.G-9524
This remarkable book contains twelve short musical excerpts of great instrumental works—“mini scores” designed to accompany any instrumental conducting texts and intended to be performed in any instrumental conducting class. Each excerpt presents specific challenges for developing conductors to explore as they acquire knowledge, gain experience, and develop conducting techniques. The orchestration of each excerpt is designed to be flexible while at the same time providing high-quality music for use in any instrumental conducting class. The full score and parts of each excerpt, all in one spiral-bound book, are designed to help any conducting student mark and memorize a score, learn to conduct using the limited instrumentation in a typical conducting class, and experience working with a wide range of repertoire. Even if players are not able to cover all the parts for an excerpt, there are still numerous possibilities for using this music in a classroom setting. States author John M. Laverty: “I hope this resource will give you the materials to enhance your level of conducting skill, and as a result give you confidence to step in front of live musicians playing real instruments and make music.” Excerpts from: Brahms: Symphony No. 1, op. 68: Mvt. IV, Adagio Fučík: The Florentiner March, op. 214 Janáček: Lachian Dances, op. 2: “Pilky” and “Starodálvný” Mahler: Symphony No. 3: Mvt. VI, Langsam Maurer: 12 Kleine Stück: “du Style” Mozart: Requiem, K. 626: Mvt. 1 (“Requiem”) Mussorgsky: Pictures at an Exhibition: “The Great Gate of Kiev” and “The Hut of Baba-Yaga” Schumann: Zigeunerleben (“Gypsy Life”), op. 29, No. 3 Tchaikovsky: Symphony No. 4: Mvt. 1, Andante sostenuto, Symphony No. 6: Mvt. 2, Allegro con grazia.
SKU: HL.237719
ISBN 9781495097911. UPC: 888680698522. 9x12 inches.
Learn the essential practices of contemporary conducting. This book will teach you to use the motions, cues, patterns and practices used to lead ensembles, whether for orchestra, band, musical theater, opera, film orchestra, or other type of ensemble. You will learn techniques for keeping time, signaling musicians, and crafting your unique interpretation of the score, as well as how to command the stage presence necessary to lead a large ensemble – whether for concert performances or synching live performers to other media, such as film, recordings, musical theater and dance.Video demonstrations and annotated scores of orchestral excerpts from Beethoven, Mozart, Tchaikovsky, and others illustrate and let you practice various conducting challenges, such as cadenzas, rubato and quickly changing time signatures. Also included are interviews with some of the most accomplished conductors of your time, such as John Wiliams, Lalo Schifrin, JoAnn Falletta, John Morris Russell and others, providing perspective from the concert hall podium to the Broadway pit to the Hollywood sound stage.
SKU: GI.G-9025S
ISBN 9781622771622. English. Text by Michael Kemp.
How can choirs maintain and improve their sound and performance skills when they have more mature members? Can older singers learn new techniques? Of course! Here’s a much-needed, timely resource for directors of volunteer choirs. Instead of telling members they’re “too old to sing,” now you can teach them to have better singing posture, more reliable breath support, more accurate intonation, improved blend, greater expressivity…and a wonderful sound. With a wealth of information and exercises that will elevate the skill and sound of your senior members, Michael Kemp shows how all voices can continue to be valuable contributors to the success and enjoyment of the ensemble. Michael Kemp founded and conducts the Philadelphia-area Academy Chorale and Academy Chamber Society. During his long career, Kemp built numerous prestigious church, community, and school choral programs. He has taught more than 400 workshops throughout the United States and Canada, focusing on enhancing the skills of volunteer choirs. His book The Choral Challenge: Practical Paths to Solving Problems (GIA Publications, Inc.) has become a staple for choral directors. Kemp’s recent book Innovative Warm-ups for the Volunteer Choir (GIA) offers purposeful, creative exercises that are simple to learn and fun to sing. Also available: A Director's Edition (G-9025).
SKU: CY.CC3136
ISBN 9790530111055. 8.5 x 11 in inches.
This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
SKU: GI.G-10155
ISBN 9781622774401.
Written in both Mandarin and English...this book is the first of its kind! In this landmark book drawn from James Jordan’s 5 books on the subject of vocal technique and music learning, teachers will learn pedagogy for teaching vocal technique and musical skills to singers at all levels of development. The author of 60 textbooks on all aspects of conducting and choral singing, Grammy-nominated James Jordan is the most published author/musician in the world. As both a choral artist and music psychologist, the writings of James Jordan and the WE-music online course which partners with this book will change the way you teach and your students learn. In this volume: Teaching Techniques for Healthy Singing Tools for Teaching and Understanding Music Skill Measuring the Hearing Potential of Your Choir Specific Suggestion of Teaching in a Logical Order that Maximizes Student Learning Building Blocks of Vocal Technique through Correct Vowel Pedagogy Understanding how to create Different Vocal Colors in Your Choirs 在这本里程碑式的教科书中，詹姆斯·乔丹将他五本著作中关于声乐技术和音乐学习的内容提炼出来，为教师提供适用于个水平学生及歌者的教学方法。詹姆斯·乔丹拥有六十本原创合唱指挥及声乐技巧教科书，是全世界出版书籍最多的音乐家，并且获得格莱美奖项的提名。 作为合唱艺术家和音乐心理学家，詹姆斯乔丹的此部作品与其配套的WE-music在线课程将改变你的教学及学生的学习方式。 通过本书，学习： 健康歌唱的教学技巧 理解音乐教学与技巧的实用工具 如何测试合唱团的听力潜能 使学生学习能力最大化的逻辑规则教学方式 如何通过正确的元音教学法打造声乐技巧 如何使你的合唱团唱出不同的声乐色彩.
SKU: GI.G-DVD-500
UPC: 785147050032.
Forced to find a way to correct persistent intonation problems in his own choir, author James Jordan with the help of Matthew Mehaffey embarked on the development of a new method of choral ensemble solfege. Choral Ensemble Intonation: Method, Procedures, and Exercises presents this innovative new method, along with procedures and exercises, sure to improve the aural skills of any choir. Not just a temporary fix, this method encourages the building of intonation skills within the confines of the choral ensemble rehearsal. The method includes overall steps for reading a new work and teaches how solfege syllables can promote good intonation through good diction. In addition, the authors provide techniques for maintaining a consistent tempo, running a choral warm-up, and utilizing the accompanist to achieve better intonation. Jordan and Mehaffey also share listening techniques for the choir and discuss how the use of physical movement can assist intonation and good vocal production. Plus, conductors are given tools for modal analysis that will greatly improve the teaching and learning process. This book, video, and exercise octavos are based on the premise that instructors must teach singers what to hear and what to listen to, helping their choirs to sing with more beauty and less effort, all the while creating better musicians. Choral Ensemble Intonation: Method, Procedures, and Exercises has been created to be used in conjunction with a video demonstrating many of the concepts discussed in the book, and featuring the Westminster Choir College Chapel Choir. Two choral octavos of exercises published under the same title, one with shorter exercises, and the other containing fuller studies in all the modes composed by Roger Ames. The companion video includes rehearsal techniques and teaching procedures for choirs at all levels! James Jordan is one of America's most respected choral conductors and educators. He is associate professor of conducting at Westminster Choir College of Rider University, a leading center for the study and performance of choral music, where he is conductor of the Westminster Chapel Choir. Prior to his appointment to the Westminster faculty, Jordan served as chair for music education at the Hartt School of Music. His study of the psychology of music has been with Edwin E. Gordon. Jordan's conducting text, Evoking Sound, was his first book with GIA Publications, Inc. His second book, The Musician's Soul, is enjoying critical acclaim throughout America. Matthew Mehaffey is assistant professor of music and the director of choral activities at The George Washington University in Washington, DC. As an author, Mehaffey contributed a postscript essay to James Jordan's revolutionary book The Musician's Soul. He holds a master's degree in choral conducting from Westminster Choir College and a DMA in choral conducting from the University of Arizona.
SKU: GI.G-5527
ISBN 9781579991609. English.
Forced to find a way to correct persistent intonation problems in his own choir, author James Jordan with the help of Matthew Mehaffey embarked on the development of a new method of choral ensemble solfege. Choral Ensemble Intonation: Method, Procedures, and Exercises presents this innovative new method, along with procedures and exercises, sure to improve the aural skills of any choir. Not just a temporary fix, this method encourages the building of intonation skills within the confines of the choral ensemble rehearsal. The method includes overall steps for reading a new work and teaches how solfege syllables can promote good intonation through good diction. In addition, the authors provide techniques for maintaining a consistent tempo, running a choral warm-up, and utilizing the accompanist to achieve better intonation. Jordan and Mehaffey also share listening techniques for the choir and discuss how the use of physical movement can assist intonation and good vocal production. Plus, conductors are given tools for modal analysis that will greatly improve the teaching and learning process. This book, video, and exercise octavos are based on the premise that instructors must teach singers what to hear and what to listen to, helping their choirs to sing with more beauty and less effort, all the while creating better musicians. Choral Ensemble Intonation: Method, Procedures, and Exercises has been created to be used in conjunction with a video demonstrating many of the concepts discussed in the book, and featuring the Westminster Choir College Chapel Choir. Two choral octavos of exercises published under the same title, one with shorter exercises, and the other containing fuller studies in all the modes composed by Roger Ames. The companion DVD includes rehearsal techniques and teaching procedures for choirs at all levels! James Jordan is one of America's most respected choral conductors and educators. He is associate professor of conducting at Westminster Choir College of Rider University, a leading center for the study and performance of choral music, where he is conductor of the Westminster Chapel Choir. Prior to his appointment to the Westminster faculty, Jordan served as chair for music education at the Hartt School of Music. His study of the psychology of music has been with Edwin E. Gordon. Jordan's conducting text, Evoking Sound, was his first book with GIA Publications, Inc. His second book, The Musician's Soul, is enjoying critical acclaim throughout America. Matthew Mehaffey is assistant professor of music and the director of choral activities at The George Washington University in Washington, DC. As an author, Mehaffey contributed a postscript essay to James Jordan's revolutionary book The Musician's Soul. He holds a master's degree in choral conducting from Westminster Choir College and a DMA in choral conducting from the University of Arizona.
SKU: GI.G-10886
ISBN 9781622777365.
James Jordan has been at the forefront of Choral Pedagogy for over 35 years. His landmark publications under the guidance of Frauke Haasemann have afforded him a front row seat to the development of Choral Warm-Up Pedagogy. His studies in the Psychology of Music with Edwin Gordon have allowed him to marry the pedagogy of the choral warm-up with Music Learning Theory. His text, The Choral Warm-Up (GIA), shared the pedagogical method for building healthy choral sound with teachers around the world. This book shares the exercises that have been at the core of vocal pedagogy for the choirs at Westminster Choir College: Chapel Choir/Schola Cantorum, Westminster Williamson Voices, Symphonic Choir, Westminster Choir, and his professional ensemble, The Same Stream (thesamestreamchoir.com). The revolutionary sequence of the efficient exercises in this book, while they appear simple, fold voice science and Music Learning Theory into the choral warm-up by refocusing choral ensemble warm-up pedagogy on tongue position and the inner architecture of vowels. Using only the triadic 1-3-5 provides a consistent pedagogy for vocal health for every ensemble that creates beautiful choral blend, accurate intonation, and a humanly centered sound for choirs at all levels. The gestural pedagogy and specific techniques for conducing these exercises and the Core Vocal Exercises (G-6397A) can be found in a series of streaming videos here: SV-1129 James Jordan is Professor of Conducting and Director of Choral Studies at Westminster Choir College of Rider University, where he conducts the Westminster Choir and the Westminster Symphonic Choir. He has published over 60 books regarding Choral Pedagogy, Conducting, and the Philosophy of Music Teaching and Performance. John Frederick Hudson is a London-based composer, conductor, and pianist who holds degrees from Westminster Choir College and The University of Aberdeen (Scotland), where he earned a PhD in Composition, studying with Paul Mealor. His published music can be found at Beckenhorst Press and in the Evoking Sound Choral Series at GIA.
SKU: HL.49016802
ISBN 9783795705404. 6.0x8.5x0.62 inches. German.
A novel combination of DVD and book, this volume for the first time presents issues pertaining to vocal techniques and interpretation in word, picture and sound. Film examples provide insights into the working method of the renowned tenor Christoph Pregardien who can be seen in his lessons with students of his master classes. In addition, the singer and teacher Hedwig Fassbender deals with specific problems of the female voice; the pianists Michael Gees and Andreas Staier talk about the accompaniment of lied singers. Professionals, students and lovers of classical singing as well as interested amateur singers are provided with a plethora of important and valuable information. The DVD with more than 240 minutes of film material shows Christoph Pregardien during song, oratorio and opera lessons. An index allows for purposeful selection of the most important topics: exercises of scales, vocalises, phrasings, breathing, tonal work, portamento, conduct of the voice, vocal position, and many more.In the book section, Christoph Pregardien deals with further questions on programming, correct practising and warm-ups, concert preparations and voice problems, among others. This innovative product is complemented by a detailed discography of Christoph Pregardien as well as bibliographical references and recommendations. Schott Master Class Gesang was awarded the Comenius Medal 2006. With the Comenius EduMedia Awards, the Society for Education and Informatics (GPI) fosters didactic multimedia products and educational media which are of particularly great value as regards education, content as well as layout and design. The Master Class series was awarded the special prize digita 2007 for new developments which can change and further learning with new media. The convincing editing of the learning content by renowned experts and the unobtrusive media design of the videos provide the reader - no matter whether students, advanced singers or interested amateurs - with numerous suggestions on a high level. Thanks to the exercises and examples of interpretation filmed in live action and processed digitally, performers are given excellent support.
SKU: GI.G-10550
ISBN 9781622776306.
Just as a conductor’s preparatory “upbeat” gesture at the beginning of a performance influences the way an ensemble plays, we too get to choose our “upbeat”—our thoughts and attitudes—at the start of each day, at the beginning of each class, and in our interactions with students and colleagues. With this clever premise at its core, Upbeat! presents a winning combination of mindset and mindfulness strategies as well as leadership principles that will motivate, inspire, and transform not only your internal world but the culture of your music program. Divided into three parts—Ignite, Inspire, and Lead—Upbeat! takes readers on a journey from internal self-reflection to outward expressions of leadership, with chapters addressing such topics as: Self-care for optimal mental, emotional, and physical wellness The transformative power of positivity and gratitude Growth mindset Mindful breathing and listening in an ensemble setting Fostering a culture of excellence and connection Creating vision and mission statements for your organization The essential qualities of an effective leader How to develop a thriving student leadership program As the conductors and composers of our own lives, we can choose to live an “upbeat” life from a posture of gratitude, positivity, and enthusiasm. As a result, we experience greater fulfillment and achieve personal and professional goals. Students also benefit from the clarity of our example as they embark on their own leadership journeys. With immediately applicable ideas and strategies that work for students, teachers, and professionals in any field, Upbeat! affirms the importance of living and working with intentionality and establishes that what we do, why we do it, and how we do it matters. Dr. Matthew Arau, founder of Upbeat Global and Upbeat! Leadership Workshops, Coaching, and Keynotes, is an Associate Professor of Music and the Chair of the Music Education Department and the Symphonic Band Conductor at the Lawrence University Conservatory of Music in Appleton, Wisconsin. Dr. Arau has guest conducted and presented on student leadership, mindfulness, growth mindset, rehearsal techniques, and creating positive cultures in person in more than twenty-five states and four continents. Learn more about Dr. Arau at www.upbeatglobal.com.
