Theory-Music & Música es una metodología que abarca los 6 cursos de Educación Musical de la etapa de Educación Primaria. Esta metodología nos presenta dos novedades fundamentales: 1. El tratamiento bilingüe de todo el material lo que hace que la metodología pueda ser utilizada tanto por unprofesor que quiera impartir el área de música en inglés como por otro que la quiera impartir en español. Los libros de los alumnos también están disponibles sólo en versión inglesa. 2. La audición activa y lúdica de piezas delrepertorio clásico como eje alrededor del cual van a girar todas lasactividades de cada Unidad Didáctica. De esta forma se da sentido musical y una visión global a los conceptosmusicales que se trabajan. Music & Música consta de 3 materiales fundamentales: - GUÍA DIDÁCTICA DEL PROFESOR Y 2 CDsPaso a paso con ilustraciones y fotografías se explica toda la didáctica de esta metodología. El material se secuencia en Unidades Didácticas que abarcan un curso completo. En los CDs se han grabado las audiciones los cuentos en inglés las canciones en inglés y español las danzas y nueve presentaciones para pizarra digital. - MATERIAL SIN ENCUADERNAR DE LA GUÍA DIDÁCTICA DEL PROFESOREste conjunto se incluye dentro de la guía didáctica. Aquí se recoge todo el material extra necesario para desarrollar las actividades: Ilustraciones a color de los cuentos partituras de grafía convencional láminas de instrumentos... - LIBRO DEL ALUMNO Y DVDEs un compendio de fichas evaluativas de los diferentes conceptos que se trabajan así como algunas explicaciones teóricas sobre el lenguaje musical. Cada unidad didáctica comprende entre 2 y 3
SKU: FH.VC6
ISBN 978-1-55440-542-8.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.Concertos:Concerto No. 4 in G Major, op. 65 - Goltermann, Georg arr. Leo Schulz- First Movement: AllegroConcertino No. 1 in C Major, op. 7 - Klengel, Julius- First Movement: AllegroConcerto No. 1 in A Minor, RV 422 - Vivaldi, Antonio arr. Eberhard Wenzel- Second Movement: Largo cantabileSonatas and Suites:Sonata in D Minor, op. 8, no. 9 - De Fesch, Willem arr. Jason Noble- First Movement: Siciliano- Second Movement: AllemandeSonata in G Minor, RV 42 - Vivaldi, Antonio- First Movement: Preludio- Second Movement: AllemandaSinfonia in F Major - Pergolesi, Giovanni Battista arr. Joseph Schmid- Third Movement: Adagio- Fourth Movement: PrestoConcert Repertoire:Lied ohne Worte, op. 109 - Mendelssohn, FelixCantillation - Ethridge, JeanSupplication - Bloch, ErnestRomanze - Reger, MaxLa Provencale - Marais, Marin arr. May MukleGavotte, op. 67, no. 2 - Popper, DavidSerenade espagnole, op. 20, no. 2 - Glazunov, Aleksandr arr. M.P. BelaieffAndaluza (Playera) - Granados, Enrique arr. Manuel CalvoApparition - Rathburn, EldonSiciliana - Piazzolla, AstorUnaccompanied Repertoire:Suite No. 5 in C Minor, BWV 1011 - Bach, Johann Sebastian- Seventh Movement: GigueSuite No. 2 in D Minor, BWV 1008 - Bach, Johann Sebastian- Third Movement: CouranteSuite No. 1 in G Major, BWV 1007 - Bach, Johann Sebastian- First Movement: PreludeI Dropped My Ice Cream Cone - Laut, EdwardBallad - Laut, Edward.
SKU: HL.49007511
ISBN 9783795750671. UPC: 073999263855. 9.0x12.0x0.199 inches. German. Christa Estenfeld-Kropp.
Where in volume 1 the notes in the octave c1 * d2 were carefully introduced and consolidated, volume 2 expands the range of notes to include c3 and gradually introduces chromatic notes. Rhythmic knowledge is extended (semiquavers, dotted crotchets) and different playing styles are practised (legato, staccato, portato). Lots of songs from all over the world, together with increasing numbers of original pieces, provide varied and colourful teaching repertoire. The teacher's book deals with the prerequisites for starting lessons (buying and caring for an instrument, the principles of teaching) and gives plenty of practical tips for lessons and suggestions for introducing each piece. Following on from volume 2, the publishers now present a tutor book for treble [alto] recorder that continues to feature the descant [soprano] recorder too (ED 8641/ED 8642).
SKU: BT.EMBZ14616
English-Hungarian.
The composer wrote this piece while still a third-year student at the Music Academy. The basis of it is a formula consisting of 9 notes, created by coding as notes a Christian name and various nicknames and anagrams. In the piece virtually every musical factor evolves in accordance with a predetermined system. It was first performed on March 20, 2002 in the small hall at the Music Academy by Dóra S k (cello), László Tömösközi (vibraphone) and Dániel Dinyés (prepared piano), with Balázs Futó conducting.Der Komponist schrieb sein Stück in einer Zeit, als er im 6. Semester an der Musikakademie studierte. Die Basis des Stückes ist eine Formel aus neun Tönen, die die Transformation eines Vornamen - bzw. dessen verschiedenartigen Spitznamen und Anagramme - zu Tönen darstellt. Alle musikalischen Faktoren des Werkes entwickeln sich praktisch entlang eines vorab determinierten Systems. Die Premiere fand am 20. März 2002 im kleinen Saal der Musikakademie statt, Mitwirkende, unter der Leitung von Balázs Futó waren: Dóra S k (Cello), László Tömösközi (Vibraphone) und Dániel Dinyés (präpariertes Klavier).
SKU: GI.G-9294
ISBN 9781622772179.
For twenty years, Eugene Corporon, renowned conductor, recording artist, and music educator, has shown generations of band directors not only how to transform the performance of individual ensemble members and the sound of an ensemble, but also how the participants and audience listen to and perceive a musical work. Now, Corporon’s celebrated insights published in each edition of the iconic Teaching Music through Performance in Band series are collected in a single volume, making Explorations, Discoveries, Inventions, and Designs in the Know Where a must-have resource for music educators who want to grow their skills as teacher, communicator, musician, and inspiration to students. Included are chapters on “Making an Emotional Connection†(Volume 3), “Historical Highlights of the Wind Band†(Volumes 6 and 7), “Principles for Achievement, Enhancing Musicianship, and Valued Colleagues†(Volume 8), and much more. Corporon’s complete discography—updated for this volume—is included, as well as a chronological listing of his doctoral and master’s students, and an invaluable bibliography. Of special note is the inclusion of his chapter in the forthcoming Volume 11 of the iconic Teaching Music through Performance in Band series.
SKU: CF.CPS234
ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.
Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!
SKU: CF.YPS217
ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar†seems to be a more accurate translation for what we commonly call “Pandora’s boxâ€) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).
SKU: BT.DHP-1012670-401
ISBN 9789043150200. International.
The four dances featured in this new volume aim to complement individual instrumental teaching and to develop the studentsâ?? taste for ensemble playing. De vier dansen in Four by Four zijn bedoeld als aanvulling op de individuele studie, en vooral gericht op de ontwikkeling van de belangstelling van de student voor het ensemblespel. De arrangementen zijn speciaal geschrevenvoor instrumentalisten die al twee of drie jaar spelen. In deze kwartetten heeft elke partij een specifieke, essentiële rol te vervullen op het melodische, ritmische en harmonische vlak.Vier Tänze für vier Violinen. Die Tänze in Four by Four sollen vor allem den SpaÃ? am gemeinsamen Musizieren wecken. In diesen Quartetten kommt jeder Stimme eine besondere Rolle zu, sowohl in melodischer als auch in rhythmischer und harmonischer Hinsicht. Les quatre danses qui composent ce recueil ont pour objectif de compléter la formation individuelle et, surtout, de faire aimer la musique dâ??ensemble. Les arrangements ont été spécialement écrits pour des violonistes ayant déj 2 ou 3 années de pratique. Dans ces quatuors, chaque partie a un rôle précis et indispensable, que ce soit au niveau mélodique, rythmique, ou encore harmonique.MULBERRY BUSHCette célèbre danse traditionnelle anglaise, caractérisée par un 6/8 allant, débute par une exposition du thème, dâ??abord lâ??unisson octavié, puis sous forme de mélodie harmonisée. Contrastant avec lâ??introduction, un développement de la mélodie sâ??ensuit, soutenu par des notes en valeurslongues. Une reprise du thème mène le développement vers une conclusion colorée.HAURRAK IKA SUZUELa gaieté se manifeste dès lâ??introduction de cette danse traditionnelle caractère ostinato ternaire. Lâ??accompagnement de la quatrième voix nous plonge dans un mouvement de valse malgré le chiffrage de mesure en 6/8. La mélodie est alternativement exposée par les première et quatrième voix tandis que les deuxième et troisième voix, plus discrètes, développent un soutien harmonique.BOUBLITCKHYCette danse aux accents typiquement russes est particulièrement intéressante dans la mesure où elle permet aux instrumentistes dâ??élaborer une lecture très personnelle. Malgré les indications de tempos, lâ??interprétation reste libre, dégageant un charme unique mêlant joie et nostalgie.DANSE BASQUE ESPAGNOLEDès les premières mesures de cette charmante Danse basque espagnole, la musique dépeint lâ??ambiance de cette magnifique région dâ??Espagne. Lâ??introduction lâ??unisson affirme admirablement le mode mineur quand survient, le mode Majeur. Le contraste est saisissant. La mécanique dâ??opposition entre Majeur et mineur sâ??installe et se répète avant dâ??aboutir une conclusion brève mais déterminée. Lâ??insegnamento di uno strumento è spesso individuale. Seppure necessario, questo approccio resta insufficiente per rispondere alle esigenze pedagogiche di oggi. Le quattro danze (Mulberry Bush, Haurrak Ika Suzue, Boublitchky, Danza basca spagnola) di questa raccolta hanno lo scopo di completare lâ??insegnamento individuale e, soprattutto, di far amare la musica dâ??ensemble.
SKU: CF.CAS91
ISBN 9781491142066. UPC: 680160630127. Key: G minor.
This lighthearted quodlibet was commissioned by ASTA and premiered at the 2015 conference. It provides a fabulous tool to introduce your students to key musical themes across time. The score plays off of the musician's nocturnal mind to combine twelve historic themes by condensing and expanding them the way our subconscious mind often toys with daytime experiences. In total, this composition celebrates the string player's full potential: Where loyalty to the written note serves the imagination's creative playground. What is composition, if not a grand improvisation captured in a snapshot?.I am a firm advocate for creative conducting, so I encourage you to experiment with changes in tempi to segue between themes, and/or to take musical liberty with the actual transitions between the themes, as long as there is still a feeling of forward momentum.If you want to fulfill the theatricality of the score, it would be fabulous to look at the audience (with a raised eyebrow, or a smile on your face, or whatever facial expression you think suits these moments in the score) at m. 14 and again at m. 21.In addition, it will help to conduct with wider gestures when themes change or the volume suddenly drops or swells. This will help the audience understand that these sudden changes between themes or dynamics are intended and will also help the students highlight those spots (particularly across the complex thematic shifts between mm. 62 and 94).The grandiosity from m. 110 through the end can be pushed to its zenith, particularly if you control prior forte settings such that the end gets the grand push.CAS91FThemes in String Dreams include:1. Twinkle, Twinkle Little Star2. Second Kreutzer Etude3. Concerto in A Minor, Vivaldi 4. Cello Suite No. 1, Bach5. St. Louis Blues, W.C. Handy 6. Minuet in G, Bach—Julie Lyonn Lieberman,Artistic Director, Strings Without Boundaries www.julielyonn.com | www.stringswithoutboundaries.com.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
