SKU: GI.G-9966
ISBN 9781622773992.
What better way to discover the world than to sing songs that have captivated the imaginations of children across the continents. In this amazing collection of songs children love to sing, Karen Howard truly opens the door to encountering songs from diverse cultures and experiences, on themes from family, animals, flowers, food, and more. The repertoire in First Steps in Global Music is particularly accessible for teachers and children wishing to discover these great songs. Organized by geographical region, Howard provides the context and guidance—including references to recordings—for these songs to come alive. She further organizes the songs based on First Steps activity categories: Fragment Singing, Simple Songs, Movement for Form and Expression, Movement with the Beat, and Songtales. Take a look, have a listen, and see what captures your attention—and what might capture the imaginations of the children in your life! Featuring music from: Africa (Ghana, Kenya, Tanzania, Ethiopia, Zimbabwe) Oceania (Tahiti, Australia, New Zealand) Asia (China, Japan, Pakistan, Indonesia) Middle East (Israel and Lebanon) North America (Quebec, Guatemala, Mexico, Jamaica, Puerto Rico, Cuba, Haiti) South America (Brazil, Peru, Chile) Europe (Lithuania, Bulgaria, Poland, Republic of Georgia) For more information and resources about global music, visit giamusic.com/firststepsglobal. Special message: Since the summer of 2019, it has come to the attention of GIA editors that some of the American folk songs in the First Steps in Music series and other publications have racist histories. GIA is committed to providing resources that uphold the highest possible values for children and for our classrooms. We are excited about the efforts of the Feierabend Association for Music Education’s Diversity, Equity, and Inclusion Committee to develop standards through which repertoire should be evaluated. We intend to revise our publications based on those standards at the earliest possible opportunity. Learn more at giamusic.com/dei.
SKU: CB.40121202
ISBN 9781936151325. UPC: 810008341995. 8.5 x 11.0 inches.
Keep your students engaged in learning with the movement-filled activities and steady-beat energizers included in Rhythm and Beats for Hands and Feet from Peake Music Publishing. Designed for elementary students in grades K-5, this collection offers activities that are perfect warm-ups, transitions, brain-breaks, and energizers sure to inspire your students to move in creative, musical ways. This reproducible book includes detailed teaching steps for each movement activity with helpful charts and bonus activity extension ideas. Also included are colorful visuals to assist with teaching, memory, movement, and form, with an array of premium musical tracks ranging from classical favorites and traditional folk songs to quirky new compositions and electronic beat tracks. Curated with careful attention to age-appropriate musical and kinesthetic concepts, Rhythm and Beats for Hands and Feet is sure to provide ample opportunity for you and your students to move, express, create, learn, and experience the joy of music together.
SKU: GI.G-9693
ISBN 9781622772582.
This book is the guide for teachers to give to all parents enrolled in First Steps in Music classes.  First Steps in Music Parent Handbook provides teachers of parent-child classes a concise and detailed resource that establishes the goals and objective for the infant and toddler or preschool classes. The primary goal of the First Steps in Music classes is for each child to reach his or her musical potential. Parent participation is the key ingredient to the success of the program. By establishing a clearly defined set of expectations for teachers, parents, and children, the parents will be able to replicate their child's classroom musical experiences at home. In Chapter 2 of the First Steps in Music Parent Handbook, the teacher and parents will find information about registration, class schedules, tuition, fees, cancellation policies, make up policies, and more. Chapter 3 gives detailed expectations for teachers, parents, and children. Chapter 4 outlines the class structure and curriculum components for each type of class. The classes are divided into four age-related sections: (1) Infants: birth to 12 months, (2) Toddler: 13 to 29 months, (3) Nursery: 30 to 42 months, (4) Preschool: 3.5 to 5 years. Chapter 5 discusses the Lending Library. Chapter 6 addresses the techniques used during class. Chapter 7 is a commitment form for the parents that says they agree to the guidelines suggested in the handbook. This much-needed book is a must for any teacher wanting to set up parent-child infant and toddler or preschool classes where the ultimate goal is to help children become musically independent and develop a lifelong love and appreciation of music as they become tuneful, beatful, and artful! Connie Greenwood is the lead teacher and director of the First Steps in Music program at the University of Hartford’s Hartt Community Division in West Hartford, CT.
SKU: GI.G-1052
UPC: 785147005254.
The First Steps in Music curriculum becomes real in this DVD featuring FAME-certified master teachers Lindsay Jackson teaching a kindergarten class and Andrew Himelick teaching a first grade class. Shot in real-time in their own classrooms, both Jackson and Himelick sequence a wide variety of activities, teaching techniques, and strategies from John M. Feierabend’s curriculum. As with the other DVDs in the “In Action†series, each class includes an optional commentary track where Dr. Feierabend and the teachers describe in detail the decisions and approaches they take with their students. This DVD is a wonderful introduction to the First Steps in Music curriculum, demonstrates how a male teacher can model singing with young students, and includes at its heart the goal of helping every student become tuneful, beatful, and artful. Lindsay Jackson has been an elementary music teacher and choral conductor for 13 years and currently teaches in Bryn Mawr, PA. She sings soprano and enjoys accompanying her students on guitar, dulcimer, autoharp, and ukulele. Andrew Himelick has been an elementary music teacher for more than 25 years with Carmel Clay Schools in Carmel, IN. He has also been a director with the Indianapolis Children’s Choir for 20 years. He sings baritone and enjoys playing the piano, guitar, banjo, autoharp, and recorder. John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people, in hopes that these treasures will be preserved for future generations. John Feierabend is Professor Emeritus and former Director of the Music Education Division of The Hartt School of the University of Hartford.
SKU: GI.G-FSXL
Purchase this high quality t-shirt and show your support for FAME! The front of the shirt contains the First Steps in Music logo and the words Tuneful, Beatful, Artful on the back. A portion of every purchase goes to support FAME, the Feierabend Association for Music Education. This shirt is available only in green.
SKU: GI.G-FSXXL
SKU: GI.G-FSM
SKU: GI.G-FSS
SKU: HL.329801
ISBN 9781540084071. UPC: 840126906721. 9.0x12.0x0.23 inches.
The road to stardom starts here! Give your child the musical advantage that will help them excel at any instrument. Children learn the foundation of rhythm and timing using clapping and tapping patterns. Next they move onto percussion instruments such as rhythm sticks, shakers, and tambourines to apply musical patterns over songs. Children then get their first music lessons on piano, guitar, ukulele, singing, and drums. Kids learn the basics of each instrument so they can easily decide which is a perfect match. Many children go on to play several instruments! The lessons taught in this book will plant a musical seed that will continue to grow for your child's entire life! This fun learning music program includes: * Downloadable video and audio tutorials and demonstrations * Clapping and tapping patterns help children understand music * Rhythm and timing exercises with percussion instruments * Lessons for guitar, piano, ukulele, singing, and drums Teachers, parents, and volunteers can help guide children through the entire book! Each lesson has teacher and parent instructions to help teach the lesson in a thorough and effective manner even if you have no musical experience! Includes: * Downloadable video and audio for each lesson * Complete beats, rhythm and timing course * Free membership for online lesson support.
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: FG.55011-685-6
Mikko Heinio's Mot natten (Towards night), three nocturnes and two interludes for cello and guitar was composed in 2018. This suite found its inspiration and name in Finnish poet Bo Carpelan's (1926-2011) posthumous poetry collection Mot natten (2013), though the movements are not tied to specific poems. The first nocturne, Obscuro ('twilight'), dominated by pizzicatos, is followed by a more dynamic interlude, Spasimo ('spasm'). The fragile second nocturne, Sospiro ('sigh'), is coloured by delicate micro-interval chords plucked on the guitar between the left hand and the nut. The interlude Passi ('steps') leads with taps on the sound box straight into the third nocturne, Battito ('beat'), the way having been paved by the heartbeat of strong guitar pizzicatos. The duration is c. 11'30''. The product includes one full score and separate parts for guitar and violoncello.
SKU: MB.30606
ISBN 9781513460529. 8.75 x 11.75 inches.
While one of a kind is a hard rating to achieve at Mel Bay Publications, Kevin Allison has done it with The Ceilidh Dance Book. A ceilidh is a traditional Scottish gathering where people share songs, stories, music, and dancing that is very much alive today. In Scotland, there are hundreds of ceilidh bands, each of which has their own trademark tune sets, making it possible for a man in a kilt to make a living as a performing musician.
This book not only provides 85 Scottish tunes in sets as they might be used in a ceilidh eventâ??it also offers detailed, beat-by-beat descriptions of the dance steps for twenty-four dances! From The Highland Scottish to The Mooncoin Jig, with this book in hand, youâ??ll be able to both play in the band and step to the music with the locals. The kilt is optional.
Arranged for mandolin or fiddle with suggested chord backup, in standard notation only.
SKU: HL.9971498
ISBN 9781617742866. UPC: 884088545369. 4.75x5 inches.
Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author & bi-lingual educator, Alejandro Jimenez. Connect with educational philosophies and cultural backgrounds of the Spanish Caribbean to understand how they influenced the music of that area. Learn how song, dance, rhythmic instruments and drama all come together to help build confidence and promote personal expression. Originally developed and used in urban, multi-cultural settings here in the United States, the works featured in Picante are for all general music classes. Students form their own Latin Music ensembles and explore the highly rhythmic beat of the plena from Puerto Rico, the regueton which is popular among urban Latino youth, the fast two-step beat of the merengue from the Dominican Republic, the bomba from Puerto Rican folk music, and the son from Cuban dance music. These different styles influenced what we now call Salsa music. The kid-friendly ensembles have been written for Grades 5-9 and are presented from easy to more difficult. A variety of short, easily-learned ostinato rhythm patterns are played on Latin percussion and Orff instruments and added one at a time, followed by the Spanish and English lyrics. These voice parts are also made up of short ostinato patterns that, when layered in, create easily-sung harmonies in an instant! You can perform all or some of the voice parts, so do what best fits your situation. A helpful teaching sequence, dance steps and objectives linked to the National Standards are provided for each song, and all ensemble parts are reproducible! The piano/vocal printed score represents the form of each song as recorded on the companion CD, and is only a suggested guide to follow. Encourage your students to be creative and make up their own song form! Available separately: Teacher Edition (with reproducible pages), Performance/Accompaniment CD, Classroom Kit (Teacher and P/A CD). Suggested for grades 5-9.