SKU: GI.G-10339
ISBN 9781574635256.
Compiled and Edited by Brian J. Winnie One hundred powerful rehearsal techniques and ideas passionately shared by leading expert choral pedagogues, composers, conductors, vocologists, music therapists, researchers, speech-language pathologists, studio teachers, and professional practitioners. Each quick-to-read, insightful article includes fascinating facts about famous composers and conductors, thoughtful motivational quotes, and suggested additional reading selections. It??s an excellent university text and ??go-to? source for choral conductor-teachers at all levels. Sample topics include: Useful Compositional Techniques for Directors, Jeffery L. Ames, Professor, Belmont University The Yin and Yang of Vocal Sight-Reading, Michele L. Henry, Professor, Baylor University Five Steps for Planning and Rehearsing Repertoire, Patrick K. Freer, Professor, Georgia State University Teacher Talk, Jessica Nápoles, Associate Professor, University of North Texas Choral Resonance: Sound, Science, Spirit, Amanda Quist, Director of Choral Activities, University of Miami Conductor vs. Cooking Appliance: Creating Meaning through Temporal Flexibility, Jake Runestad, Composer & Conductor Recruit from a Position of Strength, Ethan Sperry, Professor, Portland State University The Improvising Choral Director, Patrice Madura Ward-Steinman, Professor, Indiana University Honoring Female Changing Voices, Bridget Sweet, Associate Professor, University of Illinois Teaching Traditional South African Music, Michael Joseph Barrett, Composer & Conductor, University of Pretoria Leadership through a New Lens, Hilary Apfelstadt, Professor Emerita, The University of Toronto The Choral Warm-Up Period, Anthony T. Leach, Professor Emeritus, The Pennsylvania State University Rethinking Gender in the Choral Context, Joshua Palkki, Assistant Professor, California State University, Long Beach Involving Students in Repertoire Selection, Janet Galván, Director of Choral Activities, Ithaca College.
SKU: GI.G-9692
ISBN 9781622773510.
This book of versatile, pedagogically based choral warm-ups helps conductors take full advantage of this important time in every rehearsal, providing tools for assessment, musicianship, and ensemble unity at the same time singers are warming up their voices. The exercises in Aligning Voices are organized into nine chapters, each focusing on a different area of choral technique: Rhythm Brilliance Intonation Balance Dynamics Consonants Beginning Consonants Diphthongs and Ending Consonants Vowels Each warm-up contains two or more parts, allowing the director to work toward improving choral sound in a texture similar to that of the repertoire. Moreover, author Dean Luethi provides every warm-up in three voicings—SATB, SSAA, and TTBB—and sequentially organizes them by difficulty level. In addition, each section begins by defining the objective for each exercise and offering practical solutions for many of the common challenges choirs face in each area. A companion student edition that contains only the music notation for each warm-up exercise is also available (G-9692S). These exercises go well beyond simply warming up the voice. This resource is a must-have for all choral directors looking to make the most of their warm-up time. Dean Luethi is Associate Professor and Director of the School of Music at Washington State University. In addition to his work at the university, he is a frequently sought after conductor, adjudicator, and clinician, and he has been published in the Choral Journal and Music Educators Journal. Watch this introductory video on Dean Luethi's (Lee-thee) book Aligning Voices: Exercises to Build Choral Musicianship.
SKU: HL.14007653
ISBN 9781846093340. 5.75x8.25 inches. English.
Ronald Corps' Companion was warmly received when it first appeared in 1987. Here is a completely revised and updated edition will be indispensable to all those who participate in the world of choral singing including conductors, singers and administrators both amateur and professional. Inside there is essential information on composers, works, technical terms and how to run a choir. There is even a section with advice form singing coach Barbarra Alden who will show you how to sing better. There is also an informative foreword by a modern maestro of Choral music, John Rutter. All this is brought together in a easy to consult format, bringing a wealth of advice on repertoire, how to conduct successful rehearsals and build balanced concert programmes all at your fingertips! This companion offers a complete guide to a branch of music which remains popular and continues to thrive despite the many changes, and dominance of Pop, in the world of music.
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-9543
ISBN 9781622772568.
The Complete Choral Warm-Up Sequences represents the first truly pedagogically sequenced collection of choral warm-ups in print and the culmination of work begun three decades ago by Frauke Haaseman and James Jordan. The goal of these twenty sequenced choral warm-ups is to build vocal technique and enduring musical skill in ensembles, regardless of age or experience. By synthesizing the most essential elements of the best-selling book The Choral Warm-Up, authors James Jordan and Jesse Borower assemble a practical and easy-to-use resource for conductors and teachers. The warm-up sequences provide a daily “diet” of vocal technique development based onthe latest research in voice science coupled with exercises to develop intonation and audiation according to the principles of Edwin E. Gordon’s Music Learning Theory. This package includes a book for conductors, a book for accompanists, and links to important online audio and video downloads. Written in an easy-to-use format for choral conductors, this valuable resource is a rich collection of cutting-edge pedagogy and the latest in voice science. Features include: An introduction and concise overview of choral and vocal pedagogy Vocal exercises composed within a harmonic context, designed to strengthen each singer’s audiational skill while training legato, register consistency, range extension, and more Concise descriptions of what to listen for in each exercise and solutions to remedy common vocal issues Aural Immersion Exercises that will quickly attune an ensemble to the modality needed for any repertoire Chants that will heighten both the essential musicianship of each singer and the sensitivity of the ensemble as a whole Entire warm-up sequences designed to prepare a stylistically appropriate sound for multiple genres while developing real and enduring vocal and musical skill.
SKU: GI.G-9739
ISBN 9781622773398. English.
The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,” Westminster Choir College granted him an “Alumni Merit Award,” the state of Oklahoma conferred on him a citation for “Contributions of Excellence,” and the University of Oklahoma granted him two “Distinguished Lectureships” and named him a “Presidential Professor.” Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines.
SKU: GI.G-9890
ISBN 9781622774005.
In addition to celebrating the history of male choirs in the United States, Conducting Men’s Choirs provides a thorough and practical guide for working with TTBB choruses of any age or experience. The chapters by Jerry Blackstone, Jefferson Johnson, and J. Reese Norris display knowledge gained from over seventy years of collective experience. Additionally, Trott has designed the book to be an outstanding repertoire resource and a window to future possibilities through the inclusion of Marques Garrett’s chapter ‘Composing and Arranging for Male Choirs’ and Gary Packwood’s chapter ‘From Entertainment to Social Justice: Examining Men’s Community Choruses in America.’ The content in Conducting Men’s Choirs represents theory and practice that will benefit all conductors of TTBB choruses. —Kevin Fenton Florida State University Inspired by Debra Spurgeon’s pioneering book Conducting Women’s Choirs, this companion resource, compiled and edited by Donald Trott, brings together the expertise of eighteen acknowledged authorities on men’s choirs. Conducting Men’s Choirs addresses the unique challenges, considerations, and joys of making music with male singers. The book is organized into three major sections, the first of which contains historical essays on male choirs in the United States. The chapters in this section span a range of relevant topics, including glee clubs in colleges and universities, an examination of some of the nation’s most esteemed and accomplished male choirs, and the role of male community choruses in America. The second section explores key aspects of working with male singers that are vital to the success of any conductor of male choirs. Topics addressed include: How to start a male choir and recruit male singers. Working with middle school boys and the developing adolescent voice. Pedagogical considerations for male voices. Procedures for improving intonation. Standing formations. Warm-ups. Women conductors of male choirs. How to arrange and compose for men’s choirs. A thorough discussion of repertoire for men’s choirs rounds out this resource in the book’s third and final section. Chapter authors explore men’s choir repertoire from a variety of angles: Renaissance music, works by Schumann, Canadian repertoire, and the music of Veljo Tormis. Extensive repertoire listings with hundreds of titles for men’s chorus are also provided for quick and easy reference. Conducting Men’s Choirs is essential for anyone working with male choirs in any capacity. Equally suited for novice teachers and seasoned professionals, this collaborative resource is the culmination of decades of experience and wisdom by leaders in the profession. Donald Trott is Director of Choral Activities at the University of Mississippi (Oxford), where he conducts the Concert Singers, Men’s Glee, and University Chorus. He is also the director of the graduate program in choral conducting and is past president of the Southern Division of ACDA.
SKU: GI.G-9595
ISBN 9781622772728.
By Jeffery L. Ames, Hilary Apfelstadt, Lynne Gackle, James Jordan, Jo-Michael Scheibe, and Phillip A. Swan. Compiled and edited by Hilary Apfelstadt and Jo-Michael Scheibe. Choosing repertoire is one of the most important and time-consuming tasks choral conductors undertake. And the Teaching Music through Performance in Choir series remains one of the most important resources for choir directors looking for quality repertoire that has been vetted by a distinguished panel of educators. Each volume in the series contains Teacher Resource Guides for 100 works, organized by difficulty. Selected by a team of leading choir directors, the repertoire in Volume 5 balances SATB literature with works for women’s and men’s choirs, and includes a healthy mix of selections aimed at bringing greater attention to the rich choral culture in Canada. Featuring the same team of authors as Volume 4, this volume also includes chapters that cover: “More than Spirituals and Concert Gospels: Choral Music in the Western European Tradition by Contemporary African American Composers” by Jeffery Ames, “North of the Border: Accessible Choral Music by Canadian Composers” by Hilary Apfelstadt, “Engaging the Voice, the Mind, and the Spirit: An Effective Approach toward Literature Selection with Treble Voices” by Lynne Gackle, “The Blueprint of Ensemble Musicianship Contained within Chant” by James Jordan, “It’s All About the Up: Journey, Text, Gesture, Music, and Motion” by Jo-Michael Scheibe, and “Community Collaboration: Relevant Programming that Moves Beyond the Classroom and into the Community” by Phillip Swan. Indexes by title, publisher, and composer/arranger for all five volumes of the series are included, and an extraordinary companion recording of all selections is also available. There is simply no better way to find and prepare the best choral literature available for achieving excellence in choral music education at all levels. The Teaching Music through Performance in Choir series continues to make a significant contribution to the choral arts.
SKU: GI.G-9759
ISBN 9781622772629.
Rehearsals should be structured in a way that trusts that human beings are truly the miracle workers and that if we work on being human, the magic of this thing called “moral acoustic” will resonate in a powerful, honest, and compelling way. For at the very end of the day, our goal in harnessing the energy contained in a moral acoustic is to create the most honest and direct communicative voice possible—a voice that can change lives and enrich our humanness just by hearing it, feeling it, and being touched by its ‘moral acoustic.’ —James Jordan, from Chapter 4 This volume is a continuation of the journey James Jordan began in his now iconic book The Musician’s Soul. In The Moral Acoustic of Sound, Jordan explores and defines those factors that create a “moral acoustic”—those human resonances among and between musicians. This book delves into the nature of authenticity and honesty in choral sound and how conductors and teachers, through these new understandings, can draw forth that which is living within each ensemble of musicians no matter their age or experience. Using the power of metaphor, this book attempts to provide answers to unlock the magic and mysteries in music making and human expression. Specific to the journey of The Moral Acoustic of Sound: Understanding trust between and among musicians The relationship of intonation and color as a function of moral acoustic Humility and its role in music making Thatching within an ensemble Enfleshment as a vital part of music making Metaphors that guide conductors to deeper listening Fostering generosity in music making Grammy-nominated conductor and music psychologist James Jordan is Professor and Senior Conductor at Westminster Choir College in Princeton, NJ, where he conducts the acclaimed Westminster Williamson Voices and the Westminster Schola Cantorum. He is also Artistic Director and Conductor of The Same Stream (thesamestreamchoir.com). He heads two of the leading programs in the world for mentoring conductors, serving as Director of the renowned Westminster Conducting Institute and Co-Director of the Choral Institute at Oxford, held annually at St. Stephen’s House, Oxford, UK.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: GI.G-10098
ISBN 9781622774876.
Teaching Music through Performance in Contemporary A cappella is the essential book for a cappella repertoire and rehearsal techniques, compiled and edited by educators and leaders committed to demystifying the genre and providing teachers with access to the best repertoire and pedagogy possible. Built on the model of the best-selling Teaching Music through Performance series, this volume includes chapters on the most important issues in teaching and learning contemporary a cappella, and analysis and insights for 82 works across genres: Barbershop, Contemporary A cappella, Doo-wop, Folk/Classical, Vocal Jazz. The list of composers and arrangers is diverse, the repertoire includes both arrangements and original compositions. Each selection is representative of a major a cappella trend or historical event, such as repertoire from The Sing-Off, Pitch Perfect, The Real Group, Sweet Adelines, or Pentatonix. Of course, every selection—regardless of musical style—is performed a cappella. The authors also develop a five-point difficulty scale for evaluating literature, and each guide contains detailed information about the arrangement or composition, including where the arrangement was first performed, the history of the original song, and the styles it represents. In creating the Teacher Resource Guides, the authors enlist the help of a cappella educators, arrangers, engineers, performers, and well-established experts. Each Guide also includes a new section called “Educational Extensions,” which provides suggestions on how to utilize the repertoire for extended classroom lessons, both as part of the rehearsal and part of a general music classroom. Chapter topics include “A Cappella: An Overview” by Marc Silverberg, “Emotional Expression in Group Singing” by Deke Sharon and J.D. Frizzell, “Teaching Singers to Sing in All Styles: The Spectrum Method” by Erin Hackel, and “Lessons You Can Learn from Competing,” by Ben Spalding. There is simply no better way to find and prepare the best contemporary a cappella literature available for achieving excellence in music education at all levels. Teaching Music through Performance in Contempory A cappella is a groundbreaking volume destined to make a significant contribution. Deke Sharon is heralded as “The Father of Contemporary A cappella.” He produced The Sing-Off on NBC and served as arranger, on-site music director, and vocal producer for Universal’s Pitch Perfect 1, 2, and 3, starring Anna Kendrick and Rebel Wilson. J.D. Frizzell is a composer, conductor, and baritone. He serves as Director of Fine Arts and Director of Vocal Music at Briarcrest Christian School in Memphis, TN. Marc Silverberg is Director of Vocal Music at Five Towns College (NY) and one of the leaders in contemporary a cappella education today. Erin Hackel is Assistant Professor at the University of Colorado-Denver. Her award-winning a cappella groups, MIX and Lark, have competed and performed throughout the United States and Europe. Ben Spalding is head Choral Director at Centerville High School (OH). His a cappella group, Forte, is an ICHSA champion.
