Aus: Musae Sioniae V Nr. 127, 1607. Par PRAETORIUS HIERONYMUS. Tonalité : c-Moll - / Mottet / Répertoire / Choeur SSATTB

Par HARNISCH OTTO SIEGFRIED. Gattungen: Motetten, Psalmen, deutsch - Langue : Allemand / Mottet / Répertoire / Choeur SATB

Vocal Jazz Series-With a melody written by the legendary harmonica player Toots Thielemans this jazz standard has been covered by 100s of musicians. This arrangement begins simply and purely allowing your jazz choir to establish a groove. A sample scat solo is offered as a beginning point with solid choral underpinning for support. A final time through verse and chorus offers very contemporary jazz harmonies voiced in a way that will ensure success.

Two Responses for Quiet Worship 1. A Gentle Alleluia 2. A Quiet Blessing of Peace-Uses: General service musicScripture: 1 Kings 19:12 Isaiah 6:1-3Truly something different in tone from writer Heather Sorenson is found in this help service music set. The style is harmonicallyfresh matching the evocative gestures of the text. Included are a call to worship and a quiescent benediction perfect for candlelight services or times of contemplation. Sensitive!

This shining choral is now available in SATB and SSA/TTB voicings. A Choral Fanfare has been newly recorded and a performance track is included on our Piano Trax CD. Accessible independent voice parts that“stack” harmonically in a marcato style have made this choral a popular selection. The easy Latin Gloria and English text help make it simple to learn.

Par SODERMAN JOHANN AUGUST. These Spritual Songs are extremely atmospheris and rewarding from a vocal point of view. Söderman's vocal style is characterised by imitation, fugal movements and harmonically warm sonorities with free, courageously dissonant suspensions./ Répertoire / Choeur Mixte

This Philippine folk song begins speaking of a love for nature but quickly turns into a deep love song. The tune is warm and enchanting but it is the 4-part a cappella arrangement that will enthrall you. The writing is straight-forward and harmonically interesting. Medium in difficulty.

Nine Amen and Halleluja Movements-Between 1728 and 1747 Handel composed these nine two-part movements for soprano and instrumental bass. Though speculation exists the occasion for which the pieces were composed as well as the exact date of their composition remain unknown.The soprano sings short liturgical phrases such as ?Amen? ?Allelujah? ?Alleluja amen? or ?Amen alleluia?. The editor has supplied a text for the movement HWV 275 which until now has for reasons unknown been without text. The Amen and Hallelujah movements are in easy keys (using up to one sharp or two flats) and the modulations rarely move to harmonically distant tonal areas. Handel figured the bassline very detailed which playsmostly an accompanying supportive role imitating the voice in a few places. The vocal part is distinguished by the repetition of motives by repeated notes but also by short or extended coloratura. Presumably these movements were intended for use in teaching.Today these short movements of between 25 and 76 bars lend themselves well to use in church services.Based on the Urtext of the ?Halle Handel Edition?Idiomatic realization of the continuo part

Hodie was written for Portsmouth Grammar School and is an ideal opener for Christmas concerts. The soaring vocal lines are underpinned by a rhythmic and harmonically rich organ part resulting in a joyous and accessible work suitable for choral societies church and school choirs. Arranged for soprano and alto voices and organ. Part of Faber Music’s Choral Signature Series.

Par ARMAN HOWARD. Howard Arman, director of the Bavarian Radio Choir, has been actively engaged with international Christmas carols through various Christmas-related CD productions of his choir in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du fröhliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du fröhliche and classical double choir settings such as Resonet in laudibus . The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It?s a Birthday and Wasn?t That a Mighty Day to form a medley, Ain?t That a Rockin? gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance. / Date parution : 2022-07-20/ Recueil / Choeur Mixte a Cappella

For SATB (with divisions) and Organ.Commissioned by the choir of Merton College Oxford In the beginning was the Word provides a welcome musical setting of this iconic biblical text. The choral lines combine plainchant with harmonically intricate passages and all is complemented by a soloistic organ part. Suitable for use throughout the church year.

Spiritual-The work of composer and junior high music educator Dan Davison is a welcome addition to the Hinshaw catalogue. Here he sets the traditional spiritual for SSAA(T)B chorus a cappella with a variety of textures and harmonically influenced by jazz chordal structures.

Uses: Epiphany Christmas concertScripture: Matthew 1:2-18Anchored by the chorus of We Three Kings the inspired words of this choral anthem guide us to the light of Christ. We mirror thejourney of the magi and discover the Christ-child waiting to receive us. Harmonically interesting the piano part weaves a texture of mystery while the words help us to see a contemporary parallel to our own spiritual journey.Consider using the optional flute & handbells.

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE