Includes the cycles Briefly It Enters (High Voice edition only), I Will Breathe a Mountain, Let Evening Come (High Voice edition only), Three Donald Hall Songs, Tillinghast Duo, individual songs, and selections from Songs of Innocence and of Experience (Medium/Low Voice edition only). With notes on the songs and composer comments. Includes several first editions and first-time transpositions.There are different songlists for the High Voice and Medium/Low Voice editions. / Voix Moyennes

The Boosey Voice Coach is an entirely new concept in vocal training. Not a self-teaching manual, and not filled with off-putting diagrams, this series is a wholly practical guide to singing - learning about technique and interpretation through the repertoire itself. Each volume is devoted to singing in one particular language or to singing in a specific context, such as musical theatre or oratorio. In each volume of the series, works from the vocal canon have been selected specifically by Mary King for their technical and musical challenges. Each piece is discussed at length, starting with the words ('Text' - including a literal translation as appropriate), moving to general advice about how the song might be approached ('Notes'), and then addressing the technical difficulties the music presents ('Skills'). Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies.German can seem like an awkward language to sing in - there are just too many consonants! How do you get your tongue around them? And there are lots of regional differences in accent: is there a 'correct' pronunciation? What exactly is an Umlaut? These issues and more are covered in this book, which contains settings from some of the masters of song-writing in the German language. / Voix Moyenne Et Piano

Ce volume 3A des Plaisirs du chant est, comme les précédents, destiné aux jeunes chanteurs, ainsi qu'aux cours de formation musicale. Les morceaux sont présentés dans une tessiture moyenne. Pour plus de facilité, des traductions françaises sont aussi proposées pour trois lieder (un peu remaniées, elles datent du 19e siècle). Mais, sous cette apparente facilité, les morceaux choisis sont, pour la plupart, d'un mouvement assez lent, et donc, plus difficiles à lier et à animer. Ils aideront le jeune chanteur à extérioriser sa sensibilité musicale et poétique. On ne saurait trop recommander aux professeurs de commencer la formation vocale des élèves par des morceaux de tessiture moyenne, comme ceux des Plaisirs du chant avant d'aborder les recueils spécifiques pour soprano, mezzo, ténor ou baryton, dans un deuxième temps. La première pièce L'Amour de moy qui date du 15e siècle est donnée ici avec un accompagnement au piano, composé spécialement pour ce recueil, mais il est tout à fait possible de la chanter à voix seule, comme elle est notée dans le manuscrit de Bayeux. C'est même un excellent exercice. Jusqu'à la fin du 18e siècle, les ornements et variations n'étaient pas écrits dans les partitions, mais laissés à l'imagination des chanteurs (ces embellissements pouvaient changer d'un concert à l'autre). Nous avons un peu perdu ce sens de l'improvisation, mais l'élève pourra s'inspirer des ornements et variations très simples proposés dans le CD par les deux chanteurs. Toutes les pièces de ce recueil peuvent être interprétées par des voix féminines ou masculines, sans distinction. Pour le CD, j'ai demandé la collaboration d'une soprano et d'un ténor dans le seul but de varier la couleur à l'écoute du disque. Ces deux artistes ont chanté avec une grande économie de moyens pour que l'exemple ne soit pas trop lyrique et n'incite pas les jeunes chanteurs à dépenser une énergie inutile et néfaste. L'accompagnement, enregistré au piano seul, aidera à la mise en place du morceau avant le travail avec l'accompagnateur. Pour les exercices préliminaires à l'étude d'un morceau, on peut s'inspirer des exercices pour les débuts qui figurent dans mon ouvrage Le Professeur de chant : un luthier qui construit une voix (référence: VV375 ) paru aux éditions Van de Velde. L'expérience prouve que toutes les pièces du recueil sont adoptées avec plaisir par les étudiants et suscitent des progrès sur le plan vocal et musical. Jacqueline Bonnardot Contenu : Anonyme du 15e siècle : L'amour de moy - Flies B. : Berceuse (attribuée à Mozart) - Glück C.W. : On s'étonnerait moins (Armide) - Haendel G.F. : He Shall Feed His Flock (Le Messie) - Legrenzi Ciampi V. : Nina (Tre Cicisbei ridicoli) - Massenet J. : Le sais-tu ? - Monteverdi C. : Maledetto sia l'aspetto - Moulinié E. : Paisible et ténébreuse nuit - Scarlatti A. : Cara e Dolce Libertà - Schumann R. : La Coccinelle - Les Perce-neige - Traditionnel anglais : Willow Willow Compositeur/Auteur : BONNARDOT Jacqueline Discipline/Instrument : voix moyenne et piano Collection : Bonnardot Jacqueline Support : Partition + CD Style/Genre : classique Date de parution : août-08 Nombre de pages : 30

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. In the mid-1920s the young composer found a collection of prayers set to music among his maternal grandfather’s papers. Something clicked and from then on Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928 two years after publishing theDances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that several instrumental adaptations were soon created published under the title Chant hébraïque (for violin and piano: AL17 713; for cello and piano: AL 17196). Divided into three sections this wordless melody opens with a “sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows in which a “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance refusing to yield to resignation when fleeing Mussolini’s anti-Semitic laws he decided to emigrate in 1939 to the United States a land of refuge to which he would remain faithful until his death some thirty years later.

Henry Purcell (1659-1695) held numerous appointments at the Royal Court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output. Come And Trip It is an aria from the 1740 work L'Allegro il Penseroso ed il Moderato (HWV 55) based on a poem by John Milton. It is a graceful movement in the Minuet style often referred to as a 'Dance Song'. It has been arranged for Medium Voice and Piano by Mary Carmichael. 

Par HUSSEIN NICOLAS. Composées en 2016. / Niveau : Difficile / contemporain / Répertoire / Voix Moyenne et Piano

It would be difficult to overestimate the influence of Copland's music on American music of the 20th and 21st centuries. His songs and arias provide a concise tour of his stylistic journey and most of the songs are available in this remarkable volume.Includes: 9 songs (including 4 early songs); the complete 12 settings of Emily Dickinson's poems; 3 arias. The songs have been transposed down either a major or minor third; the original key is retained for the Emily Dickinson settings and the arias.

Description Twenty-Four Italian Songs And Arias Of The 17th And 18th Centuries - Medium Low Voice (Book/CD) A standard in teaching literature, now available with both accompaniment cassette or CD. Songlist Alma Del Core (La Constanza In Amor Vince L'Inganno) [Caldara, Antonio] Amarilli, Mia Bella [Caccini, Giulio] Caro Mio Ben [Giordani, Tommaso] Che Fiero Costume [Legrenzi, Giovanni] Come Raggio Di Sol [Caldara, Antonio] Danza, Danza, Fanciulla Gentile [Durante, Francesco] Gia Il Sole Dal Gange [Scarlatti, Alessandro] Lasciatemi Morire (Adriane's Lament) [Monteverdi, Claudio] Le Violette [Scarlatti, Alessandro] Nel Cor Piu Non Mi Sento (L'Amor Contrastato) [Paisiello, Giovanni] Nina [Pergolesi, Giovanni Battista] Nina [Pergolesi, Giovanni] Non Posso Disperar [De Luca, S.] O Cessate Di Piagarmi [Scarlatti, Alessandro] O Del Mio Dolce Ardor (Paride Ed Elena) [Gluck, Christoph Willibald] Per La Gloria D'adorarvi [Bononcini, Giovanni] Pieta, Signore [Stradella, Alessandro] Pur Dicesti, O Bocca Bella [Lotti, Antonio] Se Florindo E Fedele [Scarlatti, Alessandro] Se Tu M'ami, Se Sospiri [Pergolesi, Giovanni] Sebben, Crudele [Caldara, Antonio] Tu Lo Sai [Torelli, Giuseppe] Vergin, Tutto Amor [Durante, Francesco] Vittoria, Mio Core! [Carissimi, Giacomo]

op. 7 Hol. 81B / Six Songs-Hector Berlioz: Les nuits d'Ete for Solo Voice & Orchestra Op.7 Hol.81B . Version for medium voice. BA 5786-90: Vocal score voice & piano Berlioz composed these songs in 1840–41 between the composition of Roméo et Juliette and La damnation de Faust. The poems were taken from a collection entitled La comédie de la mort by Théophlie Gautier published in 1838. The songs were for mezzo-soprano or tenor with piano accompaniment and were published as a cycle under the title Les nuits d’été in 1841. The second and fourth songs Le spectre de la rose and Absence were performed a few times at that period and Absence was sung twice in February 1843 by Marie Recio on Berlioz’s first tour of Germany. For Marie who later became his second wife Berlioz at once orchestrated the song for mezzo-soprano and small orchestra. A dozen years later Berlioz orchestrated the remaining five songs of the cycle which appeared in its orchestral form in 1856. Two of these songs Le spectre de la rose and Sur les lagunes were now transposed to a lower key so that the cycle was no longer within the compass of a single voice. 1: Villanelle F major 2: Le spectre de la rose B major 3: Sur les lagunes F minor 4: Absence E-flat major 5: Au cimetière B-flat major 6: L’îsle inconnue D major Urtext of the New Berlioz Edition Full scores and parts available for hire (BA5786-72) English & German translations of the song texts printed sepatarely

The second volume of Old American Songs by Aaron Copland for Medium Voice presented here with Piano accompaniment.

Medium High Voice-Medium High Voice. Collection of 21 songs including interesting notes about each from the composer. Contents: Afternoon on a Hill · Air · An Old Fashioned Song · Coyotes · Fewer Words · A Horse With Wings · I Am Cherry Alive · Janet Underneath the Roses · The Lake Isle Of Innisfree · My Sister's New Red Hat · Once I Was · Poem (Lana Turner Has Collapsed!) · The Red Dress · Souvenir · Sweet Song · Sycamore Trees · The Special Picnic · The Spring and the Fall · What Shall We Remember? · White Haired Woman · Will There Really Be a Morning?

Par COTTRET BERNARD. 4 vocalises recueillies par Bernard Cottret. / classique / Date parution : 1988-09-30/ Répertoire / Voix Moyenne et Piano

Par COTTRET BERNARD. 4 vocalises recueillies par Bernard Cottret. Laissez-moi vous dire le plaisir que j'ai pris à lire et à chanter les quatre vocalises de Madame M. Gabus et de Ms R. Berthelot, J.M. Damase et Ph. Sagnier. Elles plairont aux chanteurs. La vocalise est un art souvent monotone. C'est la qualité première de cette édition d'avoir évité cet écueil. Les lignes mélodiques sont attachantes et elles permettent à la voix de briller sans se fatiguer. Je vais les mettre à l'étude dans ma classe et je souhaite qu'elles trouvent auprès des Maîtres et des disciples l'accueil chaleureux qu'elles méritent. Jean Giraudeau / classique / Date parution : 1980-05-01/ Répertoire / Voix Moyenne et Piano