SKU: HL.14010005
ISBN 9781844499885.
A special two-volume set of songs by the great Juan Solano Pedrero, arranged for Piano, Voice and Guitar. Working as a member of the hugely successful Ochaita, Valerio and Solano trio, the Maestro Solano developed his skills as a composer, and the group became responsible for some of the most celebrated songs of Spain. His works have been performed by many star voices including Concha Piquer, Manolo Escobar and Rafael Farina. His popular and best-loved songs include A Tu Vera, El Porompompero and Almoneda. This title is the second of two volumes, beautifully presented, that will help you to enjoy these wonderful songs again and again.
SKU: HL.35032268
ISBN 9781540027191. UPC: 888680746780. 5.0x5.0x0.066 inches. Joseph M. Martin/Heather Sorenson.
The Christmas story is told with fresh perspective in this collaborative cantata from Joseph Martin and Heather Sorenson. Throughout time, God has touched and motivated hearts through dreams and visions. Christmas Dreams visits these moments in scripture and connects the experiences of ancient times with our modern journey of faith, pointing to Christ, in whose birth the hopes, yearnings and dreams of all the world are fulfilled. Using traditional carols, newly composed seasonal selections and thoughtful narration, this rich work delivers a tapestry of sound and emotion. Share this cantata with your people and help them discover God's graceful touch in their lives! Songs include: Christmas Dreams Overture; Advent Dreams; The Promise and the Prayer; A New Morning of Promise; Zechariah's Song; Mary's Dream; All Through the Night; Hark! The Herald Angels Sing; The Magi's Epiphany; Christmas Dreams; A Gentle Christmas Blessing.
SKU: MB.30964
ISBN 9781513469775. 8.75x11.75 inches.
This collection of 41 timeless melodies is tastefully arranged for soprano and tenor recorders with suggested breath marks and accompaniment chords. Selections include a variety of influences which provide a historical and aesthetic view of the American musical landscape. The works of both well-known, classically trained composers and unknown folk artists are featured in standard notation arrangements suitable for performance by intermediate players. The one thing these tunes have in common is their striking melodies, which in many cases have endured throughout the ages.
SKU: HL.48184748
UPC: 888680975548. 9.0x12.0x0.127 inches.
Homage to Frescobaldi by Jean Langlais is a set of eight pieces for Organ. Dedicated to his professor Marcel Dupre, these pieces require the use of pedals and could be practised by upper-intermediate / advanced players. The pieces are: 1. Prelude au Kyrie 2. Offertoire 3. Elevation 4. Communion 5. Fantaisie 6. Antienne 7. Theme et variations 8. Epilogue While all the pieces include keyboard and pedals, the epilogue is a pedal solo. Girolamo Frescobaldi was an Italian composer of the Renaissance and Baroque period who was also appointed St Peter?s main organist. His work was some of the most influential music of the 17th century. Jean Langlais was a French composer who contributed prolifically to the Organ repertoire..
SKU: HL.44007603
UPC: 884088266233. 9x12 inches. English-German-French-Dutch.
A Christmas March was written to provide the young band something up-beat with which to open or close a Christmas or holiday concert. The main theme of the march is original, but many short references to well-known Christmas tunes appear in obvious and not-so-obvious places. These include Adeste Fidelis, Deck the Halls, Good King Wenceslas and Jingle Bells. God Rest Ye Merry, Gentlemen forms the march's trio section. A perfect piece for any Christmas concert. Duration: 2:00.
SKU: HL.35032202
UPC: 888680740283. 5.0x5.0x0.15 inches.
Stretch your music budget with these exceptional quality accompaniment tracks for 14 anthems from Hal Leonard and Shawnee Press on one convenient CD. Songs include: A Celtic Song of Thanks; Christmas Joy (The Savior Christ Is Born); Come, Thou Long-Expected Jesus; Creation Calls Me to My Knees; Dakota Hymn; God Rest Ye Merry, Gentlemen; In the Great Triumphant Morning; People of Praise, Rejoice!; Prepare, Make Room; Promise Song; So Be It (If You Never); We Will Live to Serve Our Savior; Wonderful Words of Life; You Are.
SKU: AP.1-ADV3104
ISBN 9783892210795. UPC: 805095031041. English.
Improvisation is at the heart of jazz, but knowing how to play stylistically correct in a large jazz ensemble is also a necessity. How to Play Lead Trombone in a Big Band offers tips, suggestions, examples and a play along CD to help you put it all together. How to Play Lead Trombone in a Big Band by Mark Kellogg is an annotated guide written to help trombonists explore the joys and challenges of playing in a large jazz ensemble. Topics covered include the distinct roles of lead and section players in a big band; playing with a cohesive section sound; and performing with an even sense of balance, intonation, and rhythmic feel. These insightful comments are conveyed by taking a detailed look at seven compositions and addressing the specific challenges of each work. The CD which accompanies this text provides a helpful aural guide, enabling the trombonist to listen to each example or to play along with the recording. The variety of jazz styles covered in this volume include medium swing, funk, bossa, fast swing, and Afro-Cuban feels. Composers and arrangers of these pieces include some of the most innovative and respected voices of the genre, such as Clare Fischer, Bill Dobbins, Jim Snidero, Heiner Wiberny, and Joey Sellers. This publication is designed for use by trombonists of all ages and experience levels.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: PR.414412370
ISBN 9781491137949. UPC: 680160692637. 9 x 12 inches.
First published in 1929, Stephen Deâakâs two-volume Modern Method for Cello remains a timeless resource for new and developing cellists at every stage of practice and performance. A student of David Popper, Deâak presents a thoughtful and thorough method for beginning cellists with a detailed focus on fundamentals, including posture and balance of the bow and left hand.Unlike many other methods, the Modern Method spends considerable time developing note-recognition and tone production by isolating a skill or concept in a single exercise. These include open string and bow distribution exercises, as well as systematic left hand practice focusing on one or two notes at a time. This careful approach in the beginning allows the new player to reinforce important right- and left-hand skills before attempting performance pieces.Sequential scales and exercises in various keys and positions are supplemented with songs and tuneful etudes, allowing the player to apply practical technique to expressive performance. These etudes are both pedagogical and performance-worthy, rich with musicality and charm. The musical and technical concepts presented in this method can be learned in any order at the teacherâs discretion to best serve the student.Revisions in this new edition include additional instruction, clarification of fingerings with shifting indications, updated melodies, and a beautiful new engraving. The wealth of practice and performance repertoire in The New Modern Method for Cello, Volume 1 makes this book a valuable addition to every cellistâs library.Volume 2 offers training in higher positions and thumb position, advanced left-hand and bowing techniques, and musical exercises including 29 concert studies. These etudes, often heard in recitals, were designed by Deâak as the perfect stepping stone to Popperâs High School of Cello Playing.
SKU: PR.414412380
ISBN 9781491137956. UPC: 680160692644.
First published in 1930, Stephen Deâakâs two-volume Modern Method for Cello remains a timeless and beloved resource for new and developing cellists at every stage of practice and performance. A student of David Popper, Deâak presents a thoughtful and thorough method for beginning cellists with a detailed focus on fundamentals, including posture and balance of the bow and left hand. Unlike many other methods, the Modern Method spends considerable time developing note-recognition and tone production by isolating a skill or concept in a single exercise. These include open string and bow distribution exercises, as well as systematic left hand practice focusing on one or two notes at a time. This careful approach in the beginning allows the new player to reinforce important right- and left-hand skills before attempting performance pieces.Sequential scales and exercises in various keys and positions are supplemented with songs and tuneful etudes, allowing the player to apply practical technique to expressive performance. These etudes are both pedagogical and performance-worthy, rich with musicality and charm. The musical and technical concepts presented in this method can be learned in any order at the teacherâs discretion to best serve the student. Revisions in this new edition include additional instruction, clarification of fingerings with shifting indications, updated melodies, and a beautiful new engraving. The wealth of practice and performance repertoire in The New Modern Method for Cello, Volume 2 makes this book a valuable addition to every cellistâs library. Volume 2 offers training in higher positions and thumb position, advanced left-hand and bowing techniques, and musical exercises including 29 concert studies. These etudes, often heard in recitals, were designed by Deâak as the perfect stepping stone to Popperâs High School of Cello Playing.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
