An exciting addition to Alfred Music's I Sing, You Sing echo song series. These 30 call and response songs encompass a wide variety of subjects, including: important everyday lessons (like crossing the street and answering the telephone), music class fundamentals (like the instruments of the orchestra and major vs. minor), and cross-curricular reinforcements (like identifying the continents and multiplying by two). Singers may echo the leader provided on the SoundTrax CD or take turns being leaders themselves---two versions of each song are included on the recording. Recommended for grades K--4. Chord symbols and suggested classroom activities are provided. / Voix

Par CILMI GABRIELLA. This is the matching folio to the debut album from this young Australian singer-songwriter. Every song from the album is here, arranged for Piano, Vocal and Guitar chords plus a section of full photographs. Includes the smash hit Sweet About Me and bonus track Echo Beach from the UK and Brazilian releases. / Date parution : 2008-09-15/ Recueil / Piano, Chant et Guitare

Par BRITTEN BENJAMIN. For high voice and Piano. / Niveau : Elémentaire / Répertoire / Chant et Piano

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

An exciting addition to Alfred Music's I Sing, You Sing echo song series. These 30 call and response songs encompass a wide variety of subjects, including: important everyday lessons (like crossing the street and answering the telephone), music class fundamentals (like the instruments of the orchestra and major vs. minor), and cross-curricular reinforcements (like identifying the continents and multiplying by two). Singers may echo the leader provided on the SoundTrax CD or take turns being leaders themselves---two versions of each song are included on the recording. Recommended for grades K--4. Chord symbols and suggested classroom activities are provided. / Voix

Par BAIGENT BERTIE. The composer was drawn to the beautiful stillness and sadness of the poem by Christina Rossetti, which transcends its rigid sonnet structure, and allude via the epigraph to the mysterious Willow-Wood cycle by Christina's brother Dante Gabriel Rossetti. The music suggests a division of the poem into three stanzas, alternating with tranquil interludes (using the opening melody) representing the 'willow-wood' of the title, so that the listener is constantly reminded of the gentle surroundings. As the intensity of the text increases, so does the astringency of dissonance in the verses, reaching its apogee just before consonance breaks through at the crucial phrase 'onemoment joined'. The simplicity of the Vocal writing conveys the serenity of the setting, while simultaneously suggesting the austere melancholy of the lovers. An Echo From Willow-Wood was the winner of the Stainer & Bell Award for Choral Composition 2015. / Date parution : 1905-07-07/ Feuillet / SATB

Teacher's Edition. Par EILERS JOYCE / EMILY CROCKER. Don't read notes, read patterns of sound! This unique sight reading course for treble voices in elementary and early middle school does just that! PATTERNS OF SOUND uses excellent voice leading, careful sequencing and musicallyinteresting exercises that can be combined to strengthen part singing, pitch relationships and to develop rhythmic independence. Volume 1 starts from square one, assuming no previous training, with exercises that are so carefullysequenced that the students are quickly singing four-measure phrases and eight measure songs in two parts and finding it easy! Students are introduced to notes, rests, meter, pitch and unison/2-part songs in Vol. 1, and continuein Vol. 2 with dotted rhythms & syncopation, keys & key changes and more 2-part songs. Use it every day and watch your students' confidence level grow! Available: Teacher's Edition (Vol. 1), Student Edition (Vol. 1), CD(Vol. 1), Teacher's Edition (Vol. 2), Student Edition (Vol. 2). Recommended for Grades 3-8. / Pédagogie / Méthode / Voix

Kindermusical. Par GSCHWANDTNER CHRISTINE. Liebe, Eifersucht, Verrat, sexuelle Nötigung, Verleumdung, Karriere, Hungersnot, Hinterlist, Verzeihen - die Themen der Erzählung um Joseph im alten Testament sind heute noch ebenso aktuell wie vor 3000 Jahren. Das Musical von Christine Gschwandtner entführt uns in 3 Szenen in die faszinierende Welt des alten Israel und Ägypten, wobei die Sprache stets klar und flüssig gehalten ist und ihre Entsprechung in den hinreißenden Melodien findet. Bereits 4-jährige Kinder können an der Aufführung beim Umzug der Karawane teilnehmen, die Sprechrollen sind auf unterschiedlichem Niveau für 8-14Jährige konzipiert. Im 'Joseph-Rap' tritt der Hauptdarsteller solistisch auf, der einstimmigeChorpart ist mit einem durchschnittlichen Kinderchor gut zu bewältigen, die Instrumentalstimmen sind von versierten Laien spielbar. Die einprägsame Musik spricht gleichsam Kinder und Erwachsene an und ermöglicht in 45 Minuten glaubwürdige Verkündigung für alle Sinne mit der zentralen Botschaft: 'Gottvertrauen bringt Gewinn!'/ Répertoire / Choeur d'Enfants à 1 Partie, Solo Flûte Traversièr

Kindermusical. Par GSCHWANDTNER CHRISTINE. Liebe, Eifersucht, Verrat, sexuelle Nötigung, Verleumdung, Karriere, Hungersnot, Hinterlist, Verzeihen - die Themen der Erzählung um Joseph im alten Testament sind heute noch ebenso aktuell wie vor 3000 Jahren. Das Musical von Christine Gschwandtner entführt uns in 3 Szenen in die faszinierende Welt des alten Israel und Ägypten, wobei die Sprache stets klar und flüssig gehalten ist und ihre Entsprechung in den hinreißenden Melodien findet. Bereits 4-jährige Kinder können an der Aufführung beim Umzug der Karawane teilnehmen, die Sprechrollen sind auf unterschiedlichem Niveau für 8-14Jährige konzipiert. Im 'Joseph-Rap' tritt der Hauptdarsteller solistisch auf, der einstimmigeChorpart ist mit einem durchschnittlichen Kinderchor gut zu bewältigen, die Instrumentalstimmen sind von versierten Laien spielbar. Die einprägsame Musik spricht gleichsam Kinder und Erwachsene an und ermöglicht in 45 Minuten glaubwürdige Verkündigung für alle Sinne mit der zentralen Botschaft: 'Gottvertrauen bringt Gewinn!'/ Répertoire / Choeur d'Enfants à 1 Partie, Solo Flûte Traversièr

Kindermusical. Par GSCHWANDTNER CHRISTINE. Liebe, Eifersucht, Verrat, sexuelle Nötigung, Verleumdung, Karriere, Hungersnot, Hinterlist, Verzeihen - die Themen der Erzählung um Joseph im alten Testament sind heute noch ebenso aktuell wie vor 3000 Jahren. Das Musical von Christine Gschwandtner entführt uns in 3 Szenen in die faszinierende Welt des alten Israel und Ägypten, wobei die Sprache stets klar und flüssig gehalten ist und ihre Entsprechung in den hinreißenden Melodien findet. Bereits 4-jährige Kinder können an der Aufführung beim Umzug der Karawane teilnehmen, die Sprechrollen sind auf unterschiedlichem Niveau für 8-14Jährige konzipiert. Im 'Joseph-Rap' tritt der Hauptdarsteller solistisch auf, der einstimmigeChorpart ist mit einem durchschnittlichen Kinderchor gut zu bewältigen, die Instrumentalstimmen sind von versierten Laien spielbar. Die einprägsame Musik spricht gleichsam Kinder und Erwachsene an und ermöglicht in 45 Minuten glaubwürdige Verkündigung für alle Sinne mit der zentralen Botschaft: 'Gottvertrauen bringt Gewinn!'/ Répertoire / Choeur d'Enfants à 1 Partie, Solo Flûte Traversièr

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

Böhmische Hirtenmesse. Par RYBA JAN JAKUB. Freely rhymed Mass settings; available either in German or Czech. The Bohemian Christmas masses are a typical product from the end of the 18th century. Jan Jakub Ryba’s Pastoral Mass from 1796 is a prototype of this genre. It was set in Czechoslovakian and filled with a conscious simple, folk-like musicality, which every villager in Ryba’s time could understand. Correspondingly, Ryba’s work became so popular that in the course of time – according to Milan Kuna, the editor of the Mass – “it was felt to be a symbol of Czechoslovakian Christmas. ” In addition to the original text the music also includes a German singing text. / Messe / Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière, 2 C

In Bright Mass With Canons, the canonical motifs are present right from the beginning and carry through almost every bar of the work.There are echoes of early English Choral writing and abstracted sections with flurries of sound interspersed with more Choral writing, all in the most modern idioms.Contemporary American composer Nico Muhly is a prolific writer and arranger who, at 32, is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas, and many solo pieces and works for small ensemble, Orchestra, and Chorus, and he has collaborated with artists such as Philip Glass, Björk and Sigur Rós. / Choeur Mixte (SATB) Et Orgue