The Spiders' Revenge is a short music-theatre work (duration about 25 minutes) designed for performance by primary school children. The work was written for Evie Primary School a small rural school in Orkney of about 60 pupils between the ages of five and eleven and was specially devised to enhance an environmental studies project on 'mini-beasts'. All the pupils in the school took part in the first performance. Two children playing in a garden delight in tormenting ladybirds snails spiders and other living creatures who they claim 'have no right to be'. The spiders teach the children a salutary lesson during the course of which they learn a great deal aboutthe ways of these creatures finally recognizing the wonder of the insect world and acknowledging that all 'have their place on the earth'.The songs include simple recorder and percussion parts and guitar chords. Vocal part. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Singing for Musical Theatre Songbook Grade 4. This Songbook series features a wealth of material from ABRSM?s Singing for Musical Theatre syllabus. The Grade 4 songbook contains 12 songs. Including classics such as ?Matchmaker? from Fiddler on the Roof to favourites ?The World Above? from The Little Mermaid, and ?Electricity? from Billy Elliot, this collection has also been carefully selected to encourage safe singing and to provide a route for changing voices. With four songs from each of Lists A, B and C, this unique choice of repertoire is an essential collection for those preparing for ABRSM exams, including for the new Performance Grades, and will inspire everyone who loves to sing.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

31 Songs from Featured Character Roles (Women's Edition)-Character roles are a staple of theatre film television and musical theatre. Rather than romantic leads they are featured comic roles villains or off-beat secondary parts. These are their songs from stage and screen musicals.

Mount of Olives?(also referred to by the full title ?Christ on the Mount of Olives?) Op. 85 is an oratorio by?Ludwig van Beethoven?portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. The libretto in German is by the poet Franz Xaver Huber. It was first performed on April 5 1803 at the Theater an der Wien in Vienna; in 1811 it was revised by?Beethoven?for publication by Breitkopf & Härtel.Mount of Olives?is a dramatic oratorio rather than a religious choral Mass or a dramatic opera and isconsidered a much more humanistic portrayal of the Christ passion than other settings such as those by Bach. It concludes at the point of Jesus personally accepting his fate placing the emphasis on his own decision rather than the later Crucifixion or Resurrection.?Novello edition for Voice. A complete performance lasts approximately 50 minutes.

A new collection to complement ABRSM?s bestselling Songbooks the Songbook Plus series features a wealth of material from ABRSM?s 2018 Singing syllabus at Grades 1 to 5. The unrivalled choice of repertoire in a huge variety of styles will inspire singers of all ages. The books include a diverse range of pieces from core classics to songs from stage and screen as well as fresh new arrangements newly commissioned editions and English singing translations. They also include notes on the songs to aid practice and performance. The books feature:  Three pieces from each of Lists A and B and six from List C for Grades 1 and 2  Four pieces from each of Lists A and B and six from List C for Grades 3 4 and 5

Alan Bullard’s bestselling Joining The Dots series now includes this book for Grade 4 that helps to develop sight-reading skills for singers. By working through a vast number of creative exercises and pieces students can prepare for those all-important ABRSM Singing Grade 4 exams. The books can also be used to build confidence in musicianship classes as a resource for choirs or audition preparation. Joining The Dots Singing covers the requirements for ABRSM’s sight-singing tests at Grade 4 and includes: Workouts along with simple songs to buildthe required rhythm and pitch skills for that specific grade Characterful pieces to sight-sing in a range of approachable musical styles Simple improvisation exercises in which students can explore ideas and develop their sense of rhythm and key Songs and rounds to sing with others for additional sight-singing practice or to learn quickly and sing for fun Alan Bullard is a composer and ABRSM examiner. He studied at the Royal College of Music and the University of Nottingham and taught in further and higher education for many years. He has written many songs and choral works and his music is widely performed and appears on a number of recordings.

Alan Bullard’s bestselling Joining The Dots series now includes this book for Grade 1 that helps to develop sight-reading skills for singers. By working through a vast number of creative exercises and pieces students can prepare for those all-important ABRSM Singing Grade 1 exams. The books can also be used to build confidence in musicianship classes as a resource for choirs or audition preparation. Joining The Dots Singing covers the requirements for ABRSM’s sight-singing tests at Grade 1 and includes: Workouts along with simple songs to buildthe required rhythm and pitch skills for that specific grade Characterful pieces to sight-sing in a range of approachable musical styles Simple improvisation exercises in which students can explore ideas and develop their sense of rhythm and key Songs and rounds to sing with others for additional sight-singing practice or to learn quickly and sing for fun Alan Bullard is a composer and ABRSM examiner. He studied at the Royal College of Music and the University of Nottingham and taught in further and higher education for many years. He has written many songs and choral works and his music is widely performed and appears on a number of recordings.

Le Singin' with the Jazz offre une variété de 10 grands standards pour le chanteur solo avec un combo de neuf ou dix pièces --- idéal pour le chanteur qui a besoin d'arrangements pour un petit ensemble. L'instrumentation combo est trompette, sax alto, saxophone ténor, trombone, guitare, basse, drumset, et le piano avec des indices conducteurs pour les cornes. Une partie de baryton sax option ajoute de la couleur et de la texture supplémentaire. Superbement organisé par Dave Wolpe, les chansons sont dans une variété de styles et de tempos pour offrir une flexibilité dans tous les milieux musicaux. / Voix

Corp Ronald (Editor). Par CORP RONALD. The Ash grove, Auld Lang Syne, Greensleeves, Londonderry Air: les îles britanniques sont un trésor de chansons populaires traditionnelles et les meilleurs sont réunis ici dans cette cassette de compilation fantastique./ Accessoire / Voix

This hilarious variety show is chock-full of one-liners, wintertime puns, and even a few knock-knock jokes! Plenty of parts allow you to show off oodles of young actors, or combine roles for just a select group of comedic kids. Silly skits include a pair of wisecracking reindeer, a snowflake ballet class, 'Freeze-Whiz' (everyone's favorite game show), and a directionally-challenged family of geese. It's a breeze to put together---just stage the scenes around your regular choral formation. Featuring two-part music, appropriate for grades four and up. Thirty minutes of bad jokes and belly laughs! Book is 100% reproducible. / Voix

Alan Bullard’s bestselling Joining The Dots series now includes this book for Grade 3 that helps to develop sight-reading skills for singers. By working through a vast number of creative exercises and pieces students can prepare for those all-important ABRSM Singing Grade 3 exams. The books can also be used to build confidence in musicianship classes as a resource for choirs or audition preparation.   Joining The Dots Singing covers the requirements for ABRSM’s sight-singing tests at Grade 3 and includes:   Workoutsalong with simple songs to build the required rhythm and pitch skills for that specific grade Characterful pieces to sight-sing in a range of approachable musical styles Simple improvisation exercises in which students can explore ideas and develop their sense of rhythm and key Songs and rounds to sing with others for additional sight-singing practice or to learn quickly and sing for fun   Alan Bullard is a composer and ABRSM examiner. He studied at the Royal College of Music and the University of Nottingham and taught in further and higher education for many years. He has written many songs and choral works and his music is widely performed and appears on a number of recordings.

Par SUZUKI SHINICHI. Teach voice with the popular Suzuki Voice School! The Suzuki Method® of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Voice School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki voice teacher to develop their potential as a musician and as a person.This Suzuki voice method, Volume 1 CD is a great tool for Suzuki Method lessons, encouraging at-home practice. This CD features accompanist Marjaana Merikanto. / Date parution : 2022-11-29/ Méthode / Chant

This delightful collection of Irish songs has been compiled and set as Art Songs by the European Duo Chitarra Canta featuring soprano and flutist Meg Fitzgerald and classical guitarist Guido Böger. Having noted the dearth ofgood concert literature for this type of duo the performers both well-versed in the Celtic and Classical music traditions and adept at creating their own arrangements decided to include such songs in their programs. With thisvolume they want to share them with other performers and enthusiasts. These songs can be used equally well for the stage recitals pub singing and private events or for simple pleasure. The collection consists of a widevariety of songs the music being completely written out for voice and classical guitar but also with chords and annotations for a variety use. Featured here are such well-known songs as The Last Rose of Summer Siúil a Rúin orShe moved through the Fair along with many other lyrical gems in unique wonderfully inspired arrangements. Audio downloads of the songs as performed by the authors are available with the purchase of this book sampled fromtheir CD Aisling Irish Art Songs and Music. The complete CD can also be purchased by writing to: ChitarraCanta@musician.org ?These arrangements for voice and guitar... well approach ... the genuine form of Irish folk music.The choice and interpretation of of the pieces... give ample evidence as to the familiarity of soprano Meg Fitzgerald and guitarist Guido Böger with this music.? (Concertino magazine vol. 1/2007).

Harmony Singing Made Easy teaches you to sing harmony by ear. Murphy and friends Bill Evans Janet Beazley and Chris Stuart join together to sing some beautiful trios and quartets. First you hear thethree (or four) voices blending together then you hear each harmony part sung separately. You learn your part by singing along with us. We sing several songs in three different keys so no matter what your vocal range you can tryyour hand at singing the lead part. Sometimes the men (Bill Chris) take the lead; sometimes the women (Murphy Janet) take the lead. With three keys to choose from you can also find a harmony part to suit yourvoice.Along the way we offer some helpful hints such as 'What key do I sing in?' 'How do I find my harmony part?' and 'How can I get a good blend?' At the very end Murphy and Bill break out their banjos for a rousing quartetversion of 'Over in the Gloryland.' Very entertaining!If you've been wondering how to sing harmony we've made it as easy as possible. Or as we say in Virginia 'It's as easy as pie.' Read even more details on our blog.Will the Circle Be Unbroken Bury Me Beneath the Willow All the Good Times Are Past and Gone Don't This Road Look Rough and Rocky Amazing Grace Over in the Gloryland