SKU: HL.294336

ISBN 9781540059178. UPC: 888680941406. 9.0x12.0x0.127 inches. Rhythm Cup Activities by John Jacobson.

Change up your rhythm teaching with MUSICAL CUPS! With simple plastic cups and great rhythmic songs, you can teach rhythm reading, accurate performance, physical coordination, music literacy, and teamwork. The printed song collection features singer lead sheets with musical cup patterns in standard notation. Our easy-to-read iconic cup notation for the patterns in each song is also included on a separate page. The musical cup language (such as tap table, pat cup, pass cup) is explained with pictures and a detailed description. Each book comes with a unique code for online access to audio recordings and demonstration videos of each cup pattern. From simple to more challenging patterns, these 10 songs and activities will add a flexible way to engage music students in grades 3-6 in rhythm reading and performance.

SKU: CF.YPS214F

ISBN 9781491153017. UPC: 680160910519.

This new piece from composer George Sweet is a delightful combination of Scotland the Brave and Amazing Grace. Each tune on its own is wonderful, but in Sweet's setting, they are masterfully layered to reflect the composer's Scottish-American heritage. This presentation of a Scottish melody with Americana-inspired harmonies is a stunning example of compositional craft.
Bravery and Grace is a setting of the unofficial Scottish national anthem, Scotland the Brave. While the melody is taken from Scotland the Brave, the accompaniment and harmony both have a “Western Americana” feel, reminiscent of composers like Roy Harris and Aaron Copland.  This combination of a Scottish melody with American harmony is a reflection of the composer’s Scottish-American Heritage.The piece begins with a fragment of Scotland the Brave presented in a lush and reflective context. The main theme is performed in full by the upper voices at m. 9. The middle voices perform the material at m. 17, and the lower voices perform it again at m. 33. This results in a loud passage representing pipers at m. 46. The traditional spiritual Amazing Grace appears suddenly at m. 51 in a somewhat polytonal setting. This is, once again, reminiscent of practices of the aforementioned American composers.  After this lyrical presentation, a fragment of the main theme returns at m. 66. This is followed by a broad restatement of the theme at m. 70 and a brisk conclusion with a final flair of polytonality.