SKU: BT.DHP-0981153-140

De aanstekelijke muziek van Benny Goodman was de drijvende kracht achter het swingtijdperk van de jaren dertig. Met de bekende hits Let’s Dance, Stompin' at the Savoy, Moonglow en Sing, Sing, Sing is deze energieke engoed geschreven medley een gepast eerbetoon aan het honderdste geboortejaar van de ‘King of Swing’.

An Benny Goodman, der vor mehr als 100 Jahren in Chicago gebunden wurde, knüpfen sich viele Erinnerungen. Naohiro Iwai widmete dem großen Jazzklarinettisten und Big-Band-Leader eine musikalische Hommage mit einem stilgerechten Medley für Blasorchester aus Memories of You, Don’t Be that Way, Stompin’ at the Savoy, Flying Home, Bugle Call Rag und Sing, Sing, Sing.

Le 30 mai 1909, naissait Chicago, Benjamin David Goodman, clarinettiste, saxophoniste et leader de Big Band. En 1934, Benny Goodman fonde son premier orchestre et lance l’ère du swing. Il sera sacré « roi du swing » au Carnegie Hall de New York en 1938. Il enchantera de son style et de sa sonorité plus de cinquante ans d’histoire du jazz, jusqu’ la fin de sa vie. Interprétez six des plus grands succès du King of Swing : Memories of You, Don’t Be That Way, Stompin’ at the Savoy, Flying Home, Bugle Call Rag et Sing, Sing, Sing.

SKU: BT.GOB-000673-120

In imitation of the huge ‘House rage’ (at the end of the eighties) John Emerson Blackstone composed ‘House of Dance’ for youth orchestra.
It proved to be a success.

House owes its name to the place where this music was ‘developed’, i.e. an old night club called ‘The Warehouse’ in Chicago. Many subcultures followed.
Whether you like the style or not, one thing is certain: House music (also called Dance music) for many provides the basis for hours of fun on the dance floor.

In navolging van de enorme ‘house-rage’ (eind 80er jaren) schreef John Emerson Blackstone deze ‘House of Dance’ voor jeugdorkest.
Het bleek een schot in de roos.

House dankt zijn naam aan de plaats waar deze muziek ‘ontstond’,‘the Warehouse’ in Chicago. Er volgden vele sub-culturen.
Leuk of niet leuk, één ding is zeker, house-muziek (ook wel dance-muziek) blijkt voor velen de motor voor, soms urenlang, dansplezier.

SKU: BT.GOB-000384-130

In imitation of the huge ‘House rage’ (at the end of the eighties) John Emerson Blackstone composed ‘House of Dance’ for youth orchestra.
It proved to be a success.

House owes its name to the place where this music was ‘developed’, i.e. an old night club called ‘The Warehouse’ in Chicago. Many subcultures followed.
Whether you like the style or not, one thing is certain: House music (also called Dance music) for many provides the basis for hours of fun on the dance floor.

In navolging van de enorme ‘house-rage’ (eind 80er jaren) schreef John Emerson Blackstone deze ‘House of Dance’ voor jeugdorkest.
Het bleek een schot in de roos.

House dankt zijn naam aan de plaats waar deze muziek ‘ontstond’,‘the Warehouse’ in Chicago. Er volgden vele sub-culturen.
Leuk of niet leuk, één ding is zeker, house-muziek (ook wel dance-muziek) blijkt voor velen de motor voor, soms urenlang, dansplezier.

SKU: GI.G-M522

Now available on SmartMusic! The CD for Book 2 from the Do It! Play in Band series by James O. Froseth includes: • Modeling by all the artists listed below. • Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. • Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. • The repertoire and recorded contexts are motivating, informative, and entirely musical. • Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. • A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. • An individualized format allows students to progress at different rates with a theme and variation format. • Ear training and improvisation are integral parts of the lesson format. • Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! • Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). This CD is for all the instruments for Book 2.

SKU: GI.G-M518

ISBN 9781579992354. English.

Now available on SmartMusic! The Tuba book and audio recordings (see below) from the Do It! Play in Band series by James O. Froseth includes: Modeling by Fritz Kaenzig (University of Michigan). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times, including 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. Artist performers set musical standards in sound with more than 80 great performances for every instrument! Performers include: Michael Henoch, Oboe (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser, Clarinet (Cleveland State University), Brian Bowman, Euphonium/Baritone (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton, Percussion (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig, Tuba (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs, Trumpet (Plymouth Symphony Orchestra). Download the audio recordings at: giamusic.com/doit2media.

SKU: GI.G-M585

English.

This major band method by James O. Frosethhas it all:* Artist performers set musical standards in sound with more than 80 great performanceson CD for every instrument, and one CD lasts for the entire book! Performers include Michael Henoch (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser (Cleveland State University), Brian Bowman (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs (Plymouth Symphony Orchestra).* Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles.* Music of other times includes 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll.* The repertoire and recorded contexts are motivating, informative, and entirely musical.* Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture.* A unique Rhythmic Pattern Dictionary allows students to “look it up” and “listen up.”* An individualized format allows students to progress at different rates with a “themeand-variation” format.* Ear training and improvisation are integral parts of the lesson format.* A 550+ page teacher's resource edition and musical score provides options galore, including a double CD with “listen and play” exercises for group instruction, supplementary exercises for technical development, and resource material for improvisation and composition. All the resources needed for teaching to the National Standards for Music are provided. (Coordinates with rhythm flashcards)* Book 2 features innovative but optional use of world percussion instruments, as developed by percussion educator Steve Houghton.

SKU: PR.16400272S

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.