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

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE

Par L'ESTRANGE ALEXANDER. Singbook is an inspirational resource for all singing leaders working with children and young people, and contains 12 songs by some of today's most exciting songwriters. Suitable for established singing leaders seeking new repertoire, and those leading singing groups for the first time. Inspires young people with an exciting and vibrant mix of styles. Celebrates our cultural diversity, combining songs from Gujarati, Chinese and Albanian music with the best of the UK. Each song includes warm-ups, learning strategies and interviews with the songwriters. All vocal parts and lyric sheets are photocopiable. The songs are graded and colour-coded into three levels - Starting, Developing and Challenging. The book is complete with two professionally-produced CDs of complete demonstrations and backing tracks. Produced in association with Youth Music and NASUWT / Niveau : Facile / Recueil / Voix

Par SOMARE ELENA. Elena Somaré, multimedia artist, is one of the most rare whistling artists on the international scene. She has performed in many prestigious theatres and concert halls around the world, bringing the art of whistling to the highest level of interpretation and freeing it from the prejudice that confined it to pure virtuostic performance. In this method the basic techniques of whistling are explained and combined with breathing exercises, embellishments, rhythmics exercises and some useful examples to start interpreting the whistled music in a personal way./ Méthode / Sifflement

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 SULLIVAN SIR ARTHUR SEYMOUR. W.S. Gilbert's complete libretto for H.M.S Pinafore, which opened May 28, 1878, at the Opera Comique and ran for 571 performances. Subtitled 'The Lass That Loved A Sailor', the story concerns a captain's daughter and a common sailor that fall in love./ Recueil / Voix

Understanding the Psychology Relationships and Technology in Recording and Live Performance-To be a great singer talent and technique are obviously important as are having excellent songs and being able to move an audience. But there's more to it than that including two critical skills that are rarely if ever addressed in vocal training: managing the technology on stage and in the studio and interacting with the people who run it. No matter how fantastic your voice is or how much money is behind you if you don't know how to work with performing and recording technology you're in for a tough ride. Countless phenomenal singers stagnate professionally and even leave the business because they can't figure out how to deliver when using studio headphones and stagemonitors or how to communicate their needs to producers and engineers. And many less-capable singers get ahead because they can. The Art of Singing on Stage and in the Studio is the only book that comprehensively addresses these critical issues in an easy-to-read accessible style. Starting with a discussion of the evolution of technology and the voice in our culture it also explores the root causes of anxiety-related performance issues and more importantly how to overcome them. Singers performers producers and engineers will all come away from this book more knowledgeable about the origins of their fields empowered in the tools of their trade and clearer on how to best communicate with one another.

Ce livre/CD n'est pas seulement pour ceux qui veulent apprendre le chant flamenco - c'est aussi pour les guitaristes qui souhaitent accompagner les chants et qui doivent donc connaître des chansons de flamenco. Et puisqu'il consiste en des exercices rythmiques, il est également d'un grand intérêt de percussionnistes. Et bien entendu pour tous ceux qui veulent comprendre les rythmes de chant et de flamenco. Grâce à des exercices rythmiques 58 basés sur les mains, battant les jambes, les paumes et les pieds et dans certains cas pris en charge par les sons de la voix, les étudiants (avec la pratique) seront se familiariser avec le rythme Flamenco. Concernant le chant, il y a des exercices qui permettront de réchauffement et de connaître la voix de l'étudiant et des exercices préparatoires pour les styles différents flamenco ainsi. Egalement inclus des 6 thèmes interprété avec chantant et sans chanter, et puis les étudiants peuvent mettre la voix. Le CD comprend une grande partie des exercices ainsi que les thèmes interprété les deux chanter, comme sans chanter l'a expliqué dans le livre. Espagnol, anglais, français, allemand et japonais Alemán y Japo... / Voix / 76 pages / niveau : Débutant/Intermédiaire / Partition/Cd Set - Format: 7,5 X 5,25

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.

As a work of historic interest of the period The March of the Women is an essential work.British composer Ethel Smyth was a prolific important composer of the late 19th and early 20th centuries. In 1910 she joined the Women’sSocial and Political Union for whom she wrote this anthem. It was taken up and sung everywhere including Holloway Prison where Smyth and other suffragettes had been imprisoned for breaking windows and other acts of politicaldisorder. When Sir Thomas Beecham visited her there he found the women marching around the inner yard and singing while Smyth directed the impromptu Chorus with her toothbrush.

This second volume of the songs of Scottish poet Robert Burns contains 70 songs excerpted from the chapter 'The Lasses' in a larger collection of 324 Burns songs compiled and researched by Serge Hovey. It includes songs expressingthe poet's 'passion' for his wife Jean and for 'that other species.' Robert Burns (1759-1796) spent his life collecting Scottish songs using fragments of existing lyrics as the basis for his own poems and wrote original lyricsfor traditional melodies. Burns left for posterity about 270 poems and more than 300 songs which are usually printed without their tunes. Serge Hovey meticulously examined Burns' own sources letters and manuscripts to determinethe origin of every tune and all the verses as well as Burns' intended match of words and music. He then arranged each song with highly imaginative and beautiful accompaniments geared for pianists with average skills. This volumeis illustrated with reproductions of paintings drawings and prints. These volumes also contain a glossary of frequently appearing Scots words and insightful historical notes for each song.

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.

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).

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.