Learning to read music is much like learning a language. There are three basic elements: listening, reading, and writing. This well-organized book provides step-by-step sequential lessons for developing these skills. Rhythm, note, and interval concepts are taught in the following way: first, hear and echo a short musical example - second, read and perform a notated exercise - and third, notate musical phrases as demonstrated on the CD. Worksheet-style student pages are included as reproducible PDFs. Ten-minute activities for teaching or assessment, recommended for 4th through 9th grade ensembles or music classes. / Tout Instrument

A Modal Fantasy. Par HOSAY JAMES L.. Cette composition de James L. Hosay est une rencontre entre les modes musicaux anciens et les codes des musiques de notre temps. L’oeuvre débute dans un univers sonore mystérieux qui mène vers un passage rythmé et accentué. Les mélodies suscitent des images venues des confins de l’Orient. Nous sommes aux temps des prophètes, des mages et des grands oracles. Ancient Echoes (“Échos d’un temps passé”) est une pièce enrichissante à la fois pour les musiciens et le public. / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band

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 BOGAR ISTVAN. István Bogár (1937-2006) was a world-renowned Hungarian composer best known for his works for winds. He composed concertos for trumpet, trombone, tuba, two horns, trumpet and horn, as well as several chamber works for winds and works for concert band. Furthermore, he wrote an oratorio, a cantata, various choral works, and folksong arrangements. The subject of the Character Variations is a well-known Hungarian folksong with a characteristic asymmetric metre. The theme is followed by nine imaginative variations, including a waltz, a jig, a march, a chorale, a toccata, and a playful echo piece. The four-minute long composition, which can effectively be performed even by music students, is rounded off by a virtuosic perpetuum mobile variation./ Recueil / Trompette et Piano

Par WALKER SARAH. Electronic Keyboard Basics 2 follows on directly from Book 1 and introduces bass-clef reading, key signatures and scales. Echo playing and simple improvisation encourage pupils to play by ear and develop good aural skills. Packed with the widest variety of musical styles from classical to contemporary, and full of fantastic illustrations, Sarah Walker's Electronic Keyboard Basics is the brightest and most straight-forward way to learn! / Niveau : Facile / Recueil / Clavier Electronique

Par ARNOLD MALCOLM. Darrell Jones says 'Arnold has in the new work invoked traditional rhythms but again the musical matter is his own. The second of the dances has a misty and reflective character but the other three are vintage boisterous Arnold, vividly illustrating his gift for bouncy rhythms and fine melodies, and his massive sense of fun. Chronicle and Echo 15th August 1966 / Niveau : Assez Facile / Répertoire / Conducteur

Le travail de Paul Hindemith est encyclopédique dans la nature. Dès le début , il a travaillé dans tous les genres musicaux et a conçu plusieurs de ses idées et de projets de musique non comme individu , oeuvres autonomes mais comme des cycles de travailavec différents rapports fonctionnels . Ces pièces se complètent mutuellement opposées si connu dans le cadre de la structure globale . Hindemith lui-même ne voulait pas seulement une édition complète de ses oeuvres , mais avait commencé à planifier ce , à sa mort, il a laissé une liste détaillée des , morceaux inédits pour une édition éventuelle complet .Les oeuvres complètes contiennent tous les travaux finis dans toutes les versions existantes , nouvellement gravés pour l'édition . Sketches et les fragments sont publiés dans les annexes du volume concerné , et sont évalués dans l'introduction et le commentaire critique par l'éditeur de volume respectif .Chaque volume contient une préface par les directeurs de publication et une introduction par le directeur de volume , la délimitation de la genèse et de l'histoire de l'exécution des travaux , avec d'authentiques instructions de performance , une évaluation des enregistrements existants par Paul Hindemith lui-même et un commentaire critique .Les oeuvres complètes de Paul Hindemith sont donc présentés dans une édition critique savante qui est également approprié pour l'étude et la performance . Hindemith chercheurs vont accueillir les nombreuses premières publications des oeuvres du compositeur et les musiciens pratiques apprécieront le matériel d'exécution philologique commandé récemment préparé . / Instruments A Vent

Intermediate to Upper Intermediate Level. Par . 'Upon embarking on this project, I had little idea of what I would find. There were, of course, the 'usual suspects:' women composers whose name and whose music have stood the test of time and are familiar to many. There were also those whose names ring a bell but whose music does not. The real unknowns were, well, the unknowns. How many women composers whose music is worth studying and listening to were out there? (...) When selecting, I searched for the following: beautiful interesting compositions that students can benefit from and will love learning, teachers will enjoy teaching, and audiences will appreciate; a variety to styles, composers, and nationalities; showcasing as many composers as possible, while striking a balance between well-known, lesser know, and unknown composers.' - Immanuela Gruenberg, in the Preface. These brand new collecions come in two volumes, with book 1 arranged for upper elementary to early intermediate pianists, and Book 2 arranged for intermediate to upper intermediate level pianists. / Date parution : 2023-06-01/ Recueil / Piano

Par WALKER SARAH. Clavier Basics 1 ' lance la lecture de base de la notation, postes de five-finger simple et auto-accompagnements avec notices chords comme une solution de rechange. ' Echo jouant ' et improvisation simple encouragent l'élève à jouer à l'oreille et à développer de bonnes compétences phonétiques. Ce livre est rempli de la plus grande variété de styles musicaux, du classique au contemporain, et plein d'illustrations fantastiques, bases de clavier électronique de Sarah Walker est une excellente façon d'apprendre./ Recueil / Clavier Electronique

Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion