Par RIZZA MARGARET. RIZZA MARGARET PSALM 139 UNACCOMPANIED SATB CHORAL/ Répertoire / Voix

13 vocal selections from the perennial favorite including the songs: All Good Gifts · By My Side · Day by Day · Learn Your Lessons Well · O Bless the Lord My Soul · Prepare Ye (The Way of the Lord) · and more.

Vocal Selections-Vocal Selections. 13 vocal selections from the bawdy Broadway musical: The Aggie Song · The Bus from Amarillo · Doatsy Mae · Girl You're a Woman · Good Old Girl · Hard Candy Christmas · The Sidestep · Texas Has a Whorehouse in It · Watch Dog Theme · and more. Includes a special section of full-color photos from the production!

13 selected songs from the hit show in Piano/vocal arrangements. Complete with full lyrics and Guitar chord symbols. The enclosed CD includes ‘soundalike’ backing tracks.

Ewig Allen Seins Begründer (Hymnus) Aus Der Tiefe Rufe Ich Zu Dir (Psalm 130). Par WAGNER WOLFRAM. gemCh acapp/ Répertoire / Voix

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

Teach your students to sight-sing with confidence!Set 2 of this popular series expands sight-singing skills to the Keys of D and G with a step-by-step approach through six lessons in each key signature that culminate with a special song students will be able to sight-sing!Helpful Teacher Tips focus on the music concepts being presented provide a suggested teaching sequence to use when presenting each exercise and give keys to sight-singing success. Two student reproducible pages filled with sight-reading exercises are provided for each lesson.After students have perfected the exercises a cappella on their own they can reinforce the learningprocess by performing with the rhythm accompaniment tracks on the enclosed CD. The enhanced CD also offers performance/accompaniment tracks for the 2 songs included plus PDFs of all the sight-singing exercises for projection options. For teachers who are new to this series this material starts at the beginning and assumes no previous sight-singing knowledge.You can start right now!Also available: Sight-Sing a Song: Set 1 (HL09971136) that covers the Keys of C and F.

Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Sonnet de Louise Labé ( mezzo-soprano et piano ) du compositeur Mereaux Max a été cataloguée sous la référence FP 1340 par l'éditeur. Cette oeuvre est écrite pour Chant/Vocal/Choeur. En 3 clics et quelques jours elle peut être chez vous. / Voix / Partition

Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Air de Micaëla ( d'après Carmen ) ( Soprano, clarinette et cor ) du compositeur Durand Ph. a été cataloguée sous la référence FP 1138 par l'éditeur. Cette oeuvre est écrite pour Chant/Vocal/Choeur. En 3 clics et quelques jours elle peut être chez vous. / Voix / Partition