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 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

Whether you're a karaoke singer or preparing for an audition, the Pro Vocal series is for you. The book contains the lyrics, melody, and chord symbols for eight hit songs. The CD contains demos for listening and separate backing tracks so you can sing along. The CD is playable on any CD, but it is also enhanced for PC and Mac computer users so you can adjust the recording to any pitch without changing the tempo! Perfect for home rehearsal, parties, auditions, corporate events, and gigs without a backup band. This volume includes 8 dance favorites, each in the style of the artist listed: Boogie Fever (The Sylvers) - Da Ya Think I'm Sexy (Rod Stewart) - Get Down Tonight (KC and the Sunshine Band) - Love Rollercoaster (Ohio Players) - Stayin' Alive (The Bee Gees) - Super Freak (Rick James) - That's the Way (I Like It) (KC and the Sunshine Band) - Y.M.C.A. (Village People). / Voix

Rockschool is about playing the styles of music you love.This pack contains the songs for Level 2, covering grades 4 and 5. This level is tailored to those of you who are building upon the fundamentals as a vocalist. Each book is a standalone resource that features sound-alike backing tracks with top line melody featuring a wide range of artists including Robbie Williams, Coldplay and The Beatles.The level 2 book features:Aural testsRhythm examples and exercisesQuick study piecesBacking vocals techniqueFull mixes and backing tracks over 2CD'sDuel key backing tracksRockschool students are always encouraged to be creative with the Rockschool tunes so feel free to improvise and adapt them to suit your own vocal style. / Voix

Let's Sing About... School! is a cheeky collection of 10 songs about everyone's favourite subject?school! Compiled from our popular catalogue of leavers' musicals, these songs provide a light-hearted reminder that school is full of moments and people to cherish?and laugh at! Perfect for music and singing lessons or as a fun way to wind down after a busy day in the classroom.This collection of ten hilarious and fun songs features a Piano and Vocal score in standard notation, as well as lyric sheet. A CD is also included so that you and your class can learn to sing every song perfectly. This song book is suitable for Key Stage 2 (Ages 7-11). / Voix

Heinrich Schuetz composed the Musikalische Exequien SWV 279-281 for the funeral of his patron Prince Heinrich Posthumus Reuß 1635/1636. Of the three parts which were to be performed during three different sections of the funeral service the first part in the form of a sacred concerto for choir and soloists is based on the numerous biblical passages which in accordance with the instructions given by the deceased were to be recited at the coffin which the deceased himself had designed during his lifetime. This part is followed by a motet for double choir based on the text of a sermon ('Herr wenn ich nur dich habe') and at the conclusion of the hymn of praise to Simeon ('Herr nun lässest du deinen Diener fahren') a choir apart from the main choir intones 'Selig sind die Toten' from heaven so to speak. With this composition written as a commission Schuetz created one of the most artistic and heartfelt works of mourning ever written in the history of music.

10 Shakespeare settings for mixed voices-Shall I Compare Thee? is a collection of ten exquisite settings for mixed voices specially commissioned to celebrate the four hundredth anniversary of William Shakespeare's death. The volume pays tribute to Britain's greatest writer presenting a selection of his finest texts set to music by some of today's most accomplished choral composers. Variety of composers including Bob Chilcott Alan Bullard Howard Skempton Cecilia McDowall and Will Todd Accompanied and unaccompanied settings Well-known Shakespeare texts including 'It was a lover and his lass' 'If music be the food of love' and 'Shall I compare thee to a summer'sday?' Beautiful arrangement of Walton's 'Touch her soft lips and part' Moderate difficulty - ideal for adult and youth choirs

Belwin Jazz offers ten great jazz standards arranged for solo vocalist with a nine or ten piece combo accompaniment. These songs are superbly arranged by one of the finest writers in the business, Dave Wolpe. This collection is ideal for a vocalist who needs a smaller ensemble with four or five horns and rhythm section. The combo horns are trumpet, alto sax, tenor sax, trombone and baritone sax. The baritone sax part adds additional color to the texture but is optional. The rhythm section is scored for guitar, bass, drumset and a piano/conductor part which includes cues for the horns. Titles include: How High the Moon * I Get a Kick Out of You * I've Got You Under My Skin * Just Friends * My Funny Valentine * Night and Day * Something's Gotta Give * Summer Wind * They Can't Take That Away From Me * Too Close For Comfort Click On Each Image to Zoom. Click the larger image to close. Use the arrows on your keyboard to scroll left and right. There are no samples for this item There are no audio samples for this item.

Active Songs for a Swingin' Classroom-Experience jazz in the music classroom with this swingin' collection designed for kids! Each song is written and arranged in a distinctive jazz style or groove while keeping it fun with movement a singing game or activity - learning music concepts in the process. The music piano/vocal arrangements and recordings are authentic and true to jazz. You also receive digital access to 3 audio mixes - with vocals without vocals and with only the second vocal part included (when applicable) - and PDFs of singer parts for projection and reproducible options. Audio files with only the second vocal part recorded provide an opportunity to sing the primary vocal part independentlywhile listening to the second vocal part. Once young singers have the melody in the ear move to singing without the recorded vocals or keep it simple and sing along and play. Experience 12-bar blues scat singing call and response improvisation swing New Orleans Second Line and more! Above all have fun and swing! Songs include: Jungle Jazz Jungle Jam Five Little Monkeys Shoo Fly Miss Mary Mack I'm So Sorry My Friend/Let's Celebrate Singing This Song and a 12-Bar Blues in C activity. Suggested for grades 1-5.

8 vocal selections from the 1954 Broadway version of the beloved story starring Mary Martin. Includes: Captain Hook's Waltz · Distant Melody · I Won't Grow Up · I'm Flying · I've Gotta Crow · Never Never Land · Tender Shepherd (Count Your Sheep) · Wendy.

La communauté Songbook offre 100 chansons avec des mots, des cordes et des accompagnements piano. English songs, chansons écossais, irlandais chansons, chansons gallois, chants sacrés, chansons festives, chansons de plantation, chansons américains, comptines, tours et captures, chansons de mer et soldat chansons. Un livre essentiel ' poche ' récemment réédité./ Recueil / Voix

10 exquisite settings for female voices of any age, featuring texts by female poets. This unique book offers each piece in both high and low keys. Equally appropriate for the mature recital singer and the developing voice. / Voix

ABOUT ALFRED'S ULTIMATE VOCAL SING-ALONG SERIES Alfred's Ultimate Sing-Along books give you everything you need to sing with your favorite songs. Each songbook has the lyrics, music notation, and chords to eight great hits, with lyrics-only pages included. There are two versions of every song on the CD: a full-performance track with an amazing sound-alike recording, and a professional accompaniment track so you can sing along. When you use the CD in your Mac or Windows-based computer, the TNT (Tone 'N' Tempo) Changer lets you easily change the key and temp to individualize the playback for just your voice and style. The Ultimate Vocal Sing-Along: Country Divas package features your favorite hit country songs for the female voice, along with an enhanced CD that lets you sing along with a complete backing track. Titles (and artists): All Jacked Up (Gretchen Wilson) * How Do I Live (LeAnn Rimes) * Some Hearts (Carrie Underwood) * This Kiss (Faith Hill) * Who's Sorry Now (Connie Francis) * Wide Open Spaces (Dixie Chicks) * Because You Love Me (Jo Dee Messina).

In 1857 and 1858 as Richard Wagner had come to the completion of Die Walkure the second installment in his epic opera cycle Der Ring des Nibelungen he took time out to write a series of lieder for (and based on poems by)Mathilde Wesendonck with whom Wagner was believed to have been at the very least extremely infatuated. Whatever the truth might have been behind their relationship it is known that Wagner had met Mathilde's husband Otto inZurich and his ensuing friendship with the couple led to this beautiful set of lieder.Wagner himself called two of the set's songs (Im Treibhaus and Traume) ?studies? for his magnificent opera Tristan andIsolde and though originally intended for female voice with piano all of these songs were eventually orchestrated either by Wagner (in the case of Traume) or by other composers. When they were first performed in 1862 they weretitled Five Songs for a Female Voice. In the 20th century they also became very popular songs for some of the greatest tenors.Much earlier in 1839 Wagner had composed a three-song cycle called Trois Melodies. The firstpiece entitled Dors mon enfant was a lullaby that Wagner ascribed to an unnamed young poet of his publisher's acquaintance and of which he wrote that his wife had called ?heavenly for sending one to sleep?. He thenset Ronsard's song Mignonne and Victor Hugo's L'attente (from that author's Orientales) to round out the set. Wagner offered L'attente to the reigning diva of the time Pauline Viardot who is said to have flatly refused it.Wagner wrote in his memoirs My Life ?I have no reason to be ashamed of these small pieces.?Listen to brilliant tenor Jon Robert Cart perform these lieder. Then he steps aside and you take center stage with yourvirtuoso accompanist Narciso Solero at the piano.

Souvenir P/V/G Edition. Looking for a fantastic Broadway songbook? By George I think you've got it! This collection includes 11 favorites from My Fair Lady: Get Me to the Church on Time · I Could Have Danced All Night · I've Grown Accustomed to Her Face · Just You Wait · On the Street Where You Live · The Rain in Spain · Show Me · Why Can't the English? · With a Little Bit of Luck · Without You · Wouldn't It Be Loverly.