Par CAMPBELL NORMAN / HARRON DON. The musical, Anne of Green Gables is based on the book by Canadian author Lucy Maud Montgomery. Although written as fiction for readers of all ages it has, in recent decades, become considered as a children's book. Montgomery found her inspiration in a newspaper article describing a couple that were mistakenly sent an orphan girl instead of a boy, yet decided to keep her. The music is by Norman Campbell and the lyrics by Don Harron. It is Canada's longest running musical, having been performed every year since 1965 at the Charlottetown Festival at the Confederation Centre of the Arts. / Vocal 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

Purcell Society Volume 25.This volume contains all Purcell's secular solo songs which have no known association with the theatre. It also includes those songs which though mainly for solo voice end with a short duet section. The first edition of this volume was prepared for the Purcell Society by Arthur Somervell published in 1928. This new edition is not just a revision but the outcome of a fresh examination of the sources. A new editorial continuo part more suited to the harpsichord has also been provided.

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.

Solo voice-Singing or playing music that has not been seen before is a necessary part of any musician's life and the exploration of a new piece should be an enjoyable and stimulating process. This book offers far more than just specimen tests. Exercises and practical guidance introduce new skills leading to their incorporation in pieces of music and the pieces themselves are approachable and attractive as well as carefully graded (Initial-Grade 2).

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

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).

An extremely expressive and beautiful piece Ave Maria has been a standard at weddings for generations. This timeless masterpiece by Schubert is presented in low voice; lyrics are in Latin English and German.

Oh! Fie Shepherd Fie is a traditional comic song which tells the bawdy story of a young girl who meets a shepherd in a meadow one day and tries in vain to resist his advances. The most popular melody wasrecorded by William Defesch (Willem de Fesch; 1687-1761) a Dutch composer and conductor who spent most of his career in London. It has been arranged here for Voice and Piano by Elisabeth Poston (1905-1987) aBritish composer and musician who studied at the Royal Academy of Music and later worked for both the BBC and the Arts Council. She is best remembered for her setting of the Christmas carol Jesus Christ the AppleTree.

The Romantic composer Felix Mendelssohn-Bartholdy (1809-1847) has been highly regarded in Britain from the time of his first visit in 1829. The highlight of his career came in 1846 when he was commissioned to write the oratorio Elijah for the Birmingham Festival. It remained hugely popular for over eight decades being performed at the Proms every year until 1930. It draws heavily on influences from Bach and Handel both of whom Mendelssohn admired. O Rest In The Lord is an aria from the second act of the oratorio sung by an Angel to Elijah. It is scored for Alto or Contralto Voice with Piano accompaniment.

Hilarion Eslava (1807-1878) was a Spanish priest musician and pedagogue. Although he was a prolific and well-known composer in his own time today he is primarily remembered for his 1846 work Metodo De Solfeo a successful Solfège Method which has been in constant use all over the world for more than 150 years. Having been a choirboy at Pamplona the method was published while Eslava was choirmaster at the Royal Chapel in Madrid and he undoubtedly used it as he was training the choristers there.

Firmly rooted in Paul Harris’ Simultaneous Learning approach this new edition of Improve your sight-singing! Grades 1-3 is designed to help overcome all the stumbling blocks to successful sight-singing. Step by step you will build up a complete picture of each piece firstly through rhythmic melodic and technical exercises then by making connections to your wider music-making studying prepared pieces and finally ‘going solo’ with a series of meticulously graded sight-singing pieces.These new editions of the best-selling Improve your sight-singing! series have been simplified into two (midrange) volumes making them suitable for instrumentalists who wishto improve their singing as well as for singers preparing for sight-singing in vocal exams. The books feature over 100 completely new practice exercises throughout and have been brought up to date to match the latest ABRSM sight-singing criteria.