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.

Rockschool is about singing the songs you love. Your Vocals Grade 7 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 7 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 7 exam.This book for male vocalists contains the songs:La la la - Naughty Boy ft. Sam SmithShe Said - Plan BI Guess That's Why They Call It Blues - Elton JohnLover, You Should've Come Over - Jeff BuckleyI Just Don't Know What To Do With Myself - White StripesCome What May - Moulin RougeOther features include:Fact Files: band and artists background information with recommended listening.Backing tracks: high quality recordings to sing along to in Rockschool exams.Downloadable audio: use your download card for easy access to your audio.Vocal scores: easy-to-follow separate Vocals scores.Piano and Guitar parts: Piano notation and Guitar chords included to help with practice. / Voix

Laughter is a precious gift. In this heartwarming new nativity musical, the wise men bring joy a-plenty, along with their traditional gifts. Children will love the entertaining play and the seven catchy songs, including a hand-jiving finale and the cool backing tracks. Gold, Frankincense And Mirth! features all the favourite Christmas characters, from Gabriel to Herod, and creates a warm and uplifting end of term celebration for children, teachers and parents. It's another gem from Sheila Wilson, composer of 'Hosanna Rock!', 'Rock around the Flock!', 'Scrooge' and 'Christmas Stars (The Xmas Factor)'.This musical is for key stages: 1-2 (ages 5-11) and features songs in a variety of styles, including funky, rocky, a lullaby and a finale medley.This Music Book contains a Piano accompaniment, Guitar chords, Vocals, optional Harmonies, Kazoos, Handbells, Recorders, Glockenspiels and Sleigh bells. / Voix

Laughter is a precious gift. In this heartwarming new nativity musical, the wise men bring joy a-plenty, along with their traditional gifts. Children will love the entertaining play and the seven catchy songs, including a hand-jiving finale and the cool backing tracks. Gold, Frankincense And Mirth! features all the favourite Christmas characters, from Gabriel to Herod, and creates a warm and uplifting end of term celebration for children, teachers and parents. It's another gem from Sheila Wilson, composer of 'Hosanna Rock!', 'Rock around the Flock!', 'Scrooge' and 'Christmas Stars (The Xmas Factor)'.This musical is for key stages: 1-2 (ages 5-11) and features songs in a variety of styles, including funky, rocky, a lullaby and a finale medley.This Music Book contains a Piano accompaniment, Guitar chords, Vocals, optional Harmonies, Kazoos, Handbells, Recorders, Glockenspiels and Sleigh bells. / 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

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

Hear It and Sing It!-Hear It and Sing It! Exploring the Blues is an effective tool for learning to sing and improvise on blues. Designed for people who love to sing as well as for students and teachers in vocal jazz programs it includes a step-by-step approach to learning blues lyrics forms harmony scales and improvisation with a brand new repertoire of songs.Vocal examples followed by accompaniment-only tracks make learning easy and enjoyable. New songs include lyrics added to compositions by jazz greats Dexter Gordon (plus lyrics to his solo) Johnny Griffin Gigi Gryce Julian Priester and Norman Simmons as well as compositions by Judy Niemack and SheilaJordan. The book includes: blues forms scales and harmony; transcriptions of exercises and improvised solos; accurate lead sheets for 14 contemporary blues songs; examples of 12 different blues forms; scat syllables; blues riffs; ?Voices in Blues? history chapter; Listening and repertoire suggestions. The CDs include: 14 songs and exercises sung by Judy Niemack Sheila Jordan Mark Murphy and Darmon Meader; ?Hear It and Sing It? blues warm-ups riffs scales and harmony; recordings of each song featuring vocal plus accompaniment-only; exciting accompaniment tracks by top New York City jazz musicians; and more.

Par SUZUKI SHINICHI. Teach voice with the popular Suzuki Voice School! The Suzuki Method® of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Voice School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki voice teacher to develop their potential as a musician and as a person.This Suzuki voice method, Volume 1 CD is a great tool for Suzuki Method lessons, encouraging at-home practice. This CD features accompanist Marjaana Merikanto. / Date parution : 2022-11-29/ Méthode / Chant

Miss Fortune by British composer Judith Weir is a contemporary re-telling of a Sicilian folk story. Tina’s wealthy family lose all their possessions overnight and she is thrown into a life ofpoverty. When her life’s course turns from bad to worse she makes a date with Fate. Her fortunes mysteriously change and after several fortuitous happenings she regains wealth and possibly a husband.The opera exploreswhat it means to be rich or poor; the mysteries of everyday life; and the effects of chance luck and accident on human existence.Miss Fortune had its premiere at the Bregenz Festival in summer 2011.

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.

Big Band Arrangements for Male Singers-Example vocals and separate background tracks on CD are provided in this collection of 9 big band standards voiced for men: There'll Be Some Changes Made · God Bless the Child · How High the Moon · Why Don't You Do Right! · Come Fly with Me · I Apologize · Volaré · Candy Man · The Way She Makes Me Feel.

Songs by the Divine One Sassy (Sarah Vaughan)-Whenever Sarah Vaughan sang the reaction she would often inspire in was amazement. This collection features ten of her best in vocal arrangements with an accompanying CD containing a demonstration and play-along track for each song: Can't Get Out of This Mood · Whatever Lola Wants · Misty · Moonlight in Vermont · It Might As Well Be Spring · Spring Will Be a Little Late This Year · Lullaby of Birdland · Nice Work If You Can Get It · It's Alright with Me · Yesterdays.

Berklee Workshop Series-Sing with more power and passion under the guidance of Donna McElroy Berklee professor Grammy nominee Dove Award winner and vocalist on multiple gold and platinum records. In this Master Class McElroy shows you how to use thewhole body to become the best singer you can be. See her work with a vocal student one-on-one demonstrating how to use different muscle groups to increase vocal strength and endurance. She also provides lifestyle tips and simpleeveryday exercises to help you cultivate and protect the source of your vocal power - and sing with more freedom force and stamina.