Syllabus-Rockschool is about singing the songs you love. Your Vocals Grade 5 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 5 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 5 exam. This book for female vocalists contains the songs: Set Fire To The Rain - Adele Stay - Rihanna Spotlight - Jennifer Hudson Mama Do - Pixie Lott Nutbush City Limits - Tina Turner Suddenly I See - KT Tunstall Other features include: Fact Files: band and artistsbackground information with recommended listening. Backing tracks: high quality recordings to sing along to in Rockschool exams. Downloadable audio: easily access audio content online. Vocal scores: easy-to-follow separate Vocals scores. Piano and Guitar parts: Piano notation and Guitar chords included to help with practice.

Rockschool is about singing the songs you love. Your Vocals Grade 2 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 2 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 2 exam.This book for female vocalists contains the songs:Poker Face - Lady GagaYour Song - Ellie GouldingPrice Tag - Jessie JTrue Colors - Cyndi LauperRehab - Amy WinehouseCall Me - BlondieOther 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

Rockschool is about singing the songs you love. Your Vocals Grade 3 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 3 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 3 exam.This book for female vocalists contains the songs:Lights - Ellie Goulding22 - Taylor SwiftMake You Feel My Love - AdeleJar Of Hearts - Christina PerriAin't Got No, I Got Life - Nina SimoneDomino - Jessie JOther 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

Rockschool is about singing the songs you love. Your Vocals Grade 8 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 8 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 8 exam.This book for female vocalists contains the songs:You Got The Love - Florence and The MachineEmpire State Of Mind - Alicia KeysPiece Of My Heart - Erma FranklinSparkling Diamonds - Moulin RougeStop - JameliaAt Last - Etta JamesOther 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

Syllabus-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 female vocalists contains the songs: Heaven - Emeli Sande Big Spender - Shirley Bassey Bleeding Love - Leona Lewis American Boy - Estelle What's Up? - 4 Non Blondes I Dreamed A Dream - Les Miserables Other features include: Fact Files: band and artistsbackground information with recommended listening. Backing tracks: high-quality recordings to sing along to in Rockschool exams. Downloadable audio: easily access audio content online. Vocal scores: easy-to-follow separate Vocals scores. Piano and Guitar parts: Piano notation and Guitar chords included to help with practice.

An innovative user-friendly approach to vocal jazz improvisation. Designed for the individual or group male or female vocalists this book and sing-along CD contain 10 classic jazz songs selected from and correlated to Approaching The Standards Volumes 1 2 and 3. Included are the same essential features of the instrumental books: CD demo clearly written improvisation examples jazz vocabulary transcription opportunities informative composer insight and a useful discogrphy.

Singer's Choice - Professional Tracks for Serious Singers-Eight Mercer compositions for female singers are presented in this package which is designed to provide the at-home singer with an actual professional setting.Sing The Songs Of Johnny Mercer Volume 2 includes the favourites Autumn Leaves Fools Rush In I Remember You My Shining Hour Skylark Tangerine Too Marvelous For Words and Mr. Meadowlark.

Set in a tender and respectful setting for female voices Tim Brent's take on the quintessential '80s message of individuality has opportunities for a soloist to shine while supported by well-written harmonies and an inventive piano part!

Anne Peckham:-The vocal workouts in this much-anticipated follow-up to Peckham's bestselling The Contemporary Singer are based on Berklee College of Music's highly effective vocal method. This volume will help vocalists develop thevoice through good vocal health warm-up exercises advanced techniques stage performance advice and more. Includes acces to online audio for ultimate interactive education! Contains: Twenty-six exercisesfor warming up and developing your voice Basic and advanced workouts for high and low voices 2- and 3-part exercises for harmony practice Routines to help you organize your practice time according toyour level and schedule Includes online audio to support your workout for all voice types: male/female and high/low Detailed descriptions and helpful tips for how to warm up and develop your voice discussingbreath control practice strategies and specific technical advice for improving your control over vibrato range and belting Essential advice for vocal study voice maintenance and auditioning

A popular Requiem arranged for female voices In this arrangement of Fauré?s ?Requiem? for soloists (SA) female choir (SSAA) and Organ the tenor and bass parts are distributed among the altos which has necessitated some judicious adaptations in the part-writing. The second soprano replicates the original alto part largely unchanged while the original baritone solo now resounds in the alto. The Organ arrangement takes all three versions of the ?Requiem? into consideration but primarily follows the second version of 1893 in terms of the rhythmic presentation ofthe instrumental parts.However the Organ part is tailored to the arrangement rather than trying to imitate the sound of the Orchestra. This vocal score is compatible with the performance material of the original work (BA9461). - Arrangement for female choir (SSAA) based on the Urtext of ?Gabriel Fauré The Complete Works? - Includes an idiomatic Organ reduction.

Born in Glasgow Hugh Roberton became a funeral director apart from being a conductor and composer. A highly motivated and self-taught choir-master he founded the Toynbee Musical Association in 1901 and five years later this became the Glasgow Orpheus Choir which gained a world-wide reputation and went on to perform under Roberton's direction for some 45 years. He composed much for his choir with perhaps his most famous pieces being 'All In The April Evening' and the 'Mingulay Boat Song'. He had a reputation for getting the very best from his singers who held him in such great esteem that when he resigned as their leader shortly beforehis death the choir agreed that they must disband. However the Orpheus rose again when many of its members re-formed as the Glasgow Phoenix Choir which continues to perform and tour to this day. Hugh Roberton was knighted in 1931. This version of 'All In The April Evening' originally published under the catalogue number 61427 for unaccompanied mixed voice Choir of Sopranos Altos and men is now in a clearer newly typeset edition. Other versions are available for solo voice unison voices female voice choir male voice choir full mixed voice choir (SATB) with Welsh words and also in an arrangement for string Orchestra and a 'meditation' for Organ. Duration: nearly 3 minutes.

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

Little Tree consists of three short choral settings of poems by E.E.Cummings with a total duration of around 6 minutes. The first song Little tree is in three voices(SSA); the next movement I carry your heartwith me progresses into four voices; the final song now is a ship opens briefly with two solo voices but ends in 6 vocal parts. Accompanying all three pieces is a simple marimba part which acts as a continuoinstrument. In the opening movement it simply doubles the lowest vocal part; in the later pieces it provides a simple basis for the choral harmony. Judith Weir's wonderful vocal score for SSA and Marimba accompaniment. Idealfor children and female voiced choirs.

These five spirituals for unaccompanied chorus despite the occasional appearance of complexity are basically simple: the harmony indeed is of the simplest possible. The apparent complexity arises primarily from the number of parts which are not however all real parts. These in fact seldom comprise more than the traditional four. Lines are frequently doubled at the octave rather in the manner of organ registration so that the chorus needs to be thought of as an organ-like body producing a homogeneous sound at many levels of the chords and melodies. Thus the numbers and even the kinds of voices needed to produce these chords and melodies in the most effective manner mustbe selected by the conductor from the whole body of the chorus according to the conditions of performance. Great latitude can be taken in this respect even to the extent of using low female voices for the high registers of written tenor parts or high male voices for the low registers of written alto parts etc.The only parts which are strictly differentiated are those marked Leader. These should be an individual voice standing out from the choir sufficiently to lead the singing both in the words and in the music. They need not be soloists engaged from outside.If the spirituals are performed in this way the apparent complexity of certain printed pages will disappear. Any reasonably sized chorus with four good leaders can produce the effect required.