SKU: HL.344975

UPC: 840126918656. 5.0x5.0x0.15 inches.

Here is the perfect graduation medley. I Will Remember You, I Hope You Dance and I've Had the Time of My Life reflect on all of the best memories. There are logical places to feature your best soloists or cover these moments with the ensemble. End-of-year concerts are also great places for these beloved pop songs.

SKU: FJ.B1440

UPC: 674398226931. English.

This bold and musical processional is ideal for graduations, assemblies, and a wide array of occasions where ceremonial music is necessary. After a majestic introduction and broad statements by the brass, the music becomes more subdued and reflective. Ultimately, the theme becomes quite dramatic and powerful before the opening fanfare returns one final time to depict the true meaning of honor!

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: M7.AHW-2054

English.

Read below what Roger Smith had to say about completing this momumental work from the manuscripts of Ernest Williams. We are all thankful for his hard work: 'The Ernest S. Williams Modern Method for Trumpet or Cornet is generally recognized by teachers and students alike as the finest and most complete ' School ' for Trumpet and Cornett hat has ever been written. Both the technical and the musical aspects of these volumes reflect the genius of Dr. Williams as a musician, and as a teacher.' 'I was privileged to study both Trombone and Baritone with Dr. Williams, in fact he was my only teacher on either instrument. After graduation from the Ernest Williams School of Music, I became a member of the faculty, and assisted Dr. Williams with the teaching of Brasses, under his direct guidance, and using this material. Dr. Williams commenced the revision of the books at that time for Trombone and Baritone, a task which he was never to complete. This revision, based largely on his manuscripts, is the result of my training as his pupil and assistant, and of my experience as teacher of Trombone at the Juilliard School of Music.' 'The principal problems were two; proper introduction of the positions on the trombone, which are more difficul to learn than the valve combinations on Baritone or Trumpet, and the contrasting techniques of legato and slur on the two instruments. For these reasons some chapters of the book have been revised considerably, and some new material added from time to time.' If you do not know this book, you have to take a look.

SKU: GI.G-5960

English. Text by Catherine Bell Robertson.

A Guide for Your First Year of Teaching From fundraisers to irate parents, from meeting other teachers to measuring for new marching band uniforms, your teaching methods class never covered this territory! In Confessions of a First-Year Maestro, author Catherine Bell Robertson takes readers along as she rides the roller coaster of first year teaching! Centered on journal entries written during her first year as director of all bands, choirs, and ensembles at a parochial high school, this book captures the surprises, joys, and woes of her hectic year. As a survivor and now veteran teacher, she also looks back on this challenging time and offers insightful reflections. Robertson's journal and commentary are filled with lessons that every future teacher should read, especially those who will teach music. But while offering inspiration and a few warnings for education students, the humorous and often touching stories in this book also offer encouragement and understanding for teachers in their own first year, as well as a trip down memory lane for many veterans. A delightful and sincere look into the world of a first-year teacher as she begins her real education! Kate Robertson teaches at Arrowhead High School in Hartland, Wisconsin (not the school described in this book). She graduated with highest honors from the University of Wisconsin-La Crosse with a Bachelor of Science in Music Education and has been teaching for four years. In her spare time, she enjoys traveling, hiking, gardening, cross-country skiing, and spending time with her husband, Cal, and their dog, Jake. Currently, Ms. Robertson is pursuing a Master's Degree in Education and is beginning work on her follow-up book to Confessions of a First-Year Maestro, entitled More Confessions: A Fellowship of Teaching Strategies, Stories, and Ideas. For more information, or to contribute to this collective book, please contact Ms. Robertson at teacherconfessions@yahoo.com.

SKU: HL.14041762

9.0x12.0x0.071 inches.

'Romance for violin and piano is a short, reflective piece that exploits the lyrical qualities inherent in the combination. Originally written for a very young but talented violinist, Romance travels through numerous moods andcolours within a continuous musical development of the opening material. At first gentle and reflective with increasing dramatic outbursts outlined by the violin sforzandi and parallel sixths in the piano writing, numerous shortsolo passages in both instruments culminate in a fiery climax. Quickly subsiding into the calmer yet now more melancholy strains of the earlier stages of the piece, the ending is somewhat incomplete. This seems to suggest acontinuous turn of events alluded to in the music.'
             - Helen Grime



Born in 1981, Helen studied oboe with JohnAnderson and composition with Julian Anderson and Edwin Roxburgh at the Royal College of Music. She graduated from the BMus course with First Class Honours and completed her Masters with Distinction in 2004. From 2005-07, Helenwas a Legal & General Junior Fellow at the Royal College of Music. In 2003 she won a British Composer Award for her Oboe Concerto, and was awarded the intercollegiate Theodore Holland Composition Prize in 2003 as well as allthe major composition prizes in the RCM. In 2008 she was awarded a Leonard Bernstein Fellowship to study at the Tanglewood Music Center where she studied with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read Thomas.Helen has had works commissioned by some of the most established performers and organisations including ENO, London Symphony Orchestra, BCMG, Britten Sinfonia, BBC Scottish Symphony Orchestra and the Tanglewood Music Center.Conductors who have performed her work include Daniel Harding, Oliver Knussen, Pierre Boulez and Yan Pascal Tortelier. Helen is the 2010 recipient of the Lili Boulanger Memorial Fund and Associate Composer of The Halle from the.

SKU: GI.G-10760

ISBN 9781622776979.

Questions abound about diversity in music education. How can we engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? What are cultural appropriation, othering, tokenizing, and essentializing? How can we avoid bias in our teaching and repertoire selection? How do we create a more socially just music education? These are critical questions with accessible answers. But if we are to become better music educators, we must reflect on these questions, our own identities, and our relationships with the music and people of the world. Realizing Diversity by Karen Howard is a groundbreaking and practical resource for crafting diverse and anti-bias music education in classrooms, ensembles, and studios at all levels—from preschool to university and community settings. At the book’s core is an Anti-Bias Framework intended to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of anti-racism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness. Dr. Howard also includes discussion of educational movements in United States history, the challenging “world music” label and related authenticity, the hyper-prevalence of Western Eurocentric music, inclusive repertoire selection, as well as appendices with critical practices for educators and a sample curriculum. An indispensable book for pre-service, beginning, and veteran music teachers of toddlers through adults, Realizing Diversity considers the many separate but deeply interrelated questions related to creating a more socially just music education. Karen Howard is a frequent presenter working with teachers and presenting research related to creating a more socially just world of music education. She is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota. She teaches undergraduate and graduate courses related to children’s music, sociology of education, research methods, ethnomusicology, and matters of diversity.

SKU: HL.44013290

This work was composed as a commission by the Keika Gakuen Symphonic Band, to commemorate their 40th annual concert. The compositionis a march-style work that begins with a chorale based on a theme from the school song—a distinctive motif that reappears in the middle section. Tetsuya Kashino, a graduate of the high school, is a band coach and has a deep friendship with the composer. Kashinonamed the work Scent of Spring, which reflects two distinct meanings—firstly, in Japanese, a part of the band’s own name, and also a premiere in Spring”. Scent of Spring is a bright and optimistic piece of music, suitable to perform on various occasions.

SKU: OT.21125

ISBN 9789655051117. 8.27 x 11.69 inches.

The five short movements for solo cembalo are brief, personal prayers that depict how the subject manages a range of feelings and emotions. The miniatures each represent a different emotional state: reflection, searching, meditation, agitation, and resolution. Each is a small-scale representation of a grand, wide-ranging prayer of supplication.
As a composer, performer, and researcher of early music, writing for cembalo allows me not only to express my special connection to the instrument and the period in which it flourished, but also to present its contemporary dimensions as a rich and versatile instrument.
The piece was composed at the request of Hagai Yodan, who performs it with great skill.
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.