SKU: JK.01918
Alma 13:28-29-----------------------------------------------------------------------Arreglo para coro mixto (SSATBB), flauta y acompanamiento de piano o arpa. Grabado por el Coro del Tabernaculo de la Manzana del Templo , que aparece en su grabacion Love.
Arrangement for mixed chorus (SSATBB), flute and piano or harp accompaniment. Recorded by the Mormon Tabernacle Choir, appearing on their recording Love Is Spoken Here. The first verse is the same as found in the Children's Songbook. The second verse is different. The flute part is included with the piano accompaniment... but is small and on several pages. You will want to purchase the official Flute part separately if you plan to use the flute in your performance.Flute part available separately (#09123)Composer: Joanne B. Doxey and Marjorie C. Kjar Arranger: Sam Cardon Lyricist: Joanne B. Doxey and Norma Smith Difficulty: Easy / medium-easy acc. Performance time: 4:30Reference: Alma 13:28-29 -----------------------------------------------------------------------Arreglo para coro mixto (SSATBB), flauta y acompanamiento de piano o arpa. Grabado por el Coro del Tabernaculo de la Manzana del Templo , que aparece en su grabacion Love Is Spoken Here. El primer verso es el mismo que se encuentra en el Cancionero para ninos. El segundo verso es diferente. La parte de flauta se incluye con el acompanamiento de piano ... pero es pequena y en varias paginas. Querra comprar la parte oficial de la flauta por separado si planea usar la flauta en su interpretacion.Pieza de flauta esta disponible separada (#09123)Por favor, haga clic para reproducir una vista previa de audio. Compositor: Joanne B. Doxey y Marjorie C. KjarArreglista: Sam CardonLetrista: Joanne B. Doxey y Norma SmithDificultad: facil / media-facil acc.Duracion de la cancion: 4:30 Referencia: Alma 13: 28-29.
SKU: BO.B.0722
SKU: BO.B.0497
SKU: CA.4060059
Key: B-dur (b major). Language: Latin.
B-Dur (B-flat major). Score and part available separately - see item CA.4060000.
SKU: GI.G-J383
ISBN 9781622775408.
Through engaging children using Music Play 2, adults may build relationships with newborn and young children, additional family members, and other adults as they joyfully make music together, affirm and nurture newborn and young children’s innate capacities for expressive musicking and movement, and honor and extend young children’s expressed musical curiosities, ideas, and audeas (musical thoughts and ideas), helping them realize that their musical identities are worth sharing, developing, and preserving. Music Play 2 materials function in companion with Music Play (GIA, 1998) and Edwin Gordon’s Music Learning Theory for Newborn and Young Children (GIA, 2013). Music Play 2 (494 pages) is bundled into two parts, Part A and Part B. The following are the features of each part:  Part A (264 pages) Part B (229 pages) Tribute to Edwin Gordon Guiding Newborn and Young Children’s Innate Music Capacities Guiding Young Children Through Types and Stages of Preparatory Audiation: The Materials Using Music Play 2 Inclusion: All Children and Their Families (Salvador) 45 Extended Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Each plan features More Audeas for Music Play, such as tonal pattern and/or rhythm pattern examples for each type of preparatory audiation, supplemental harmonic and rhythm accompaniments to add to the music selection, and More Ideas for Music Play, such as examples of ways to connect Music Play 2 activities to PK–2 2014 Music Standards, and one inclusion strategy in a Domain of Learning. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Complete listing of all PK–2 2014 Music Standards, along with which extended music engagement plans feature each standard. Indices: Comprehensive Index Headings, Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part A Music Selections Alphabetized by Type and Title Music Play 2: Part A Music Selections Alphabetized by Title 71 Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Apply More Audeas and More Ideas you discover using Part A to music selections and engagement plans in Part B. Part B features tonalites and meters unique to music selections in Part B, and “Hello†and/or “Goodbye†music selections. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Editor and Contributor List (83 total) An 11-page, comprehensive bibliography and resource list to support researchers and practitioners and promote their audiation-based social-music and movement play with others, especially during early childhood. Indices: Comprehensive Index Headings: Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part B Music Selections Alphabetized by Type and Title Music Play 2: Part B Music Selections Alphabetized by Title Download Music Play 2 Extended Indexes (free)  Music Play 2 is a welcomed contribution for all who are concerned with appropriately guiding children’s musical understandings—parents, teachers, and caregivers. The book is extremely well organized with an excellent balance of theory and practice. The theoretical underpinnings of Music Play 2 are presented in a “user friendly†manner, the lessons are easy to follow and adapt for individual children’s needs and level of development, the numerous songs and chants represent a wide variety of tonalities and meters, and an extensive section on inclusion and inclusive practices has been added. Music Play 2 will be the resource I use for my early childhood music classes! —Joanne Rutkowski, Ph.D., Professor Emeritus, Music Education   The Pennsylvania State University This book had me interested from the table of contents onward. The lessons are detailed and ready to use in the classroom. I love that there are tonal and rhythmic patterns to go with each song or chant. This is truly a resource that will delight children and teachers as it is easy to use, appropriate for young children, and pedagogically sound. When I finished, I was ready to jump back into teaching early childhood music. Fantastic! —Alice M. Hammel, Ph.D.   James Madison University Music Play 2 is devoted to the wonder of young children’s musical development. The authors have adeptly woven theory and practice, offering a treasure trove of fresh, accessible lesson plans developed by leading researchers and practitioners in the field of early childhood music. An excellent, indispensable resource with original and high-quality music content, Music Play 2 is essential for all providers of music for young children, and sure to be used time and time again. —Suzanne L. Burton, Ph.D., Professor of Music Education   University of Delaware.
SKU: HL.1190004
ISBN 9781705192498. UPC: 196288131717.
From the composer: Evensong was composed at the request of my friend David Wick, principal hornist of the Virginia Symphony Orchestra. He asked that I compose a recital piece for him to play with the orchestra's music director, JoAnn Falletta, who is also a virtuoso guitarist. The only stipulation he made was that the work include fragments of one of his favorite melodies, “Lasst mich alleâ€, from Four Songs, Op. 82, by AntonÃn Dvorák. The melody is also quoted in the Adagio movement of DvorákÂ’s Cello Concerto in B Minor, Op. 104, B. 191. The music is absolute in nature and cast in the form of a single movement fantasy based loosely on DvorákÂ’s melody, which is stated at the outset and at the conclusion.
SKU: JK.00195
Alma 13:28-29.
Piano solo arranged by A. Laurence Lyon, based on the beloved children's song by Joanne B. Doxey.Composer: Joanne Doxey Arranger: A. Laurence Lyon Lyricist: Marjorie Kjar Difficulty: Medium-Advanced Performance time: 3:20Reference: Alma 13:28-29.
SKU: HL.347384
ISBN 9781540095299. UPC: 840126927290. 11.0x17.0x0.43 inches.
“Kenneth Fuchs's fifth Naxos recording with the London Symphony Orchestra conducted by JoAnn Falletta won the 2018 GRAMMY® Award in the category Best Classical Compendium. Among the works featured on the album is Rush (Concerto for Alto Saxophone), which was commissioned by Ryan Janus, principal saxophonist of the United States Air Force Academy Band, and a consortium of saxophonists and ensemble conductors. The work is composed in a two-movement form, each about seven minutes in duration, connected by an extended cadenza for the saxophone soloist. The first movement, which begins with a short cadenza that introduces the thematic material of the work, is a rhapsodic Adagietto with transparent textures. The second movement, which begins with an extended cadenza that introduces blue notes into the harmonic language, is cast in the form of a jazz-inflected passacaglia with ten variations and a coda. Versions for orchestra and band are available from the publisher, as well as a piano reduction.â€.
SKU: HL.1750415
UPC: 196288295303.
Kenneth Fuchs's fifth Naxos recording with the London Symphony Orchestra conducted by JoAnn Falletta won the 2018 GRAMMY® Award in the category Best Classical Compendium. Among the works featured on the album is Rush (Concerto for Alto Saxophone), which was commissioned by Ryan Janus, principal saxophonist of the United States Air Force Academy Band, and a consortium of saxophonists and ensemble conductors. The work is composed in a two-movement form, each about seven minutes in duration, connected by an extended cadenza for the saxophone soloist. The first movement, which begins with a short cadenza that introduces the thematic material of the work, is a rhapsodic Adagietto with transparent textures. The second movement, which begins with an extended cadenza that introduces blue notes into the harmonic language, is cast in the form of a jazz-inflected passacaglia with ten variations and a coda. This piano reduction may be performed with only the piano for accompaniment. But the percussion parts, which drive much of theenergy in the orchestral and band accompaniment versions, are also available separately from the publisher for any saxophonist that would like to utilize a larger ensemble.
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