SKU: CF.CM8752IN

UPC: 798408047276. Key: C major. English. Sy Miller, Jill Jackson.

Let There Be Peace on Earth has long been a favorite of church, community and school choirs across this country. From the first few measures of the introduction, a tone of reverence and dignity is heard. The arrangement gradually builds in strength arid intensity, sensitively supporting the beauty of the text. A half-step modulation in the second verse moves to the climactic ending, which echoes the phrase, Let there be peace! This is truly a song for our time.

SKU: CF.YPS249F

ISBN 9781491161883. UPC: 680160920563.

By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern’s Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild’s goal was to capture the spirit and ambiance of Persia’s music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.

SKU: GI.G-10833

ISBN 9781574635614.

From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan     Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson     Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman     Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse     Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller     Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid     University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II     Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos     Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams     Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson     Grass Valley Elementary School, Camas, WA.

SKU: HL.354706

UPC: 840126937558. 6.75x10.5x0.029 inches.

This arrangement of the beloved Christmas song uses a jazz style that sets the pace for a fun presentation.The accessible voice parts offer singers an opportunity to explore scat singing with fun new chords. Singers can also add to the Christmas spirit by wearing sunglasses and antlers while Rudolph pays a special visit to the festive presentation.