SKU: HL.290902
UPC: 888680924621. 6.75x10.5 inches. John Jacobson/Mac Huff.
In the words of Anne Frank: “How wonderful it is that nobody need wait a single moment before starting to improve the world.” These sage words from a young Anne are the foundation for this original song. “One child can change the world. No matter how big, and no matter how small.” These powerful lyrics, gently set, provide a message that all young children need to hear.
SKU: AP.50999S
ISBN 9781470665210. UPC: 038081583440. English.
Circles is a timeless, impressionistic work portraying a dark void with various colored circles aimlessly spinning around and gently colliding with each other. Brian Balmages uses wildly vivid colors throughout the work, which are incredibly unique for this level. Combine that with an extraordinary ending, and your audience is in for an amazing experience! (4:00).
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: CF.BF128
ISBN 9781491153413. UPC: 680160910915.
Wohlfahrt’s Foundation Studies have long been successful tools forviolinists and violists in mastering the technical difficulties of theirinstruments. Originally conceived for a complete comprehension offirst position on the violin and viola, Richard Hughey presents thisnew edition for cello students. Transcribing these etudes for the cellopresents new challenges for the performer. Particular passages, forexample, require the student to make use of the second and eventhird positions. The fingerings chosen for these passages reflectthese shifting positions in a coherent and logical way. Trainedcomprehensively in both cello and conducting, Hughey shares hiswealth of experience and knowledge in Wohlfahrt’s FoundationStudies for the Violoncello.The violin etudes and exercises of Franz Wohlfahrt havebeen and continue to be used by violin and recently violateachers the world over. Franz was the son of HeinrichWohlfahrt (1797, Kößnitz–1883, Leipzig), a noted pianoteacher who also published many studies for piano thatwere very successful with younger students. Heinrichdeveloped a keen sense for the pedagogical development ofchildren and composed excellent studies accordingly. Withthe education of his sons Robert (1826, Weimar–deathdate unknown) and Franz (1833, Frauenpriesnitz–1884,Leipzig), he passed these pedagogical abilities to the nextgeneration.In the preface to his Violin Studies Opus 45, FranzWohlfahrt wrote:The study of the violin presents certain difficultiesfor beginners which are frequently the cause of a suddendecrease in the pupil’s zeal and ambition, even before he hasmastered the first fundamentals.The blame for this is commonly laid on the teacher,who is called incapable or negligent; losing sight of thefact that the pupil began his studies without the slightestnotion, not merely of the difficulties to be encountered,but also of the regular and diligent effort indispensable forovercoming them.It is important, therefore, to smooth these first severitiesby showing their usefulness and making them agreeable; tothis end my Violin Method was published and the presentexercises have been written, which latter may be consideredas forming a supplement to the former.If practiced carefully and intelligently, they will serve asa solid foundation for the technique of any player ambitiousto become an artist.These studies have been successful tools for violinistsand violists to begin to master the technical difficulties oftheir instruments. Clearly conceived for a more completecomprehension of the use of the first position on the violinand similarly for the viola, presenting these etudes forthe cello presents a new challenge. As ongoing violinistsand violists can use the fourth finger to play the note ofthe next higher open string, this is not possible on thecello. To perform these exercises on the cello, particularlyreaching the “E†on the A-string, requires the studentto make use of the second and even third positions. Thefingerings chosen for these passages reflect the necessityof shifting to these positions. This is of great advantage,as a new set of studies now can be used by the studentto practice shifting to and from those positions and thusincreases technical proficiency in the second and thirdpositions of the cello.
SKU: FG.55011-390-9
ISBN 9790550113909.
Scherzo from Op. 4 is a charming presto for string orchestra. It is based on the third movement of Sibelius's String Quartet B-flat major, on which the composer added a double bass part. The premiere of the string orchestra version took place on 17 February 1894 in Turku, composer conducting. Reviews were enthusiastic: Sibelius's music appeared in its most beautiful splendor and instrumental brilliance in the Presto movement, where the singing motive was carried out with charm and beauty - -, cascades of diligently and brilliantly composed scherzo-figures and melodies [give a] thoroughly delightful and frisky, lively character..
SKU: FG.55011-389-3
ISBN 9790550113893.
SKU: GI.G-9883
ISBN 9781622773732.
Music educators have long understood that musical skills and concepts are best taught through quality literature. In Recycle Your Literature, author Diane M. Lange shows general music teachers how they can truly get the most out of the songs they teach by bringing them back year after year to scaffold and reinforce learning. As in Together in Harmony and Together Again in Harmony, Lange combines the learn-by-doing approach of Orff Schulwerk with the sequencing of music skills in Edwin E. Gordon’s Music Learning Theory. In this book, she focuses specifically on how repurposing literature throughout a child’s elementary education serves and enhances both methods. Recycle Your Literature is divided into two sections. Part 1 contains a brief explanation of Music Learning Theory, Orff Schulwerk, and the conceptual lesson plan. Part 2 follows with sample lesson plans that showcase how the same song can serve different musical goals every year in grades K–5. Each lesson plan is complete with information about concepts, skills, objectives, equipment (if needed), the teaching process, and assessment. This practical resource will keep things fresh for elementary music teachers and ultimately achieves the main goal of every music educator: to develop independent musicians who can intelligently communicate their musical ideas. Diane M. Lange is Professor and Music Program Director of Field Experience at The University of Texas at Arlington, where she teaches undergraduate and graduate courses in Early Childhood and Elementary Music Education. She also teaches early childhood music at her private studio, The Musical Treehouse, and is author of two other books published by GIA.
SKU: IG.PMW142
9 x 12 in inches.
The pieces in this group comprising Notebook for Piano were composed over many years, and were selected from a collection of approximately fifty works at this level . They are accessible to most students who have studied piano diligently for at least three to four years. Contained in these pieces are challenging techniques in rhythm, harmony, articulation, dynamics, notation, and even a challenge to hear and understand music that is not exclusively key based. However, more so than any other compositional facet, melody is always a primary concern in these pieces.Many of the pieces in Notebook for Piano have been performed by intermediate level students and by college music majors. I hope you find this collection satisfying.
SKU: AP.44903
UPC: 038081516134. English.
Composed in 1917, the official march of the United States Army is one of Sousa's most frequently performed titles. It's unique in that it uses a familiar tune for the trio theme; in this case, The Army Song. The original thematic material has been diligently preserved while scored to be accessible to the developing band. (2:30).
SKU: AP.44903S
UPC: 038081516141. English.
Composed in 1917, the official march of the United States Army is one of Sousa's most frequently performed titles. It's unique in that it uses a familiar tune for the trio theme---in this case, The Army Song. The original thematic material has been diligently preserved while scored to be accessible to the developing band. (2:30).
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version