SKU: WD.080689873225
UPC: 080689873225.
Christy Semsen and Daniel Semsen - the groundbreaking creative team who brought you The Agape League and We Three Spies - are back again...this time better than ever! Isaiah Jones and the Seekers of the Lost Christmas Treasure delivers action and adventure galore as your Kids Choir is transported into a video game world of mystery, intrigue, and adrenaline-generating Christmas fun!
SKU: WD.080689353970
UPC: 080689353970.
SKU: PR.111402780
9 x 12 inches. Text: Biblical Text.
Adonai Malach (Psalm 93) was commissioned by Congregation Emanu-El B'ne Jeshurun in Milwaukee, as part of a 1985 conference of composers and cantors, where each composer was paired with a cantor and assigned a text from the Jewish liturgy. The challenge I set for myself was to make this short piece melodically appropriate for Cantor Abraham Lubin's beautiful cantorial style, while, at the same time, at least hinting at a harmonic style more inclusive than that what is generally heard in a Shabbat Service setting. As I found out, there is a Jewish mode specifically associated with Adonai Malach, and bearing its name, the intervallic properties which are quite intriguing: taking a major scale as a point of reference, this mode as a major third for third scale degree, but minor third at the tenth, a minor seventh at the seventh scale degree, but a half-step leading tone. The vocal and horn parts of my piece, complementing one another, loosely conform to this pitch arrangement through much of the piece. The woodwind trio (piccolo, oboe and clarinet) treated for the most part in block fashion, offer a counter-part of a considerably more dissonant, one might say pungent, style. Throughout I have attempted to preserve the exultant quality of the text. Adonai Malach is a small offering to my beloved father, to whom it is dedicated..
SKU: CF.O88X
ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.
These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.
SKU: PR.144407320
ISBN 9781491135006. UPC: 680160685998.
From the pen of Lauren Bernofsky comes a truly unique contribution to the trombone repertoire – music expressing the joys and challenges of parenthood, through a mother’s eyes. FROM A MOTHER’S JOURNAL is a suite of five movements, Love Letter, A World of Worry, Bedtime Battle, Contentment, and Little Imp, which bubble with warmth, irony, frustration, tenderness, humor … as complex a cocktail of emotions as parenthood itself. The music explores a broad range of trombone techniques, making the 10-minute suite an exciting tour de force for any recital.The idea for FROM A MOTHER’S JOURNAL originated during car ride from an IWBC conference back to New York City – Nikki Abissi and I were sharing our experiences of the challenges and joys of motherhood, and she said, “Wouldn’t it be cool to have a trombone piece written about all the emotions of motherhood?†There certainly wasn’t one that I knew about! Not long after, she contacted me about writing her exactly that piece.I thought that this was definitely a concept for a piece whose time had come, and I was immediately on board with the project. She sent me some short descriptions of some of her experiences, from the frustration of getting a rambunctious baby to go to sleep at bedtime to the boundless love she felt for not just her baby but her husband, as a father, as well. I wrote each anecdote into a short movement, and the result was a collection of musical vignettes covering a range of moods and textures as well as trombone techniques. Since I, too, am a mother, I filtered her anecdotes through my own lens, and I consider this piece to be not just a biography of Nikki but also my own autobiography.
SKU: GI.G-317210
ISBN 9781574631654. UPC: 884088575618.
From a first-year teacher whose instruments were stolen before entering his building, to a teacher who received hate mail before her first day, to a teacher whose sensitivity, flexibility and insight gained her the respect of her ensemble in only weeks, this collection of true stories from first-year teachers is a delightful description of their real world. In addition, each chapter includes discussion questions for pre-service and young teachers as they prepare for their teaching future. ...extremely valuable for those just beginning their careers, as well as veterans in the field. ... Sharing experiences, stories, problems and solutions make us all better teachers. This book does a tremendous job identifying the do's and don'ts. - Anthony J. Maiello, Professor of Music, Director of Instrumental Studies, George Mason University Reading, reflecting and discussing these real stories will provide future music teachers with a clear-sighted view of the challenges, expectations, and successes of novice teachers. ...an important book for students and their teachers who value the preparation of the whole music teacher. - Dr. Mark Fonder, Professor, Music Education Department, Conductor, Ithaca College Concert Band Your book will provide valuable information and insights into the 'first years' of teaching and will be a valuable resource for those entering the profession. The 'Questions for Discussion' at the end of each chapter are excellent. Bravo. - Frank L. Battisti, Conductor Emeritus, New England Conservatory Wind Ensemble Click here for a YouTube video on The Music Teacher's First Year.
SKU: HL.14042212
For Flute (doubling Piccolo), Clarinet in B flat*, Very large Tam-Tam (sounding from a high gallery), and Choir (SSATTBB).* Notated in C in the score.'According to Hindu Cosmology, welive at the end of a cycle, the Kali Yuga - the Dark Age. There are two important sayings of Christ that should accompany his disciples always during these challenging times.The first is The Gates of Hell shall not prevail against my Church (Matthew 16, v. 18); and the second I am with you always unto the end of the world (Matthew 28, v. 20).These sayings form the basis of this work, which falls into two main sections, each with the same structure and with linked material. Each section begins with Kali Yuga, which I havetried to represent in a chaotic, unstructured way, in contrast to the cosmic Cries of Humanity to Christ (Kyrie eleison - Lord, have mercy), and Christ's responses from Saint Matthew's Gospel.The work ends with a serene'Coda' of the sacred monosyllable OM, representing the peace and beatitude of God's presence. The intermingling of Christianity and Hinduism is an important simile for our times; in the same way, early Christianity did nothesitate to incorporate Jewish and Greek thought.'- John Tavener
SKU: HL.50565796
9.0x12.0x0.135 inches.
These etudes are progressive. They have been designed to stimulate the imagination by combining musical aesthetics and educational efficiency. It is therefore necessary to assimilate the challenges and to define and grasp the musical sense that isintrinsic in each one of them. May they afford everyone that undertakes them in this spirit, a prompt mastery of these important piano techniques in particular as well as the joy of musical interpretation in general.Sogny beabsichtigt mit seinen Etuden vor allem, die Fantasie der Schuler anzuregen, indem er ihnen musikalisch schones und gleichzeitig padagogisch wertvolles Spielmaterial zur Verfugung stellt. Er setzt voraus, dass die Schuler bereit sind, sich derspielerischen Herausforderung zu stellen und den jedem Stuck innewohnenden musikalischen Sinn zu begreifen. Die 12 nach aufsteigendem Schwierigkeitsgrad geordneten Etuden sind sehr lohnendes Repertoire fur neugierige und strebsame Klavierspieler. Ces 12 etudes sont progressives. Elles ont ete concues pour stimuler limagination creatrice en alliant lesthetique musicale a lefficacite pedagogique. Il est donc necessaire dassimiler toutes les difficultes, de definir et de degager le sensmusical contenu intrinsequement dans chaque etude avant de commencer a travailler la suivante. Puissent ces etudes procurer a tous ceux qui les abordent dans cet esprit, la rapide maitrise de la technique pianistique et les joies de linterpretationmusicale.
SKU: FP.FHC09
ISBN 979-0-57050-125-0.
An ideal album acting as a diverting alternative to the classical and exam repertoire. These folk melodies will develop rhythm and expression, while encouraging sound technique. Cuthbert Harris's albums are loved by teachers and pupils alike for both their playability and the progressive way they challenge and develop the technique of the improving player. Suggested grade 2-3.
SKU: HL.1338994
ISBN 9798350124224. UPC: 196288188940.
The âGrace Kellyâ challenge on TikTok involved users harmonizing to the hit 2007 Mika song using multilayered tracking to overlap their vocal lines one on top of the other, moving up the scale until the final, high notes which complete the exercise. This collection from Pop maestro Roger Emerson imagines nine more of these challenges with certified âbangersâ, arranged in 4 to 6 parts for your choir! The Performance Kit includes 10 collections along with free access to the ChoralMix lessons for each song online (sharable with all members of the choir) for a complete digital interface with separate vocal lines for learning!
SKU: HL.1339872
UPC: 196288189114. 6.75x10.5x1.498 inches.
The “Grace Kelly” challenge on TikTok involved users harmonizing to the hit 2007 Mika song using multilayered tracking to overlap their vocal lines one on top of the other, moving up the scale until the final, high notes which complete the exercise. This collection from Pop maestro Roger Emerson imagines nine more of these challenges with certified “bangers”, arranged in 3 to 8 parts for your choir! The Performance Kit includes 10 collections along with free access to the ChoralMix lessons for each song online (sharable with all members of the choir) for a complete digital interface with separate vocal lines for learning!
SKU: HL.1197742
UPC: 196288134732. 6.75x10.5x0.029 inches.
Here is something truly different - Brent Wells' new arrangement of the Chinese folk song Ao bao Xiang Hui, “Let Us Meet at the Aobao.†The arrangement begins with a brief choral introduction, where the Erhu (violin) presents the melody of the folk song, complete with traditional ornamentation. The tenor and bass verse recounts the story of a young man who goes to the aobao, only to find that his true love is not there. The sopranos and altos answer, giving voice to her reassuring words: “If you wait patiently, I will run to your side.†Finally, they find one another - and under the clear moonlit sky, sing together. Your singers will enjoy the challenge of a different language, presented in the setting of a charming love story. High school, college, and festival choirs will savor learning and performing this unusual piece.
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