Once upon a time, a hardworking music teacher was determined to slay the dragons of student doldrums. She looked far and wide for meaningful yet entertaining lessons that would engage her students while addressing the Common Core music standards. One day, she happened upon a set of enchanting books filled with folk tales, fairy tales, nursery rhymes, myths, legends, and more. As they dove into the grade-appropriate literature and music activities, her students became active musicians and lived happily ever after! Each volume of Once Upon a Music Class includes 20 lessons, complete with objectives, procedures, reproducible student pages, and all necessary recordings. Recommended for grades Pre-K through two. / Formation Musicale

Par GRIFFIN MICHAEL. When it comes to musical skill, why is it that some people achieve so much more than others? We are frequently led to believe this is because of a talent hardwired into their DNA. Now, music educator Michael Griffin dismisses that age-old notion in favour of another known factor: practice. His new book, Learning Strategies for Musical Success illustrates how the quantity and quality of practice is the greatest predictor of musical success so that aspiring musicians of all ages and abilities can best bring about expert performance. This inspiring, accessible guide will equip students, teachers, adult learners, and parents with the methods and mindset to improve the likelihood of learning music successfully. 'Deeply impressive - the breadth of research is fascinating!' - Victorian Music Teachers Association 'Terrific...eminently practical...excellent discussion...I came away inspired and excited.' - The Music Trust, Australia 'This book really does deliver' - American Music Teacher 'I can't think of any other book that draws on so many resources to create a new understanding of learning music. Every serious music student, music teacher, and parent of a music student will find important information in this book. Griffin gives clear examples of how concepts are applied that make for enjoyable reading. This book has a potential for making lifelong differences in the lives of music students, parents and teachers.” - Roy Ernst, PhD, LLD Professor Emeritus, Eastman School of Music of The University of Rochester 'A must buy for every music teacher and music student. Bravo on a most stimulating read. This draws together old wisdom and the latest research. I am re-reading this excellent book for the third time, highlighter pen in hand.' 5 stars (Amazon Rank) - William Bruce, Guildhall UK. 'A most stimulating read that has given me a great deal to think about.' - Nicholas Carpenter, Prebendal, UK. 'Fantastic book...simply brilliant!' - Ian Cooper, Norfolk Music Service, UK. 'A must read for all music educators. Michael Griffin has collected lessons from his own experience - which is extensive, and pertinent, recent research to provide a detailed overview of how we learn, and how students can be empowered and trained to become effective, efficient and independent learners. The book is well documented, making it convenient to go on to further reading about the topics of each chapter. The language is concise and easily understood, yet deeply practical and useful.' - 5 stars Robert Adams, Music Educator, New Haven, USA. 'Don't miss this opportunity!' - 5 stars Mary George, USA./ Méthode / Tout Instrument

For Mixed Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for mixed voices. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for children's and female voices and for male voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

With this ample collection of ballads and songs you can immerse yourself in the rich tradition and heritage of American folk music. Discover the diversity spontaneity free-flowing melody and sheer invention of scores of songs sung by cowboys and convicts lumberjacks hobos miners plantation slaves mountaineers soldiers and many others.Musicians musicologists folklorists singers - anyone interested in American fok music - will welcome this treasury of timeless song gathered in one handy inexpensive volume.

Prelude on an Irish Folk Tune (?Prélude sur un air irlandais?) est basée sur l'air traditionnel Slane la version hymnique d?une mélodie irlandaise plus ancienne The Banks of the Bann. La mélodie s?imbrique dans la trame musicale vers la fin de la pièce. Publiée pour la première fois en 1909 dans le recueil Old Irish Folk Music and Songs (?Chants et airs irlandais anciens?) de Patrick Joyce cette mélodie traditionnelle tient son nom d?une colline située à environ 16 kilomètres de Tara dans le comté de Meath. Selon un extrait des Confessions de Saint Patrick le saint irlandais aurait allumé le cierge pascal sur la colline de Slane le Samedisaint de l?an 443. Cet acte de défi provoqua la fureur de Laoghaire un roi païen qui avait promulgué un édit interdisant d?allumer un feu autre que le feu royal sur la colline de Tara. Le feu royal célébrait la coutume païenne du retour du Printemps après l?Hiver du triomphe de la lumière (saison claire) sur la pénombre (saison sombre).Dans Prelude on an Irish Folk Tune des fragments de la mélodie font allusion au canevas futur de la pièce. Un autre thème écrit dans le style traditionnel domine le contexte avant de servir de contrechant lorsque la mélodie Slane se dévoile.

Prelude on an Irish Folk Tune (?Prélude sur un air irlandais?) est basée sur l'air traditionnel Slane la version hymnique d?une mélodie irlandaise plus ancienne The Banks of the Bann. La mélodie s?imbrique dans la trame musicale vers la fin de la pièce. Publiée pour la première fois en 1909 dans le recueil Old Irish Folk Music and Songs (?Chants et airs irlandais anciens?) de Patrick Joyce cette mélodie traditionnelle tient son nom d?une colline située à environ 16 kilomètres de Tara dans le comté de Meath. Selon un extrait des Confessions de Saint Patrick le saint irlandais aurait allumé le cierge pascal sur la colline de Slane le Samedisaint de l?an 443. Cet acte de défi provoqua la fureur de Laoghaire un roi païen qui avait promulgué un édit interdisant d?allumer un feu autre que le feu royal sur la colline de Tara. Le feu royal célébrait la coutume païenne du retour du Printemps après l?Hiver du triomphe de la lumière (saison claire) sur la pénombre (saison sombre).Dans Prelude on an Irish Folk Tune des fragments de la mélodie font allusion au canevas futur de la pièce. Un autre thème écrit dans le style traditionnel domine le contexte avant de servir de contrechant lorsque la mélodie Slane se dévoile.

This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery this publication is essential for pianistsinterested in the work of the Hungarian composer.When Bartók?was just 23 years old he visited the Transylvanian town of?Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named LidiDósa he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work. Romanian FolkDances?remains one of Bartók's most popular and enduring works evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on atraditional melody which Bartók?penned during his travels.? Including newly engraved masterpieces?Stick Dance Waistband Dance In One Spot Dance From Butschum Romanian Polkaand Fast Dance this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidancethroughout. Romanian Folk Dances also?features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguingbackstory of this work.? One of the most important 20th century composers and along with Liszt one of Hungary's finest musical minds Bartók?held a strong fascination for folkmusic. Through his studies recordings and arrangements he composed some incredible music like these?Romanian Folk Dances ?while simultaneously initiating the field of

The melodies harmonies moods and rhythms of Norwegian folk songs and dance (even the sounds of Norwegian folk instruments) permeate the music of Edvard Grieg (1843-1907). After studying in Leipzig and Copenhagen he returned to Norway and a chance meeting with Norwegian nationalist Rikard Nordraak ignited his interest in folk music and laid the foundation for his compositional style. His most famous orchestral works are the Piano Concerto (1868) and the incidental music to Ibsen’s play Peer Gynt (1875). He wrote many collections of folk music for piano and these two tunes come from his 25 Norwegian Folk Songs and Dances op. 17.

ADLER Samuel Etude de l'orchestration Discipline / Instrument : tous instruments Genre : Méthode - études Média : Livre Nombre de pages : 1136 (17,8 x 25,4 cm) Editeur : Lemoine Date de parution : 15/06/2011 ISBN / ISMN : 9790230982122 plus de 150 ans après Hector BERLIOZ, plus de 50 ans après Charles KOECHLIN ou Nikolaï RIMSKI-KORSAKOV, et quelques années après... un long travail, Les éditions Henry Lemoine ont le plaisir de vous présenter, enfin en langue française, de Samuel ADLER : Etude de l'orchestration TRAITE PRATIQUE Titre original : The Study of Orchestration, traité d'orchestration de réputation internationale Véritable défi éditorial, l'ouvrage est proposé ici sous la forme d'une édition française, augmentée de 280 pages (+33%) par rapport à la version traduite. En effet, le texte original, déjà riche, est complété : - par Gilbert Amy, d'un chapitre nous offrant son regard sur l'orchestre en musique contemporaine aujourd'hui, - par Bruno Gillet, de trois chapitres concernant la voix humaine, - de 60 pages de commentaires et annotations, à vocation pédagogique, du traducteur de l'ouvrage Philippe Vernier - enfin, d'un index complet et performant (accru de 150%) sans lequel une telle ampleur de contenu se révélerait assez rapidement vaine. Samuel Adler Compositeur et chef d'orchestre américain d'origine allemande parti très jeune aux états-unis, Samuel Adler a composé plus de quatre cents oeuvres publiées, dont cinq opéras, six symphonies, douze concerti, huit quatuors à cordes, quatre oratorios et bien d'autres pièces orchestrales, chorales, vocales ou pour band. Elève notamment de Paul Hindemith, Aaron Copland et Sergei Koussevitski, il enseigna à son tour à l'University of North Texas (1957-1966) puis à l'Eastman School of Music de l'university of Rochester (1966-1995), et depuis 1997 reste membre intervenant à la Juilliard School of Music au sein du département composition. Auteur d'autres ouvrages que celui-ci (Choral Conducting et Sight Singing), Samuel Adler a reçu plusieurs prix et distinctions pour sa contribution exceptionnelle au monde musical comme compositeur, chef d'orchestre et auteur - en 2001, il entre à l'American Academy of Arts and letters. En tant que chef, il s'est produit avec de nombreux orchestres prestigieux, aux états-unis ou ailleurs - plus d'une cinquantaine de ses oeuvres furent enregistrées et sont distribuées par des labels américains ou européens de premier plan. Gilbert Amy Elève de Milhaud et Messiaen au Conservatoire de Paris, Gilbert Amy est un compositeur dont le talent a été salué par de multiples prix et dont les oeuvres sont jouées dans les plus hauts lieux mondiaux de la création musicale. Succédant à Pierre Boulez à la direction des concerts du Domaine musical, Gilbert Amy a ensuite poursuivi une carrière de chef d'orchestre. Fondateur du Nouvel Orchestre Philharmonique de Radio-France, il en sera le premier chef et directeur artistique jusque dans les années 1980. Pédagogue reconnu, il a enseigné la composition et l'analyse musicale à l'Université de Yale puis occupé le poste de directeur du C.N.S.M. de Lyon de 1984 à 2000. Bruno Gillet Compositeur, Bruno Gillet a beaucoup écrit pour la voix, en formations de chambre, en duos avec divers instruments, en ensemble vocal, et avec orchestre. Au théâtre, il a collaboré, entre autres auteurs, avec Italo Calvino et Georges Perec. Au C.N.S.M. de Paris, il a inauguré la classe d'analyse et culture musicale spécialement destinée aux chanteurs, et assuré au C.N.A.D. la formation musicale des acteurs. Philippe Vernier Philippe Vernier se passionne très tôt pour les musiques orales dont il approfondit la connaissance d'abord en autodidacte (chanson, folk music...) puis sous l'impulsion du guitariste Alain Berkès (manouche, blues, jazz...). Après une expérience pop-rock, il étudie la théorie classique, suit l'enseignement des compositeurs Alain Roizenblat, Michel Decoust et Philippe Leroux - il reçoit alors plusieurs Premiers Prix (Orchestration, Composition...) et un D.E.M. en électro-acoustique. Compositeur de pièces pour bande, ensemble, chansons, musiques de film ou de scène, il a remporté le Prix de la Création Musicale au festival Paris-Tout-Court (2002).

Violist and composer Benedict Taylor presents a collection of 60 pieces for solo viola. Drawn from the rich tradition of Irish folk music the collection covers a range of styles including Jigs, Reels, Hornpipes and Marches. The volume includes notes on playing styles, and is accompanied by a CD with a recording of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website. Suitable for players of grades 3-8. / Alto

The songs in this collection are drawn from the rich folk music traditions from around the world. Each folk song is arranged three ways: the folk song tune by itself a two-mallet version using rolls and/or double stops and a four mallet version. The collection is ideal for beginning intermediate or even advanced mallet players who are looking for four-mallet sight reading material. The songs can be performed individually or together in a group. Songs include: America the Beautiful · Danny Boy · Greensleeves · Loch Lomond · Scarborough Fair · Shenandoah · Were You There · and more.

This international selection of folk music demonstrates an astonishing range of styles. After playing these pieces the young violinist should be able to recognize the individual music characteristics of each nation represented here from lively German dances to wistful Russian songs from sunny Northern European children’s songs to the stirring folk idioms of the Scottish Highlands and from melodies which capture the essence of the English countryside to pieces from the rich heritage of Jewish culture. In these three books the young violinist has access to a wide repertoire of pieces selected for their melodic and rhythmic appeal all of which stand on their ownwithout need of accompaniment and thus encourage spontaneity in performance.

Par PUSCOIU COSTEL. Clarinet/Solos. A small, but representative collection of well-known and lesser-known beautiful melodies from the Balkans. The carefully-chosen melodies offer a rich, enjoyable and varied book. The arrangements and other adaptations (keys, ornaments, etc.) have been introduced to make this beautiful South-Eastern European music more suitable for performance on the clarinet. It is recommended to repeat each piece 3-4 times because the melodies (like all folk songs in the world) are very short. A free piano accompaniment plus audio downloads are available for use with this title. Free audio files and piano accompaniment available. / Niveau : Débutant à Intermédiaire / Baltic - Solos / Recueil / Clarinette