|
| Lea Michele - Louder
Piano, Voix et Guitare
Hal Leonard
By Lea Michele. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Artist Songbook. Soft...(+)
By Lea Michele. For
Piano/Vocal/Guitar.
Piano/Vocal/Guitar Artist
Songbook. Softcover. 72
pages. Published by Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Michele McLaughlin - Piano Sheet Music Collection
Piano seul
Hal Leonard
By Michele McLaughlin. Piano Solo Personality. New Age, Contemporary. Softcove...(+)
By Michele McLaughlin.
Piano
Solo Personality. New
Age,
Contemporary. Softcover.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Autumn Leaves (Hojas Caidas)
Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire
Hal Leonard
Composed by Johnny Mercer and Joseph Kosma. Arranged by Michele Ferná and nde...(+)
Composed by Johnny Mercer
and
Joseph Kosma. Arranged by
Michele Ferná and ndez.
Young
Jazz (Jazz Ensemble).
Jazz,
Standards. Softcover.
Published by Hal Leonard
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| To Love You More
Chorale 3 parties
SSA
Hal Leonard
Choral (SSA Choir) SKU: HL.123777 Pop Choral Series. Octavo. 12 pages. Pu...(+)
Choral (SSA Choir)
SKU: HL.123777 Pop
Choral Series. Octavo. 12
pages. Published by Hal
Leonard (HL.123777).
UPC: 884088961947.
6.75x10.5 inches. Adapt.
Kirby Shaw. This
1998 hit by Celine Dion
was memorably covered by
Lea Michele on Glee in a
powerful rendition that
explored the depth of the
emotional lyrics. This
selection offers
challenges and rewards
for pop, jazz, show and
concert choirs looking to
create a touching concert
moment! Ideal for
Valentine's Day, prom or
other romantic
occasions! $1.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Gustave Vogt's Musical Album of Autographs
Cor anglais, Piano
Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman.
Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| New Dance For The Sugar Plum Fairy
Chorale SATB
SATB A Cappella
Shawnee Press
By Amy Engelhardt and Peter Ilyich Tchaikovsky (1840-1893). Arranged by Michele ...(+)
By Amy Engelhardt and
Peter Ilyich Tchaikovsky
(1840-1893). Arranged by
Michele Weir. For SATB
choir unaccompanied (SATB
A Cappella). Shawnee
Press. Choral. 8 pages
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Varadero Hip
Ensemble Jazz [Conducteur et Parties séparées]
Kendor Music Inc - Digital
New Kids, Old Shore. Composed by Michele Fernández. Jazz Journey Seri...(+)
New Kids, Old Shore.
Composed
by Michele
Fernández. Jazz
Journey Series Grade 3.
Funk.
Score and Parts. Kendor
Music
Inc #JJK2305. Published
by
Kendor Music Inc
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Dark Dreams - Facile
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS190
Composed by Sean
O'Loughlin. Young String
Orchestra. Set of Score
and Parts. With Standard
notation.
16+16+4+10+10+10+3+12
pages. Duration 3
minutes, 38 seconds. Carl
Fischer Music #YAS190.
Published by Carl Fischer
Music (CF.YAS190).
ISBN 9781491151556.
UPC: 680160909056. 9 x 12
inches. Key: E
minor. As part of a
collaboration between
students and composer,
Sean O'Loughlin, Dark
Dreams is a dark and
mysterious piece that
utilizes techniques such
as tremolo and pizzicato.
Following a slow and
mysterious opening which
illustrates the tapestry
of sound for the
composition, the work
develops the musical
material into various
vivid, intense, and
gripping musical
moments.
Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . D
ark Dreams was
commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. Dark Dreams
was commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious,
 vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
“play†the
silence at m. 88 for
maximum effect and really
lean into the final note
even though it is on beat
3 of the measure.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by:
--Occasionally
extending to third
position
--Keys
carefully considered for
appropriate
difficulty
--Addition
of separate 2nd violin
and viola
parts
--Viola T.C.
part
included
--Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Dark Dreams - Facile
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS190F
Composed by Sean
O'Loughlin. Young String
Orchestra (YAS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YAS190F.
Published by Carl Fischer
Music (CF.YAS190F).
ISBN 9781491151921.
UPC: 680160909421. 9 x 12
inches. As part of
a collaboration between
students and composer,
Sean O'Loughlin, Dark
Dreams is a dark and
mysterious piece that
utilizes techniques such
as tremolo and pizzicato.
Following a slow and
mysterious opening which
illustrates the tapestry
of sound for the
composition, the work
develops the musical
material into various
vivid, intense, and
gripping musical
moments.
Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, A
vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
aplaya the silence at m.
88 for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . <
p class=s4> Dark
Dreams was
commissioned by
the Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. . D
ark Dreams was
commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious, vivid,
intense and gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
play the silence at m. 88
for maximum effect and
really lean into the
final note even though it
is on beat 3 of the
measure. Dark Dreams
was commissioned by the
Westport, Connecticut
Public Schools for the
Bedford Middle School 7th
Grade Orchestra, Michele
Anderson, director. It is
a piece influenced by
many ideas from the
students including such
descriptive words as
dark, mysterious,
 vivid, intense and
gripping. The
collaboration process on
commissions like this are
very rewarding for both
the students and
composer. The students
were looking to include
techniques like tremolo
and pizzicato, so the
opening includes both of
these to set the tapestry
of sound for the
composition. The slow and
mysterious opening gives
way to an intense fast
section at m. 19. Trading
off between upper and
lower strings adds to the
tension before the upper
strings take hold of the
melody at m. 31. This
melody is derived from
the slow opening
material. The lower
strings get their chance
on the melody at m. 47 in
an augmented form. This
builds to a dramatic slow
section at m. 57. The
opening material returns
at m. 66 to transition
back to the fast
material. Make sure to
“play†the
silence at m. 88 for
maximum effect and really
lean into the final note
even though it is on beat
3 of the measure.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by:
--Occasionally
extending to third
position
--Keys
carefully considered for
appropriate
difficulty
--Addition
of separate 2nd violin
and viola
parts
--Viola T.C.
part
included
--Increase
in independence of parts
over beginning levels $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Volumes 1 & 2 (Teacher Manual)
GIA Publications
SKU: GI.G-10003 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10003
Foundational
Skills. Composed by
Keitha Lucas Hamann and
Michele Henry. Music
Education. 98 pages. GIA
Publications #10003.
Published by GIA
Publications
(GI.G-10003). ISBN
9781622774135. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 2: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10005 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10005
Emerging Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10005. Published by GIA
Publications
(GI.G-10005).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 3: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10008 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10008
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10008. Published by GIA
Publications
(GI.G-10008).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 3: Treble Clef (Student Workbook)
GIA Publications
SKU: GI.G-10007 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10007
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10007. Published by GIA
Publications
(GI.G-10007).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 2: Treble Clef (Student Workbook)
GIA Publications
SKU: GI.G-10004 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10004
Emerging Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10004. Published by GIA
Publications
(GI.G-10004). ISBN
9781622774142. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Volume 1: Treble Clef (Student Workbook)
GIA Publications
SKU: GI.G-10001 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10001
Foundational
Skills. Composed by
Keitha Lucas Hamann and
Michele Henry. Music
Education. Book. 72
pages. GIA Publications
#10001. Published by GIA
Publications
(GI.G-10001). ISBN
9781622774111. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Volume 1: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10002 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10002
Foundational
Skills. Composed by
Keitha Lucas Hamann and
Michele Henry. Music
Education. Book. 72
pages. GIA Publications
#10002. Published by GIA
Publications
(GI.G-10002). ISBN
9781622774128. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 3: Teacher Manual
GIA Publications
SKU: GI.G-10006 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10006
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 74
pages. GIA Publications
#10006. Published by GIA
Publications
(GI.G-10006).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Maracatu for Drumset and Percussion
Batterie [Partition + CD]
Hal Leonard
A Guide to the Traditional Brazilian Rhythms of Maracatu de Baque Virado. Drum I...(+)
A Guide to the
Traditional Brazilian
Rhythms of Maracatu de
Baque Virado. Drum
Instruction. Brazilian,
Instruction, African.
Softcover with CD. 128
pages. Published by Hal
Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Vocal Improvisation
Advance Music
Voice SKU: AP.1-ADV14100 Composed by Michele Weir. Improvisation; Method/...(+)
Voice SKU:
AP.1-ADV14100
Composed by Michele Weir.
Improvisation;
Method/Instruction;
Technique Musicianship;
Vocal Method. Advance
Music. Jazz. Book and CD.
Advance Music
#01-ADV14100. Published
by Advance Music
(AP.1-ADV14100). ISBN
9783892210627. UPC:
805095141009.
English. Vocal
Improvisation is designed
for individual jazz
singers, classroom
students, and teachers of
vocal jazz. The exercises
are appropriate for all
levels of experience and
can also be useful to
instrumentalists for
developing jazz
articulation and learning
to better connect what
they hear to what they
play. The chapters on
jazz theory and keyboard,
as well as the glossary
and selected solos for
transcribing section make
this publication an
excellent resource of
information for any jazz
musician. In the
interviews section you
will find questions and
answers about jazz and
improvisation from some
of today's leading
professional jazz
singers, including DeeDee
Bridgewater, Kurt Elling,
Jon Hendricks, Sheila
Jordan, Kevin Mahogany,
Bobby McFerrin, Mark
Murphy, and more. The
accompanying CD contains
vocal examples with
rhythm section background
featuring Darmon Meader,
Don Shelton, and the
author. The stereo
separation allows you to
sing along with them, or
turn them off to practice
with Michele Weir, piano;
John Clayton, bass; and
Joe LaBarbera, drums.
This is a well written,
highly informative and to
the point
publication. $44.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| The Choral Conductor's Companion
GIA Publications
SKU: GI.G-10339 Rehearsal Techniques, Imaginative Ideas, Quotes and Fa...(+)
SKU: GI.G-10339
Rehearsal Techniques,
Imaginative Ideas, Quotes
and Facts. Edited by
Brian Winnie. Music
Education. 256 pages. GIA
Publications #10339.
Published by GIA
Publications
(GI.G-10339). ISBN
9781574635256. Comp
iled and Edited by Brian
J. Winnie One hundred
powerful rehearsal
techniques and ideas
passionately shared by
leading expert choral
pedagogues, composers,
conductors, vocologists,
music therapists,
researchers,
speech-language
pathologists, studio
teachers, and
professional
practitioners. Each
quick-to-read, insightful
article includes
fascinating facts about
famous composers and
conductors, thoughtful
motivational quotes, and
suggested additional
reading selections.
It’s an excellent
university text andÂ
“go-toâ€
source for choral
conductor-teachers at all
levels. Sample topics
include: Useful
Compositional Techniques
for Directors, Jeffery L.
Ames, Professor, Belmont
University The Yin and
Yang of Vocal
Sight-Reading, Michele L.
Henry, Professor, Baylor
University Five Steps for
Planning and Rehearsing
Repertoire, Patrick K.
Freer, Professor, Georgia
State University Teacher
Talk, Jessica Nápoles,
Associate Professor,
University of North Texas
Choral Resonance: Sound,
Science, Spirit, Amanda
Quist, Director of Choral
Activities, University of
Miami Conductor vs.
Cooking Appliance:
Creating Meaning through
Temporal Flexibility,
Jake Runestad, Composer &
Conductor Recruit from a
Position of Strength,
Ethan Sperry, Professor,
Portland State University
The Improvising Choral
Director, Patrice Madura
Ward-Steinman, Professor,
Indiana University
Honoring Female Changing
Voices, Bridget Sweet,
Associate Professor,
University of Illinois
Teaching Traditional
South African Music,
Michael Joseph Barrett,
Composer & Conductor,
University of Pretoria
Leadership through a New
Lens, Hilary Apfelstadt,
Professor Emerita, The
University of Toronto The
Choral Warm-Up Period,
Anthony T. Leach,
Professor Emeritus, The
Pennsylvania State
University Rethinking
Gender in the Choral
Context, Joshua Palkki,
Assistant Professor,
California State
University, Long Beach
Involving Students in
Repertoire Selection,
Janet Galván, Director
of Choral Activities,
Ithaca College. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Ojitos (Little Eyes) - Intermédiaire/avancé
Hal Leonard
Jazz Ensemble (Score) - Grade 4 SKU: HL.7013637 Composed by Michele Fern...(+)
Jazz Ensemble (Score) -
Grade 4 SKU:
HL.7013637 Composed
by Michele Fernández.
Jazz Ensemble Library.
Concert, Salsa.
Softcover. Published by
Hal Leonard (HL.7013637).
UPC: 840126915532.
9.0x12.0x0.096
inches. Having
written this for her son
in 1998, composer Michele
Fernandez brings us this
highly emotional and
rewarding work for jazz
ensemble. The nostalgic
opening solo section
(which is optional) leads
to a sizzling salsa
groove which gradually
intensifies throughout.
The distinctive melody is
complemented with lushly
scored countermelodies,
and all rhythm section
parts are carefully
notated for authenticity.
Playable with 1 or 2
percussionists. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Varadero Hip - Intermédiaire
Kendor Music Inc.
Jazz Ensemble - Grade 3 SKU: KN.JJK2305FS New Kids, Old Shore. Com...(+)
Jazz Ensemble - Grade 3
SKU: KN.JJK2305FS
New Kids, Old
Shore. Composed by
Michele Fernández.
Jazz Journey Series Grade
3. Funk. Score Only.
Kendor Music Inc
#JJK2305FS. Published by
Kendor Music Inc
(KN.JJK2305FS). 12 x 9
inches. One of the
most famous (and
beautiful) beaches
anywhere is Varadero in
Cuba. Listening to
Michele's new funk tune,
it is easy to envision
the clear blue water and
white sand stretching for
miles. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| A Music Pedagogy for Our Time
GIA Publications
SKU: GI.G-10770 Conversation and Critique. Composed by Frank Abrah...(+)
SKU: GI.G-10770
Conversation and
Critique. Composed by
Frank Abrahams. Music
Education. 352 pages. GIA
Publications #10770.
Published by GIA
Publications
(GI.G-10770). ISBN
9781622777198. Cont
ributing Authors: Jocelyn
Armes, Cara Faith
Bernard, Ian Cicco, Lisa
Crawford, Christine
D’Alexander, Libby
Gopal, Ethan Hein, Steve
Holley, Tina Huynh,
Ronald Juzeler, Michele
Kaschub, Elizabeth S.
Palmer, Marissa
Silverman, Jason Vodicka,
G. Preston Wilson School
education in all
disciplines is changing.
School
teachers—including
music
educators—now need
to be aware of a wide
range of issues,
including social justice,
cultural responsiveness,
integrating technology,
composition and
improvisation, critical
thinking, social and
emotional learning, and
how to foster a community
of practice. How do music
educators best understand
the hot-button issues of
today—culture
wars, critical race
theory, and much
more—and at the
same time create positive
and proactive musical
experiences for their
students? In A Music
Pedagogy for Our Time,
Frank Abrahams and his
colleagues offer
solutions. The authors
provide a framework so
music teachers can both
be aware of these issues
and create supportive
opportunities for
students to
learn—without
compromising the goals
that have been and will
continue to be the
foundation of school
music programs. Each
chapter in this book
focuses on a topic that
defines a problem and
then poses potential
solutions. This ambitious
book advocates for
critical pedagogy,
reciprocal teaching, and
popular music pedagogy,
and provides templates to
develop lessons and
rehearsals that are
meaningful and
significant to students
in the twenty-first
century. Frank Abrahams
is Associate Dean
(retired) and Professor
of Music Education
(emeritus) at Westminster
Choir College of Rider
University. $44.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Chormusik Und Analyse Vol.2 Noten
Schott
SKU: HL.49015487 Beitrage zur Formanalyse und Interpretation mehrstimm...(+)
SKU: HL.49015487
Beitrage zur
Formanalyse und
Interpretation
mehrstimmiger
Vokalmusik. Edited by
Heinrich Poos. This
edition: Paperback/Soft
Cover. Book. Edition
Schott. Classical. 471
pages. Schott Music #ED
8474. Published by Schott
Music (HL.49015487).
ISBN 9783795702991.
German. Grundlage
der von namhaften
Musikwissenschaftlern
erarbeiteten 35
Werkdarstellungen von
Guillaume de Machaut uber
Orlando di Lasso, Bach,
Schubert und Brahms bis
Schonberg und Britten ist
die Interpretation der in
Wort und Ton fixierten
musikalischen Texte, die
Erorterung von deren
ideengeschichtlichem
Zusammenhang und
kunstgeschichtlichem
Wesen unter vielfaltigen
Gesichtspunkten. Mit der
Erschliessung der
Werkgehalte wird jedem
Ausfuhrenden und jedem
Horer - Chorleitern und
Sangern, Studenten,
Komponisten,
Wissenschaftlern und
Padagogen - der Weg zu
einer gleichermassen
geistigen und sinnlichen
Auffassung der Musik
gewiesen. In einem
separaten Band sind alle
im Text behandelten
Kompositionen vollstandig
wiedergegeben. Mit diesem
Sammelband wird die
erstmals 1983 erschienene
erfolgreiche Publikation
gleichen Titels
fortgesetzt und zu einem
Abriss der Geschichte der
unbegleiteten Chor- und
Ensemblemusik von der Ars
antiqua bis zur Gegenwart
erganzt, der
theoretischem
Analyseanspruch wie
musikpraktischen
Erfordernissen
gleichermassen gerecht
wird. $95.00 - Voir plus => Acheter | | | |
| Advancing Music Education through Assessment: Honoring Culture, Diversity, and Practice
GIA Publications
SKU: GI.G-10242 Selected Papers from the Seventh International Symposi...(+)
SKU: GI.G-10242
Selected Papers from
the Seventh International
Symposium on Assessment
in Music Education.
Composed by Marshall
Haning and Timothy S.
Brophy. Music Education.
534 pages. GIA
Publications #10242.
Published by GIA
Publications
(GI.G-10242). ISBN
9781622774463. Cont
ributors: Michael L.
Alexander, Myriam I.
Athanas, Leonardo Borne,
Frederick Burrack,
Isabelle Adna Lopes da
Hora, Paul F. Doerksen,
Sergio Figueiredo,
Christina Haaf, Barry
Hartz, Johannes
Hasselhorn, Jason A.
Hawkins, Michele L.
Henry, Jasmine Hines,
Kelly Hollingsworth,
Gabriel Imthurn, Amanda
Kastner, Anita Kumar,
Andreas C. Lehmann,
Andreas Lehmann-Wermser,
Florian Lill, Melissa A.
Lloyd, Brandon C.
McDaniel, Adam P. Miller,
David W. Montgomery,
Dorothy J. Musselwhite,
Patty K. Nelson, Glenn E.
Nierman, Douglas C.
Orzolek, Kelly A. Parkes,
Phillip Payne, Seth
Pendergast, Leigh M.
Powell, Jared R.
Rawlings, Patricia E.
Riley, Joanne Rutkowski,
Elizabeth S. Schultz,
Sydney C. Seed, Megan M.
Sheridan, Dayvison Sousa
Silva, David A.
Stringham, Justine
Swainson, Jack Walton,
Dennis Ping-Cheng Wang,
Jeffrey Ward, Brian C.
Wesolowski The Seventh
International Symposium
on Assessment in Music
Education was hosted by
the University of
Florida. The symposium
brought together 112
participants from 12
nations across six
continents and 24 U.S.
states to learn of each
other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education at the
University of Florida in
Gainesville from March
19–22, 2019. The
two keynote addresses and
31 papers published in
this volume document
music assessment practice
and the measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to begin
developing a set of
assessment literacy
standards for music
teachers based on the
International Principles
for Assessment in Music
Education (developed and
introduced by the
co-chairs at ISAME6 in
2017), and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work. About
the Editors: Timothy S.
Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville. Marshall
Haning is Assistant
Professor of Music
Education at the
University of Florida in
Gainesville. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Context Matters
GIA Publications
SKU: GI.G-9684 Selected Papers from the Sixth International Symposium ...(+)
SKU: GI.G-9684
Selected Papers from
the Sixth International
Symposium on Assessment
in Music Education.
Composed by Martin
Fautley and Timothy S.
Brophy. Assessment. Music
Education. 550 pages. GIA
Publications #9684.
Published by GIA
Publications (GI.G-9684).
ISBN
9781622773350. Cont
ributions by:Â Michael
L. Alexander •
William I. Bauer •
Rhoda Bernard •
Nikki Booth •
Leonardo Borne •
Frederick Burrack •
Richard M. Cangro •
Kyle Chandler •
Samantha Clements •
Obadias de Oliveira Cunha
• Sally E. Daunt
• Kirsty J. Devaney
• Paul Doerksen
• Martin Fautley
• Keith Griffioen
• Alice Hammel
• Marshall Haning
• Demaris Hansen
• Michele L. Henry
• John Holmes
• Daniel C. Johnson
• Joo Hyun Kang
• Gail Kuppan
• Andreas
Lehmann-Wermser •
Sharon Lierse •
Jason Longtin •
Jeffrey Marlatt •
Melissa C. McCabe •
Karabo Lucy Mogane
• Helena
Muciño-Guerra •
Dorothy J. Musselwhite
• Flávia
Motoyama Narita •
Emma Nenadic •
Glenn E. Nierman •
Helena de Souza Nunes
• Kelly A. Parkes
• Phillip D. Payne
• Laura Navarro
Ramón • Patricia
Riley • Shelley
Sanderson • Megan
M. Sheridan •
Stephanie L. Standerfer
• David A.
Stringham • Dennis
Ping-Cheng Wang •
Jeffrey Ward •
Brian C. Wesolowski
• Benjamin Weyel
The Sixth International
Symposium on Assessment
in Music Education was
hosted by the University
of Florida and Birmingham
City University. The
symposium brought
together 110 participants
from 23 nations and six
continents to learn of
each other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education in
Birmingham, England, from
April 18-21, 2017.Â
The two keynote addresses
and 35 papers published
in this volume document
music assessment practice
and the measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to discuss
the International
Principles for Assessment
in Music Education
(developed and introduced
by the co-chairs at this
symposium), and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work. Timothy
S. Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville, Florida.
Martin Fautley is
Professor of Education
and Director of Research
in Education at
Birmingham City
University in Birmingham,
England. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| The All-Jazz Real Book - Eb Edition
Instruments en Mib [Fake Book]
Sher Music Company
| | | |
| Bons Sohnos, Maestro - Intermédiaire/avancé
Excelcia Music Publishing
Jazz Band - Grade 4 SKU: XC.ZJE2301FS Sweet Dreams, Maestro. Compo...(+)
Jazz Band - Grade 4
SKU: XC.ZJE2301FS
Sweet Dreams,
Maestro. Composed by
Michele Fernández.
Jazz Zenith Series Grade
4 & Up. Slow samba.
Score. Excelcia Music
Publishing #ZJE2301FS.
Published by Excelcia
Music Publishing
(XC.ZJE2301FS).
This dreamy
Brazilian samba sets the
haunting melody of
Chopin’s Prelude
#4 as a background to a
beautiful Trombone
feature that takes us
through a lushly-scored
journey of a life well
lived, as it soars to a
joyous, half-time funk
groove before winding
back down to an
introspective end will
truly leave the audience
floating. All rhythm
parts are completely
written out, with
suggested solos
included. $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| The All-Jazz Real Book - Bb Edition
Instruments en Sib [Partition + CD]
Sher Music Company
| | |
|
