Fun Songs for Learning Essential Sight Words-Reading is one of the most critical skills taught in school. An essential goal in developing this skill is making sure students are completely proficient with Sight Words. The popular ?Sing and Learn? series from Hal Leonard presents I Can We Can a creative and motivational resource that uses music to reinforce the learning of essential sight words. The Activity Songbook/Listening CD features reproducible song melodies movement suggestions activities and games all presented in a sequential teaching format. Reproducible song pictures with highlighted Sight Words and illustrations are also included for additional learning reinforcement. The enclosed Listening CDprovides song recordings to listen and sing-along. A CD-ROM is also available either separately or in a Classroom Kit with the Activity Songbook/Listening CD. This Enhanced CD-ROM includes song recordings with singers and without and printable PDFs of singer melodies full color song pictures piano accompaniments activities and artwork. Fun learning through music! Available separately: Activity Songbook/Listening CD Enhanced CD and Classroom Kit. Lessons and activities by Elizabeth Shier; with special thanks to Sarah Giordano for her creative input. Suggested for grades PreK-1.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

A dozen vocal selections presented for the hit musical which opened on Broadway in March 2015, presented in vocal line arrangements with piano accompaniment. Includes: Welcome to the Renaissance - God, I Hate Shakespeare - Right Hand Man - A Musical - The Black Death - I Love the Way - Will Power - Bottom's Gonna Be on Top - Hard to Be the Bard - We See the Light - Make an Omelette - To Thine Own Self (Reprise). / Voix

Singer's Choice - Professional Tracks for Serious Singers-Nine familiar songs are presented here from the pen of Jimmy McHugh in this package which is designed to provide the at-home singer with an actual professional setting.Sing The Songs Of Jimmy McHugh includes the favourites It's A Most Unusual Day You're A Sweetheart Don't Blame Me I Feel A Song Coming On I'm In The Mood For Love I Can't Give You Anything But Love I Can't Believe That You're In Love With Me On The Sunny Side Of The Street and I Must Have That Man.

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE

Scuola Superiore di Musica. Il primo metodo di canto moderno dellAccademia Lizard rivolto a studenti dal livello base a quello intermedio-avanzato (livelli 1-4 del percorso Lizard). Il metodo include la possibilità di scaricare gratuitamente le basi audio. Il metodo insegna a impostare i vari assetti vocali del canto moderno e offre unampia gamma di esercizi: completa lofferta didattica la trattazione scientifica delle funzionalità dellapparato foniatrico, utile a rendere lo studente consapevole delproprio 'strumento', la voce. / Niveau : Intermédiaire / Etudes et exercices / Date parution : 1905-07-09/ Etude / Voix

Blues del carillon (Cin-cin-là) (Ranzato) - E scabroso le donne studiar (La vedova allegra /Die lustige Witwe) (Lehar) - E triste confessar (Eva) (Lehar) - Fiorin fiorello (L'acqua cheta) (Pietri) - Forse un titol nobiliar (La duchessa del Bal Tabariestat Mimì) (Lombardo, Granichstëdten) - Fox della luna (Il paese dei campanelli) (Ranzato) - Fox trot della scugnizza /napoletana (Scugnizza) (Costa) - Frou Frou del Tabarin (La duchessa del Bal Tabarin /Majestat Mimì) (Lombardo, Granichstëdten) - Id'oro (I merletti di Burano) (Ranzato) - Io chiudo gli occhi e vedo ancor (Il re di Chez Maxim) (Costa) - La bella tangolita (Ballo al Savoy) (Abraham) - La luna, pur curiosa (Il re di Chez Maxim) (Costa) - Le lettere (Sì) (Mascagni) - Lo so che tu sno (L'acqua cheta) (Pietri) - Luna scortese (La casa innamorata) (Lombardo) - Mario il mio ben (Addio giovinezza) (Pietri) - Mia madre era bella (Eva) (Lehar) - Mon cher papà (Ballo al Savoy) (Abraham) - Nel mister della pagoda (Il paese del sorriso)/ Recueil / Voix

8 vocal selections from the 1954 Broadway version of the beloved story starring Mary Martin. Includes: Captain Hook's Waltz · Distant Melody · I Won't Grow Up · I'm Flying · I've Gotta Crow · Never Never Land · Tender Shepherd (Count Your Sheep) · Wendy.

Since it came out in 1981 thousands of people have enjoyed and learned from the pages of The Backpocket Bluegrass Songbook. In addition to the lyrics and melody line the book also includes guitar chords tips on choosing theright key using the capo bluegrass music history information on each song and vintage photos. Includes words music and history of: A Beautiful Life All the Good Times Are Past and Gone Banks of the Ohio Bury MeBeneath the Willow Cumberland Gap Darling Cory Don't This Road Look Rough and Rocky Down in the Willow Garden East Virginia Give Me the Roses Now Handsome Molly I'll Be All Smiles Tonight John Hardy Just Over in theGloryland Knoxville Girl Leaning on the Everlasting Arms Life's Railway to Heaven Little Maggie Little Log Cabin in the Lane Lonesome Road Blues Long Journey Home Lord I'm Coming Home Maple on the Hill Midnight on theStormy Deep My Home's Across the Smokey Mountains Old Joe Clark Poor Ellen Smith Pretty Polly Put My Little Shoes Away Rabbit in the Log Roll in My Sweet Baby's Arms Roving Gambler Sally Goodin Seeing Nelly Home ShortLife of Trouble Sweet Sunny South The Girl I left in Sunny Tennessee When the Bees Are in the Hive Where the Soul of Man Never Dies Wildwood Flower.

How can I teach my students to sight-sing when I have them for such a limited class time? Sight-Sing a Song will help you do just that - teach your students to sight-sing with confidence.This well-designed sight-singing approach by master teacher and choral director Audrey Snyder progresses in an easy step-by-step fashion through a variety of exercises that culminates with a special song students will be able to sight-sing! Each lesson includes helpful Teacher Tips that focus on the music concepts being presented a suggested teaching sequence to use when presenting each exercise keys to sight-singing success options for enrichment and motivation andtwo student reproducible pages filled with sight-reading exercises.Exercises and songs are presented in the keys of C major and F major so students will also experience moveable 'Do.' After students have perfected each exercise a cappella on their own they can enhance the learning process further by performing with the rhythm accompaniment tracks on the enclosed CD. Performance/ accompaniment tracks for the songs are also included.Time is short. Let's start sight-singing!Also available: Sight-Sing a Song: Set 2 (HL09971398) that covers the Keys of D and G

Que vous soyez un chanteur de karaoké ou de préparer pour une audition, la série Pro Vocal est pour vous. Le livre contient les paroles, la mélodie et les symboles d'accord pour huit chansons à succès. Le CD contient des démonstrations d'écoute et d'accompagnement séparée pistes pour que vous puissiez chanter en même temps. Le CD est jouable sur n'importe quel CD, mais il est également améliorée pour les utilisateurs PC et Mac de sorte que vous pouvez régler l'enregistrement à n'importe quelle hauteur sans changer le tempo! Parfait pour les répétitions à usage domestique, le culte, auditions, événements d'entreprise, et les concerts sans une bande de sauvegarde. Ce volume comprend 8 chansons: Can't Smile Without You - Copacabana (A la Copa) - - Même maintenant I Made It Through The Rain - I Write the Songs - On dirait comme We Made It - - Week-end Mandy en Nouvelle-Angleterre. / Chant / 40 pages / Partition

Singer's Choice - Professional Tracks for Serious Singers-Ten tunes from the legendary Jerome Kern are presented in this package which is designed to provide the at-home singer with an actual professional setting.Sing The Songs Of Jerome Kern includes the favourites A Fine Romance Smoke Gets In Your Eyes The Last Time I Saw Paris The Way You Look Tonight Yesterday The Folks Who Live On The Hill Make Believe I'm Old Fashioned All The Things You Are and They Didn't Believe Me.