If I Ain't Got You (Alicia Keys) arranged for upper voices with piano accompaniment. This arrangement of the hit single which comes from the album The Diary of Alicia Keys  is taken from the popular Choir Rocks! series which offers flexible arrangements of contemporary pop hits All pieces are written for soprano and alto with an optional third part of limited range for baritone or low alto with straightforward  piano accompaniment perfect for the amateur pianist. Also includes chord symbols.

8 Rhythm-Teaching Chorals Using Vocal Speech-This collection contains eight chorals that are fun to learn interesting to teach and entertaining for performers and listeners. Perfect for the singer who does not play an instrument I Can Feel the Rhythm takes out the notes and teaches rhythm through speech. With selections for holidays and patriotic celebrations as well as a piece that teach dynamics and rests your singers will learn how rhythms look sound and feel. Drum parts are included in this collection! Grades 4-12. Best value: Purchase the book/CD ROM kit (35027570) for the book and the Enhanced CD ROM with the reproducible choral score drum parts composer bio and more.

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

Singer's Choice - Professional Tracks for Serious Singers-Nine fantastic hits by the inimitable Harry Warren in another instalment of the Singer's Choice series designed to provide the at-home singer with a genuinely professional backing track. Sing The Songs Of Harry Warren'features nine of his over 800 timeless tunes including You'll Never Know The More I See You I Wish I Knew This Is Always I Had The Craziest Dream I Only Have Eyes For You Jeepers Creepers That's Amoré and Serenade In Blue.

Spil i Kaeder-Formålet med denne bog er at give jer undervisere inspiration til forskellige sammenspilsmetoder og give en række arrangementer der kan bruges på mange forskellige måder. Vi har erfaring med når man beskriver undervisningsmetoder med ord at det meget hurtigt kan blive snørklet teksttungt og svært at forestille sig hvad og hvordan man skal gøre. For at undgå dette har vi valgt at lave tydelige videointroduktioner som bogens hovedelement. Når man ser og hører metoden i praksis forstår man meget hurtigere hvordan den skal udføres. Bogens tekst skal ses som en støtte til videoerne og somet hurtigt overblik over metodernes forløb. På denne måde håber vi at I undervisere hurtigt kan komme i gang og bruge vores metoder og arrangementer. God fornøjelse!

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

Amarsi è davvero un gran brutto affar (La duchessa del Bal Tabarin /Majestat Mimì) (Lombardo and Granichstëdten) - Bimba la tua testina (La mazurka blu) (Lehar) - Box d'amore (Cin-ci-là) (Ranzato) - Ci dia la notte fuggente un attimo ancor (Madama di/Flup) (Lombardo and Szulc) - Duetto buffo (Madama di Tebe /Flup) (Lombardo Szulc) - Duetto americano grottesco (Sì) (Mascagni) - Duetto comico (Sì) (Mascagni) - Duetto dei balconi (La casa innamorata) (Lombardo) - Duetto del cucù (I mulini di Pit-limbardo) - Duetto del tabarin (La duchessa del Bal Tabarin /Majestat Mimì) (Lombardo and Granichstëdten) - Duetto delle campane (La donna perduta) (Pietri) - Duetto giapponese (Il paese dei campanelli) (Ranzato) - E la vera Bohème (Gigolette) (Lehar)esto amore amore sciocco (La principessa della Csardas) (Kalman) - Good night (Vittoria e il suo ussaro) (Abraham) - Il mio cuore è un film sonoro (La duchessa di Hollywood) (Ranzato) - Imperdonabil cosa ell'è (Sangue viennese /Wiener Blut) (Strauss) / Opéra-opérette / Recueil / Voix

Pro Vocal Women's Edition Volume 43-The Pro Vocal series offers a unique sing-along experience that's even better than karaoke. Whether you're preparing for an audition or singing on stage without the support of a backing band this book and CD set will help you to create a polished performance. The CD contains demos for listening and separate backing tracks so you can sing along. The CD is playable on any CD player but is also enhanced for PC and Mac computer users so you can adjust the recording to any pitch without changing the tempo. Pro Vocal Women's Edition Volume 43: Singable Standards features the songs But Beautiful Little White Lies (I'm Afraid) TheMasquerade Is Over Prelude to a Kiss Glad to Be Unhappy I Thought About You I'll Walk Alone and In a Sentimental Mood.

Souvenir P/V/G Edition. Looking for a fantastic Broadway songbook? By George I think you've got it! This collection includes 11 favorites from My Fair Lady: Get Me to the Church on Time · I Could Have Danced All Night · I've Grown Accustomed to Her Face · Just You Wait · On the Street Where You Live · The Rain in Spain · Show Me · Why Can't the English? · With a Little Bit of Luck · Without You · Wouldn't It Be Loverly.