Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Twenty-Three Classic, Traditional, and Ethnic Wedding Arrangements. Compo...(+)
Twenty-Three Classic,
Traditional, and Ethnic
Wedding Arrangements.
Composed by Beth A. Kolle
and Laurie Riley.
Squareback saddle stitch.
Book and online audio.
Published by Mel Bay
Publications, Inc
(MB.98748M).
(A Youth Musical About Real Life and the Choices We Make). By Jeff Atwood. By St...(+)
(A Youth Musical About
Real Life and the Choices
We Make). By Jeff Atwood.
By Steven V. Taylor &
Jeff Atwood. For SA(T)B
choir. This edition:
Paperback. Musical. A
natural choice for spring
musicals and summer choir
tours.. Contemporary and
Sacred. Book. 112 pages.
Duration About 45
minutes. Published by
Lillenas Publishing
Company
(A Workbook for Beginning, Intermediate or Advanced Students). Composed by M...(+)
(A Workbook for
Beginning,
Intermediate or Advanced
Students). Composed by
Miles
Okazaki. For guitar.
Spiral-
bound. Guitar Methods,
Scales, Arpeggios,
Technique, Theory,
Harmony.
Book. 166 pages.
Published
by Mel Bay Publications,
Inc
Guitar (classical and lute) SKU: MB.30105M Composed by Tom Bills. Saddle-...(+)
Guitar (classical and
lute)
SKU:
MB.30105M
Composed by
Tom Bills.
Saddle-stitched,
Contemporary, Technique,
Theory and Reference.
Style. Book and online
video. 56 pages. Mel Bay
Publications, Inc
#30105M. Published by Mel
Bay Publications, Inc
(MB.30105M).
ISBN
9780786691692. 8.75 x
11.75 inches.
The
Art Of Lutherie offers a
glimpse into the mind and
craft of luthier Tom
Bills, whom many consider
to be one of the most
talented luthiers today.
In this beautifully
written and enjoyable
read, Tom elegantly and
clearly shares his
best-kept secrets and
methods of custom guitar
making - those which make
his guitars favorites
among top collectors and
players. Toms unique
approach to The Art Of
Lutherie will empower and
inspire you to create
more than just a guitar,
but a truly unique work
of art. The information
that is generously shared
within this insightful
and timeless work is both
practical and applicable.
It contains the same
hard-won wisdom that only
comes from years of
experience and
experimentation that Tom
uses in creating his
inspiring instruments.
Over the years, he has
produced instruments
considered to be some of
the best sounding guitars
ever made. Learning the
steps of how to build a
guitar is important, but
understanding why master
luthiers take those steps
and make those decisions
can empower you to make
your own educated
choices. This will allow
you to create unique
guitars, and the world
needs your art, your
guitars - your important
contribution. The Art Of
Lutherie, a truly unique
and inspiring guide, can
prepare you to reach new
heights when designing
and creating unique
guitars.It is not often I
heap such lavish praise
on people; however, Tom
is in this case more than
deserving: I know of no
other luthier whose work
I respect more. Tom knows
his craft inside and out;
he pours his soul into
every guitar he makes; he
uses cutting-edge science
to guide his work, and it
shows...as head of Artist
Relations and Product
Development at Mel Bay,
it gives me great
pleasure to publish Toms
work, which will no doubt
take the art of lutherie
to a new level. I hope
youll spend some time
soaking in this book - it
will certainly augment
your musicality - Collin
Bay. Includes access to
online video.
Trombone SKU: GF.JPTB Composed by Greg Fishman. Play-Along (Book+CD). Pub...(+)
Trombone
SKU:
GF.JPTB
Composed by
Greg Fishman. Play-Along
(Book+CD). Published by
Greg Fishman Jazz Studios
(GF.JPTB).
Milwaukee
Avenue
Ogden
Avenue
Narragans
ett
Avenue
Belden
Avenue
Chicago
Avenue
Quincy
Street
Rockwell
Street
Dearborn
Street
Franklin
Street
Pearson
Street
Jazz Phrasing
for Trombone features ten
melodic pieces which are
easy to play, yet convey
the essence of mainstream
(Swing/Bebop/Bossa) jazz
vocabulary. The pieces
are catchy and melodic,
demonstrating the use of
sequence and
voice-leading to make a
musical statement.
This book
includes a play-along CD
featuring trombonist Russ
Phillips playing each
song with a world-class
rhythm section. The CD
also includes tracks
featuring Greg Fishman
demonstrating each song
on alto saxophone, giving
trombone players the
option of playing along
with Russ Phillips on
trombone or with Greg
Fishman on alto
saxophone.
In
addition, there are
play-along tracks
featuring just the rhythm
section. These tracks are
great for practicing the
songs, chords, scales,
voice-leading lines and
soloing over the chords
progressions.
Jazz Phrasing for
Trombone will provide
valuable insights into a
melodic approach to jazz
improvisation. This book
is recommended for
trombone players of all
levels who wish to
improve their tone,
articulation, phrasing,
and understanding of
thematic development.
Special Features
of Jazz Phrasing for
Trombone:
o
Suggested Use Section -
Provides detailed
instructions on a variety
of ways to work with the
book. Style & Analysis
Section - Provides clear,
concise explanations of
sequence, variation and
voice-leading
Thematic Index - Lets you
compare the opening
themes of all ten songs
in convenient two page
at-a-glance format. Also
includes detailed
information on the
opening interval of each
song, as well as harmonic
context of the opening
interval.
Endorsements for Jazz
Phrasing for
Trombone: Greg has
done it again. Great
melodies, interesting
rhythms and beautiful
chord progressions. This
is the perfect foundation
for learning jazz. -
Jamey Aebersold This
book is a monument to
Greg Fishman's superb
teaching skills, as well
as his clear
understanding of the jazz
student's early needs. He
has purposefully selected
accessible tempos,
significant melodic
rhythms (with their
appropriate phrasing) and
sensitive note choices,
utilizing commonplace
chord progressions within
the jazz repertory, all
impeccably demonstrated
on the accompanying
compact disc. This book
is a must for the early
conditioning of jazz
students! - Jerry
Coker Greg Fishman has
created a book of fun,
well-written, catchy
tunes in a variety of
styles for developing
jazz players---highly
recommended. - Dr.
Gregory W. Yasinitsky,
Regents Professor of
Music & Coordinator of
Jazz Studies, Washington
State University
Songs included in
Jazz Phrasing for
Trombone - Volume 1: o
Milwaukee Avenue Ogden
Avenue Narragansett
Avenue Belden
Avenue Chicago
Avenue Quincy
Street Rockwell
Street Dearborn
Street Franklin
Street Pearson
Street
A few words
from the preface of the
book:
Applying
good phrasing to music is
like using good
punctuation in written or
spoken language. It
involves the grouping of
ideas to make the meaning
of the words clear to the
listener. The words are
grouped into sentences,
and the sentences are
then grouped into
paragraphs. The same is
true when interpreting a
piece of music.
Good phrasing
requires a musician to
interpret the notes he
plays, and determine
which notes need to be
grouped together to form
a complete musical idea.
Each song in Jazz
Phrasing for Trombone is
designed to train your
ear to hear the logical
grouping of phrases
through the use of
sequence and thematic
development.
While the art of
good phrasing involves
the interpretation of
note groupings and their
relationships, it also
involves deciding where
you're going to take a
breath.
Read the
following sentences aloud
to compare examples of
good and bad phrasing.
Good phrasing,
spoken in one continuous
breath:
Ladies
and gentlemen, it gives
me great pleasure to
introduce the senior
class president.
Bad phrasing,
spoken with extra
breaths, disrupting the
flow and grouping of the
words:
Ladies and
gentlemen, it gives
(breath) me great
pleasure to introduce the
senior class (breath)
president. The
difference between these
two sentences is very
similar to the difference
between a professional
musician's phrasing and a
student's phrasing. Both
may be playing the
correct notes with the
correct rhythm, but the
professional musician
knows how to group the
notes in a smooth,
flowing fashion, while
the student takes breaths
at random, not even aware
that he's disrupting the
phrasing.
Jazz
Phrasing for Trombone has
been carefully designed
to help you learn to
phrase like a
professional player.
These are pieces
that will be fun for all
musicians who love
melodic writing with good
thematic
development..
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
For Trumpet in Bb and Piano, S. 49. Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49.
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
You
will find in the scores
indications of nuances,
timbre, attack and
fingerings which
constitute suggestions
for work and not
prescriptions. Teachers
and students are
therefore invited to make
interpretation choices
different from those
proposed or to try to
convincingly render those
already
written.
The
pieces were composed or
arranged by UQAM music
education students as
part of a course aimed at
equipping musicians for
teaching guitar in the
school system. Many of
them are musicians from
different backgrounds
(composition,
performance, world music,
etc.), which explains the
creativity found in the
pieces. All the pieces
have been the subject of
an audio recording
available on the
Productions
dâÂÂOz website
and on YouTube. Search
for ÃÂ vos
guitares, prêt,
joue! Vol.
4.
SKU: LO.99-3691H Composed by Victor C Johnson. Choral. Performance/accomp...(+)
SKU: LO.99-3691H
Composed by Victor C
Johnson. Choral.
Performance/accompaniment
CD. Heritage Music Press
#99/3691H. Published by
Heritage Music Press
(LO.99-3691H).
UPC:
000308146684.
Perfo
rmance/accompaniment CD
for For Hope Will Light
Our Way (15/3429H) We
will set our course on a
shining star, speed along
to ports afar, be the
best of who we are, for
hope will light our way.
This energizing,
inspiring message and
music that celebrates the
power within to create a
better world around us
with the positive choices
we make is especially
appropriate for a moving
on ceremony. Victor C.
Johnson at his very
best!
By David Friedman. Piano/Vocal/Chords Composer Collection (Arrangements for pian...(+)
By David Friedman.
Piano/Vocal/Chords
Composer Collection
(Arrangements for piano
and voice with guitar
chords). Size 8.5x11
inches. 526 pages.
Published by Midder
Music.
Piano/Keyboard - Elementary SKU: HL.645146 Level 1. Edited by Wesl...(+)
Piano/Keyboard -
Elementary
SKU:
HL.645146
Level
1. Edited by Wesley
Schaum. Educational
Piano. Thanksgiving.
Softcover. 12 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#1743. Published by
Schaum Publications, Inc.
(HL.645146).
ISBN
9781936098996. UPC:
008148017430. 9.0x12.0
inches.
Students
will have fun playing
easy arrangements of
these six seasonal solos.
The smart choices and
short length (10 pages of
music) creates an
attractive and practical
supplement. Music is
carefully arranged to
make pieces easily
attainable while helping
to motivate and sustain
student interest. Titles
include: Harvest Song
(Swing the Shining
Sickle) * On the First
Thanksgiving Day * Over
the River and Through the
Wood * Perky Turkey *
Thanksgiving Parade * We
Gather Together.
Featuring Music from 2001: A Space Odyssey, A Clockwork Orange and Barry Lyndo...(+)
Featuring Music from
2001: A
Space Odyssey, A
Clockwork
Orange and Barry Lyndon.
Composed by Antonio
Vivaldi
(1678-1741), Giovanni
Paisiello (1740-1816),
Wolfgang Amadeus Mozart
(1756-1791), Ludwig van
Beethoven (1770-1827),
Gioachino Rossini (1792-
1868), Franz Schubert
(1797-
1828), Edward Elgar
(1857-
1934), and George
Frideric
Handel (1685-1759).
Edited
by Nicholas Hopkins.
Arranged by Nicholas
Hopkins. Carl Fischer
Music
#PL1064. Published by
Carl
Fischer Music
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus
SKU:
CF.CM9588
Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin.
Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller.