Ce livre excellent et maniable contient les paroles de cent Golden Oldies de la vaste gamme de chansons Country and Western et de ballades. Il comprend les favoris traditionnels et classiques populaires tels que la maison du soleil levant, Love Me tendre, Jolene et Hey Good Lookin '. La forme et le style du livre signifie qu'il est utile comme référence gig-sac, mais la collection fera appel à toute personne qui aime la rejoindre en à une chanson de chanter et séances de karaoké ou même un vieux grand croon dans la salle de bain ! / Voix / 52 pages / Chanson En Séparée

Tenor/Bass Edition. Par EMERSON ROGER. Hal Leonard Vocal Method est conçue pour toute personne souhaitant apprendre les bases du chant, à l'aide d'exercices vocaux et de chansons populaires. Ce guide du débutant, facile à utiliser, sert d'introduction pour commencer à chanter avec une bonne technique. Les sujets abordés sont les suivants : posture, respiration, échauffements, consonnes, voyelles, phrasé, vibrato et extension de la gamme. Le prix de ce recueil comprend l'accès à l'audio et aux vidéos en ligne, à télécharger ou à visionner en streaming, en utilisant le code unique qui se trouve à l'intérieur. L'audio comprend une piste de démonstration professionnelle ainsi qu'une piste d'accompagnement pour la performance. Des instructions vidéo étape par étape sont incluses pour chaque sujet. Les chansons de cette édition pour les chanteurs ténor et basse comprennent : Can't Help Falling in Love - Fire and Rain - Hallelujah - Mad World - Stand by Me - Take Me Home, Country Roads - Yesterday - et bien d'autres. / Date parution : 2021-12-09/ Méthode / Voix Ténor ou Basse

Eine echte Novität: Erstmals gibt es ein Liederbuch, das ausschließlich für die Klassenstufen 5 und 6 konzipiert ist. In der Repertoireauswahl, der Ansprache der Schülerinnen und Schüler und im Zuschnitt der Angebote geht dieses neuartige Liederbuch gezielt auf die Belange genau dieser Altersstufe ein. Es ist dabei weit mehr als eine reine Repertoiresammlung: Zu vielen Titeln gibt es weiterführende Optionen rund um die Themen Klassenmusizieren, Tanz, Choreografie, Stimme und vieles mehr.- 150 Titel aus allen stilistischen Bereichen, Kontinenten und Zeiten - zahlreiche Zusatzangebote zu Klassenmusizieren - Tanz und Bewegungsanleitungen, Begleitsätze und -patterns - Hintergrundwissen / Voix

Par RATTRAY BRENDA. Brenda Rattray's The Joy of Singing is for children, young people and adults in primary schools, secondary schools, youth groups and churches who would like to build a singing community. Whether a musician or not, the twenty fun songs in this collection will bring variety and enjoyment - perfect for reinforcing confidence in any choir! A wealth of material in here... there are unison songs, simple part-singing, songs with four or more parts - arrangements of well-known spirituals including: Wade In The Water, Rocka My Soul, Kumbayah and Swing Low, Sweet Chariot - and original songs, including African and gospel styles and influences. Detailed teaching notes on each song are included, with discussion points and extension activity suggestions. Citizenship and PSHE themes are also incorporated, making the material ideal for Key Stage 2-3 (Scottish P3-S2 plus). The accompanying 2 CDs contain Audio backing and performance tracks, as well as a PDF of lyrics on the Enhanced CD for easy printing/projection./ Recueil / Chant

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

Ever wonder how to put together the vocal parts in bluegrass 3 part harmony singing? In this very intimate lesson, Jenny Lester puts her band mates through the paces of finding their harmony parts. They very generously comply in an honest, open-hearted session that takes you right into what could easily be one of their private vocal practice sessions. Soon you will be practicing lead, tenor and baritone singing, each on it's own and then with the other 2 parts through this instructional DVD. In this lesson, Jenny takes two songs (Friends Like You and The River, Mother Nature and Me) and touches on the following techniques for good harmony singing - --finding a good harmony note by learning how to find the root, 3rd and 5th of the chord you are singing over --basic harmony theory for singers --octaves --tips on when and when not to use vibrato --blending and tone --harmony singing with men and women --singing consonants with a group --the tenor and baritone parts that make basic bluegrass harmony --closing off with harmonies to Will The Circle Be Unbroken --and more / Voix / Dvd - Format: 7,5 X 5,25

Arrangeur: Ben Parry. Par WINEHOUSE AMY. Choir Rocks! Rehab is Amy Winehouse's hit from the album Back to Black arranged for upper voices with piano accompaniment by Ben Parry. Choir Rocks! Series 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 accompaniments perfect for the amateur pianist. Also includes chord symbols for the addition of guitar, bass, and drums for a more electric performance. Choir Rocks! Rehab is Amy Winehouse's hit from the album Back to Black arranged for upper voices with piano accompaniment. This arrangement 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 accompaniments perfect for the amateur pianist. Also includes chord symbols./ Feuillet / Chant

Par DANGERFIELD FYFE. She's Always A Woman (Billy Joel), first released as a double A-side from Billy Joel's 1977 album The Stranger and recorded by Fyfe Dangerfield in 2010, here arranged for upper voices with piano accompaniment. This arrangement 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 accompaniments perfect for the amateur pianist. Also includes chord symbols./ Feuillet / Chant