Par SULLIVAN SIR ARTHUR SEYMOUR. W.S. Gilbert's complete libretto for H.M.S Pinafore, which opened May 28, 1878, at the Opera Comique and ran for 571 performances. Subtitled 'The Lass That Loved A Sailor', the story concerns a captain's daughter and a common sailor that fall in love./ Recueil / Voix

Vocal Selections-This songbook contains 17 Vocal selections from Lin-Manuel Miranda's critically acclaimed musical about U.S. Founding Father Alexander Hamilton. Hamilton debuted on Broadway in August 2015 to unprecedented advanced box office sales. The show has since won 11 Tony Awards a Grammy and a Pulitzer Prize. In 2017 Sir Cameron Macintosh will be bringing the musical to London's West End. This collection for Voice with Piano accompaniment features selections from the songs Alexander Hamilton Dear Theodosia Hurricane It's Quiet Uptown One Last Time That Would Be Enough Washington on Your Side and more.Hamilton - Vocal Selections also includes a biography of Lin-Manuel Miranda.

Choir Rocks! Patience presents Take That's hit single arranged for a beginner choir with straightforward piano accompaniment. This piece is for soprano and alto with an optional third part of limited range for baritone or low alto. Chord symbols are included too. The Choir Rocks Series offers a range of flexible arrangements of contemporary pop hits

Teaching Harmony with Multicultural Rounds and Canons-From the campfire to the concert hall singing in rounds and canons is one of the most enjoyable experiences for singers of all ages. As music teachers we know that successful harmony doesn't just happen. It occurs over time with lots of practice and encouragement.This collection of rounds and canons is a sequential repertoire of kid-tested no-fail songs to guide students through that developmental process of ?finding their voices? in successful harmony. It includes movement and percussion echoes rounds and canons; speech canons; call and response songs; and song rounds and canons. ROUND the World is also a multicultural collection so thatstudents can experience the music of their world brothers and sisters and have a greater understanding of their cultural stories and traditions.?The Teacher Edition features reproducible song melodies with chord symbols song background performance tips piano/vocal arrangements and a variety of reproducible classroom instrument parts for accompanying options. The Performance/Accompaniment CD is available separately or in a Classroom Kit with the Teacher Edition for more budget-saving value! Available separately: Teacher Edition (HL09971739) Performance/Accompaniment CD and Classroom Kit (HL09971741)?(Teacher and P/A CD). Suggested for grades 2-5.

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

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

40 Fun Warm-Ups Using Songs from Across the United States-Keeping singers in our ensembles excited and energized during the warm-up process is a consistent hurdle for educators across the nation. By using songs that are indigenous to different parts of our country teachers in choral classrooms can help students prepare their minds bodies and voices while sharing a bit of our culture and history from different areas of the United States. All of the songs can be used with both inexperienced beginners and advanced singers. The lesson suggestions introduced with each song are intended to be aspringboard for teachers to modify and adapt to their own students' needs and skill levels. Each melody includes strategies that are accessible for those who are just learning how to use their voices and also for those more sophisticated singers who enjoy a good challenge. Keeping singers in our ensembles excited and energized during the warm-up process is a consistent hurdle for educators across the nation. By using songs that are indigenous to different parts of our country teachers in choral classrooms can help students prepare their minds bodies and voices while sharing a bit of our culture and history from different areas of the United States. All of the songs can be used with both inexperienced beginners and advanced singers. The lesson suggestions introduced with each song are intended to be aspringboard for teachers to modify and adapt to their own students' needs and skill levels. Each melody includes strategies that are accessible for those who are just learning how to use their voices and also for those more sophisticated singers who enjoy a good challenge.

Don't read notes read patterns of sound! This unique sight reading course for treble voices in elementary and early middle school does just that! Patterns Of Sound uses excellent voice leading careful sequencing and musically interesting exercises that can be combined to strengthen part singing pitch relationships and to develop rhythmic independence. Volume 1 starts from square one assuming no previous training with exercises that are so carefully sequenced that the students are quickly singing four-measure phrases and eight measure songs in two parts and finding it easy! Students are introduced to notes rests meter pitch and unison/2-part songs in Vol. 1 andcontinue in Vol. 2 with dotted rhythms & syncopation keys & key changes and more 2-part songs. Use it every day and watch your students' confidence level grow! Available: Teacher's Edition (Vol.1) Student Edition (Vol.1) CD (Vol.1) Teacher's Edition (Vol.2) Student Edition (Vol.2). Recommended for Grades 3-8.

A Practical Sight-Singing Course-Don't read notes read patterns of sound! This unique sight reading course for treble voices in elementary and early middle school does just that! Patterns Of Sound uses excellent voice leading careful sequencing and musically interesting exercises that can be combined to strengthen part singing pitch relationships and to develop rhythmic independence. Volume 1 starts from square one assuming no previous training with exercises that are so carefully sequenced that the students are quickly singing four-measure phrases and eight measure songs in two parts and finding it easy! Students are introduced to notes rests meter pitch and unison/2-part songs in Vol. 1 andcontinue in Vol. 2 with dotted rhythms & syncopation keys & key changes and more 2-part songs. Use it every day and watch your students' confidence level grow! Available: Teacher's Edition (Vol.1) Student Edition (Vol.1) CD (Vol.1) Teacher's Edition (Vol.2) Student Edition (Vol.2). Recommended for Grades 3-8.

In 1857 and 1858 as Richard Wagner had come to the completion of Die Walkure the second installment in his epic opera cycle Der Ring des Nibelungen he took time out to write a series of lieder for (and based on poems by)Mathilde Wesendonck with whom Wagner was believed to have been at the very least extremely infatuated. Whatever the truth might have been behind their relationship it is known that Wagner had met Mathilde's husband Otto inZurich and his ensuing friendship with the couple led to this beautiful set of lieder.Wagner himself called two of the set's songs (Im Treibhaus and Traume) 'studies' for his magnificent opera Tristan andIsolde and though originally intended for female voice with piano all of these songs were eventually orchestrated either by Wagner (in the case of Traume) or by other composers. When they were first performed in 1862 they weretitled Five Songs for a Female Voice. In the 20th century they also became very popular songs for some of the greatest tenors.Much earlier in 1839 Wagner had composed a three-song cycle called Trois Melodies. The firstpiece entitled Dors mon enfant was a lullaby that Wagner ascribed to an unnamed young poet of his publisher's acquaintance and of which he wrote that his wife had called 'heavenly for sending one to sleep'. He thenset Ronsard's song Mignonne and Victor Hugo's L'attente (from that author's Orientales) to round out the set. Wagner offered L'attente to the reigning diva of the time Pauline Viardot who is said to have flatly refused it.Wagner wrote in his memoirs My Life 'I have no reason to be ashamed of these small pieces.'Listen to brilliant tenor Jon Robert Cart perform these lieder. Then he steps aside and you take center stage with yourvirtuoso accompanist Narciso Solero at the piano.

and Facility - Pro Vocal Mixed Editions-Vocal strength is essential to producing a good sound and singing with control and confidence. A weak voice is one that tires easily one that is inconsistent in sound quality and/or pitch and dynamics and one that gives out many years before the singer is ready to stop singing. Vocal strength is not all about singing loudly it's about singing well. The exercises and musical selections in Vocal Exercises For Building Strength Endurance And Facility are designed to help singers hone and refine their skills to develop the kind of control and consistency professional singers need to compete and find work. But mastering these skills is notjust a task for professional singers ' amateur singers who work on the exercises in this book will find singing easier and more fun with each new level of control they achieve. The online audio contains demos for listening and separate backing tracks so you can sing along. In addition to vocal exercises several songs are included for practice including Danny Boy The House of the Rising Sun Look for the Silver Lining Sometimes I Feel like a Motherless Child and more.

Unchanged changing or changed male singers in middle school and high school may need a little extra help in 'finding' their singing voices. Roger Emerson has developed a series of warm-ups that uses excerpts from classic rock and roll tunes that will provide the motivation and repetition they need to do just that.Each song features limited ranges and the pattern starts in a moderate range and gradually ascends into the tenor range and descends through the bass range as needed.Exercises are based on the following songs: The Addams Family Theme; Theme from 'Jaws'; Jump Jive an' Wail; Land of a Thousand Dances; Mission: Impossible Theme; Na Na HeyHey Kiss Him Goodbye; Shake Rattle and Roll; Smoke on the Water; We Will Rock You. Designed to accompany the Pop Warm-Ups & Work-Outs For Guys book (HL08749926) this CD contains recordings of each exercise complete with vocals so your guys have a model to emulate.