|
| Sing together with Guitar; Japanese Moving Songs played with only 10 easy chords - Facile
Yamaha
Vocal and Guitar - Easy SKU: YM.GTL01100569 Sing and play guitar with ...(+)
Vocal and Guitar - Easy
SKU:
YM.GTL01100569
Sing and play guitar
with just 10 chords!.
Composed by Various.
Guitar/Bass/Drum. Sing
together with guitar.
J-POP; City Pop. Book.
Yamaha Music Media
#GTL01100569. Published
by Yamaha Music Media
(YM.GTL01100569). ISBN
9784636103953. 8.5 x 12
inches. 60 popular
Japanese songs for Guitar
Sing Along; Can be played
with only 10 chords.
The book features
only 10 basic chords, so
even beginners who have
notmemorized many chords
can play all the songs in
the book by
masteringthese 10 chords.
The music sheets and
chord diagrams are large
and easy toread, so you
can play comfortably.
This edition features 60
songs that areloved by
people of all ages and
are tear-jerking and
heartwarming songs!Enjoy
playing the songs while
immersing yourself in the
sad lyrics andmelodies!
The arrangements are easy
to play, so the keys and
sizes maydiffer from the
original songs. $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| Easy Famous Tunes for Accordion
Accordéon [Partition + CD] - Facile
De Haske Publications
Polyphonic pieces for standard or free bass accordion. Arranged by Myriam Mee...(+)
Polyphonic pieces for
standard or free bass
accordion. Arranged by
Myriam
Mees. Book with CD.
Composed
2007. 32 pages. De Haske
Publications #DHP
1074323-
400. Published by De
Haske
Publications
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| For the beauty of the earth
Chorale SATB
SATB, Piano [Vocal Score]
Oxford University Press
Composed by John Rutter (1945-). For SATB choir and piano (2 flutes, oboe, 2 cla...(+)
Composed by John Rutter
(1945-). For SATB choir
and piano (2 flutes,
oboe, 2 clarinets,
bassoon, 2 horns,
percussion, drum, harp,
strings). This edition:
Paperback. Mixed Voices.
John Rutter Anniversary
Edition. Sacred. Level A
(very easy). Vocal score.
Duration 3.5 minutes.
Published by Oxford
University Press
$3.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Let's Play Jazz and More * Book 2
Piano seul [Partition + CD]
Santorella Publications
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For ...(+)
Let's Play Jazz and More
* Book 2 composed by Jay
Latulippe and Sonny Doss.
For easy piano. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Concerto - Piano And Orchestra - Solo Part
Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Tunes for Two - Book 2
Piano Facile
Schaum Publications
1 Piano, 4 Hands - Elementary SKU: HL.645554 NFMC 2016-2010 Piano Duet...(+)
1 Piano, 4 Hands -
Elementary SKU:
HL.645554 NFMC
2016-2010 Piano Duet
Event Primary
III-IV-Elementary I
Selection. Arranged
by Wesley Schaum.
Educational Piano. Duet,
Recital, Supplementary.
Softcover. 32 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#0572. Published by
Schaum Publications, Inc.
(HL.645554). ISBN
9781495081569. UPC:
008148005727. 9.0x12.0
inches. A great
music educator once said,
Rhythm is caught, not
taught. Duet playing
provides valuable
experience developing a
sense of rhythm. These
duets are designed for
two students at the same
level - primo and secondo
parts are of equal
difficulty. Both parts
are fun to learn because
both players are given
interesting acompaniments
as well as melodies. It
is suggested that a
student alternate parts,
learning the primo part
for one piece, the
secondo part for the
next, etc. This gives
valuable sight-reading
experience with both
hands in treble clef and
with both hands in bass
clef. Duet playing
provides an excellent
opportunity for ear
training, too. Emphasis
should be placed on
listening carefully to
both parts so that the
melody can be heard
clearly and the
accompaniment subdued.
Book Two includes 12
duets: Blue Tail Fly *
(She'll Be) Comin' Round
the Mountain * Down by
the Riverside * Jimmy
Crack Corn (Blue Tail
Fly) * Little David Play
on Your Harp * Marines'
Hymn * My Wild Irish Rose
* You're a Grand Old Flag
* and more. $6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Sing Love - Débutant
Oxford University Press
SAB choir & piano, with optional bass & drum kit (SAB) - Very Easy to Easy SK...(+)
SAB choir & piano, with
optional bass & drum kit
(SAB) - Very Easy to Easy
SKU:
OU.9780193418561
Composed by Charlie
Beale. Secular Choral -
Mixed Voices. SABar.
Vocal score. 8 pages.
Duration 3.5'. Oxford
University Press
#9780193418561. Published
by Oxford University
Press (OU.9780193418561).
ISBN 9780193418561. 10
x 7 inches. For
SABar and piano, with
opt. bass and drum kit
With words by the
composer, Sing Love is a
groovy, feel-good gospel
number that encourages
love for all mankind. The
infectious melodies are
supported by a funky
piano part and optional
bass part (included at
the back of the leaflet),
and are sure to get
everyone clapping along
to the music. $3.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Sprint
Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire
Carl Fischer
(Full Score and Parts). By Alan Lee Silva. String orchestra. For String Orchestr...(+)
(Full Score and Parts).
By Alan Lee Silva. String
orchestra. For String
Orchestra. Carl Fischer
Concert String Orchestra
Series. Classical. Medium
Easy/Medium. Score and
Parts. Standard notation.
16 pages. Published by
Carl Fischer . Score and
Parts. classical.
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| All will be well - Facile
Oxford University Press
SABar (with optional Bass) & piano, with optional percussion - easy SKU: OU.9...(+)
SABar (with optional
Bass) & piano, with
optional percussion -
easy SKU:
OU.9780193534216
Composed by Will Todd.
Secular Choral - Mixed
Voices. SABar. Vocal
score. 12 pages. Duration
4'. Oxford University
Press #9780193534216.
Published by Oxford
University Press
(OU.9780193534216).
ISBN 9780193534216. 10
x 7 inches. For
SABar (with opt. Bass)
and piano, with optional
percussion With a text by
the composer, this is a
beautiful piece about
optimism, companionship,
and the belief that 'all
will be well'. Todd's
gentle melodies are
supported by a delicate,
pulsing piano
accompaniment, and an
optional percussion part
that adds extra spark to
the music. $3.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| America's Cup
Orchestre à Cordes - Intermédiaire
Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS37 For Stri...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS37 For
String Orchestra.
Composed by Alan Lee
Silva. This edition:
complete set. FS-SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
24+24+6+15+21+15+15+20
pages. Carl Fischer Music
#CAS37. Published by Carl
Fischer Music (CF.CAS37).
ISBN 9780825863660.
UPC: 798408063665. 8.5 X
11 inches. Key: C
major. A salute to
the famous sailboat race,
this rollicking piece in
A minor introduces
compound time with an
opening (and closing)
section in 12/8. The fast
flowing music of the
opening, vividly
suggestive of a ship
slicing through the
waves, returns in a
higher key (B minor)
after a warmly scored,
sweepingly melodic middle
section. This is a piece
whose sophistication is
an excellent showcase for
a more advanced
performing
group.
Written in 12/8
in A minor,
America’s Cup
evokes the intensity and
momentum of a wild sea
with driving triplets,
sweeping melodies, and
accented downbeats. The
A-material from the
opening measure is played
aggressively but lightly
enough to keep the
feeling of forward
motion. Strong accents
and rhythmically precise
playing in the cello and
bass provide solid
support for the fast
moving violin and viola
passages. Measure 67
begins the slow, pastoral
setting of the
B-material. A gentle,
lyrical violin motive in
A major grows into a
high, sweeping melody
over sustained harmonies.
This provides a brief
repose before returning
to the fastoriginal tempo
and minor key as the
recapitulation begins at
m. 90. A modulation to B
minor (m. 94) lifts the
energy of the piece and
gives young players the
challenge of playing the
running lines in another
key. Measure 118 builds
to the end, keeping the
intensity a soft dynamic
and growing into the
final syncopated tutti
unison figure in mm.
122–123.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Blues Play-A-Long And Solos Collection for Harmonica Beginner Series
ADG Productions
Harmonica - Beginner SKU: AD.ADG242 Composed by Andrew D. Gordon. The Blu...(+)
Harmonica - Beginner
SKU: AD.ADG242
Composed by Andrew D.
Gordon. The Blues
Play-A-Long and Solos
Collection Beginner
Series. Blues. Book and
digital audio. ADG
Productions #ADG242.
Published by ADG
Productions (AD.ADG242).
ISBN 9781958017296.
UPC: 663389124226. 9 x 12
inches. The Blues
Play A Long and Solos
Collection for Harmonica
is an indispensable
instructional book
written by renowned
musician and educator,
Andrew D.
Gordon.
Specifical
ly designed for
beginners, this book
provides a comprehensive
guide to playing the
blues on the bass while
offering a plethora of
play-along tracks and
soloing
opportunities.
And
rew D. Gordon, with his
extensive experience as a
multi-instrumentalist and
music educator, has
meticulously crafted this
book to cater to
harmonica players who
want to delve into the
captivating world of
blues music. Whether
you're a complete novice
or have some basic
knowledge of the
harmonica, this book will
guide you step-by-step
through the fundamentals
of blues playing,
enabling you to develop
your skills and
confidence.
The
Blues Play-Along and
Solos Collection for
harmonica is part of an
esteemed series of
instructional books, with
other editions available
for a variety of
instruments such as
piano/keyboards, guitar,
bass, alto and tenor
saxophone, flute,
trumpet, trombone,
ukulele, recorder,
mandolin, bass and
violin. This series
ensures that musicians
across different
disciplines can explore
the blues genre and its
unique
characteristics.
K
ey features of The Blues
Play-Along and Solos
Collection for Harmonica
include: Play-Along
Tracks: Explore a diverse
selection of 30
professionally produced
play-along tracks,
featuring authentic blues
grooves in various Blues
styles, keys and tempos
such as: Funky Blues,
Boogie Blues, Jazz Blues,
Minor Blues, Country
Blues, Latin Blues, Old
Time Jazz Blues, Jazz
Swing Blues, Classic
Blues Rock, Soulful
Blues, Slow Blues and
many more. These tracks
allow you to apply your
newly acquired skills and
play alongside a band,
providing an immersive
and enjoyable practice
experience.
Each
of the 30 play-a-long
tracks has been recorded
with 10 choruses of the
12 bar blues progression
giving you the
opportunity practice
soloing techniques
totaling over 3 hours of
music. Each of the 30
Blues styles contains a
solo improvisational
melody line, 12 measures
in length, designed for
the beginner student in
mind as a starting point
to create your own
improvisational
solos.
Soloing
Techniques: Discover
various soloing
techniques and
improvisational
approaches, empowering
you to create your own
expressive solos and
melodies within the blues
framework. Repertoire
Building: Develop a
repertoire of blues
songs, licks, and riffs
specifically tailored for
the harmonica. Expand
your musical vocabulary
and gain confidence in
your ability to perform
and jam with
others.
Music
Notation : The book
contains clear and
easy-to-read music
notation ensuring
accessibility for
beginners and
facilitating a smooth
learning process. Whether
you aspire to perform on
stage, jam with friends,
or simply enjoy playing
the bass at
home.
The Blues
Play-Along and Solos
Collection for Harmonica
provides you with all the
tools you need to embark
on an exciting blues
journey. Andrew D.
Gordon's expertise and
passion for teaching
music shine through in
this book, making it an
essential resource for
any bass player seeking
to explore the expressive
and soulful realm of
blues music. $21.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Easy Funk Play-Along
Advance Music
1-4 Trumpets - Beginner SKU: AP.1-ADV14827 An Easy Way to Improvise Wi...(+)
1-4 Trumpets - Beginner
SKU: AP.1-ADV14827
An Easy Way to
Improvise With 10 Great
Tunes. Composed by Ed
Harlow. Brass - B-flat
Cornet (Trumpet) Method
or Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Easy Funk
Play-Along. Funk; Jazz.
Book and Digital
Download. Advance Music
#01-ADV14827. Published
by Advance Music
(AP.1-ADV14827). UPC:
805095148275.
English. Single and
group use. Easy Funk
Play-Along by Ed Harlow
contains 10 catchy riffs
and tunes for beginners!
You can play the melodies
along to the fantastic
play-along tracks,
provided by The Boston
Horns. The background
parts and rhythmic hits
can be played by your
teacher or up to three
more friends. For group
use, combine the editions
for flute, clarinet, alto
sax, trumpet, tenor sax,
and trombone at will, and
set up your rhythm
section with additional
parts available for
guitar, piano, electric
bass, and drum set. For
beginning improvisers.
Each piece has a written
solo which can be played
to the play-along tracks
or with a live rhythm
section. If improvising
is new to you, this is
the ideal book to work
with. Learn the
pentatonic scale provided
for each piece and your
solos will sound
great! $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Easy Funk Play-Along
Advance Music
1-4 Trombones - Beginner SKU: AP.1-ADV14828 An Easy Way to Improvise W...(+)
1-4 Trombones - Beginner
SKU: AP.1-ADV14828
An Easy Way to
Improvise With 10 Great
Tunes. Composed by Ed
Harlow. Brass - Trombone
and Baritone Method or
Collection;
Improvisation;
Method/Instruction;
Play-Along; Technique
Musicianship. Advance
Music: Easy Funk
Play-Along. Funk; Jazz.
Book and Digital
Download. Advance Music
#01-ADV14828. Published
by Advance Music
(AP.1-ADV14828). UPC:
805095148282.
English. Single and
group use. Easy Funk
Play-Along by Ed Harlow
contains 10 catchy riffs
and tunes for beginners!
You can play the melodies
along to the fantastic
play-along tracks,
provided by The Boston
Horns. The background
parts and rhythmic hits
can be played by your
teacher or up to three
more friends. For group
use, combine the editions
for flute, clarinet, alto
sax, trumpet, tenor sax,
and trombone at will, and
set up your rhythm
section with additional
parts available for
guitar, piano, electric
bass, and drum set. For
beginning improvisers.
Each piece has a written
solo which can be played
to the play-along tracks
or with a live rhythm
section. If improvising
is new to you, this is
the ideal book to work
with. Learn the
pentatonic scale provided
for each piece and your
solos will sound
great! $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 2: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10005 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10005
Emerging Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10005. Published by GIA
Publications
(GI.G-10005).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 3: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10008 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10008
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10008. Published by GIA
Publications
(GI.G-10008).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Volume 1: Bass Clef (Student Workbook)
GIA Publications
SKU: GI.G-10002 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10002
Foundational
Skills. Composed by
Keitha Lucas Hamann and
Michele Henry. Music
Education. Book. 72
pages. GIA Publications
#10002. Published by GIA
Publications
(GI.G-10002). ISBN
9781622774128. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Fiddle Tunes - Facile
Barenreiter
First violin,second violin,viola,third violin,cello,Db (1. Violin, 2. Violin, Vi...(+)
First violin,second
violin,viola,third
violin,cello,Db (1.
Violin, 2. Violin, Viola,
3. Violin, Violoncello,
Double bass) - Level 2
SKU: BA.BA10654
Irish Music for
Strings. Edited by
George A. Speckert.
Arranged by George A.
Speckert. Stapled.
Ersetzt BA 8145. Score,
Set of parts.
11/4/4/4/4/4 pages.
Baerenreiter Verlag
#BA10654_00. Published by
Baerenreiter Verlag
(BA.BA10654). ISBN
9790006569151. 30 x 23 cm
inches. The
cheerful and often
melancholic melodies of
Ireland lend themselves
well for easy string
quartet or ensemble
repertoire. Wonderful
tunes such as “A
Lovely Lass†and
“The Foggy
Dew†have been
arranged by Speckert for
two violins, viola and
cello. In all pieces the
viola can be replaced by
a third violin.
“Fiddle
Tunes†forms part
of the “Easy String
Ensembleâ€
series.
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Bluebell
Orchestre d'harmonie - Intermédiaire
Carl Fischer
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euph...(+)
Band Bass Clarinet,
Bassoon, Clarinet 1,
Clarinet 2, Clarinet 3,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Mallet
Percussion, Oboe,
Percussion, Suspended
Cymbal, Timpani,
Triangle, Trombone 1,
Trombone 2, Trumpet 1 and
more. - Grade 3 SKU:
CF.CPS227 Composed by
Yukiko Nishimura. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
4+4+2+4+8+8+2+2+2+2+2+2+4
+4+4+2+2+3+3+3+4+1+1+2+16
+2 pages. Duration 4
minutes, 11 seconds. Carl
Fischer Music #CPS227.
Published by Carl Fischer
Music (CF.CPS227).
ISBN 9781491152539.
UPC:
680160910038. Music
by Yukiko Nishimura is
some of the most
sensitive music that we
publish. This
heart-warming composition
exudes emotion and
musical depth. A perfect
way to improve the
musicianship of young
ensembles.
BluebellÂ
is an arrangement of a
piece originally written
for string orchestra. A
short introduction was
added for this
arrangement, and the key
has been changed as well.
Bluebell is the kind of
flower which looks like a
small bell; it is a
dainty little flower.The
main melody is very
simple and easy to
express. The inner
melodies are important,
too. Each inner melody
should be played as a
main melody even if it is
a bass line.This piece
consists of three
sections. The second
section is based on the
main melody, so the
atmosphere is consistent
through the music. The
harmony changes are very
dramatic here. The bass
lines should be heard
clearly. The glockenspiel
has an important role in
this music. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Alfred Jazz Play-Along -- Freddie Hubbard and More, Volume 5
Instrumentation Flexible [Partition + CD] - Intermédiaire
Alfred Publishing
(Rhythm Section (Piano, Bass, Drum Set)). For Rhythm Section. Book; CD; Mixed In...(+)
(Rhythm Section (Piano,
Bass, Drum Set)). For
Rhythm Section. Book; CD;
Mixed Instruments -
Flexible Instrumentation;
Play-Along. Alfred Jazz
Play-Along Series. Jazz.
Grade 3. 128 pages.
Published by Alfred Music
$25.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Alarm!
Ensemble de Percussions [Conducteur et Parties séparées + CD] - Facile
Tapspace Publications
(for percussion septet). By Brian Blume. Percussion Septet. For 3 snare drums (h...(+)
(for percussion septet).
By Brian Blume.
Percussion Septet. For 3
snare drums (high,
medium, and low), 3 toms
(high, medium, and low),
concert bass drum (7
players). Medium-Easy.
Score and parts on
CD-ROM. 12 pages.
Duration 2'35 . Published
by Tapspace Publications
$38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Canon Noel
Orchestre [Conducteur et Parties séparées]
Carl Fischer
Composed by Traditional. Arranged by Deborah Baker Monday. Set of Score and P...(+)
Composed by Traditional.
Arranged by Deborah Baker
Monday. Set of Score and
Parts. 8 8 2 5 5 5 8
pages.
Duration 2:30. Carl
Fischer
Music #YAS218. Published
by
Carl Fischer Music
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Toennes R Gitarre Spielen-mein Hobby - Débutant
Schott
Guitar (NOTEN+CD) - very easy to intermediate SKU: HL.49033110 Die mod...(+)
Guitar (NOTEN+CD) - very
easy to intermediate
SKU: HL.49033110
Die moderne
Gitarrenschule fur
Jugendliche und
Erwachsene. Composed
by Toennes. This edition:
Ring/Spiral binding.
Sheet music with CD.
Edition Schott. Die
moderne Gitarrenschule
fur Jugendliche und
Erwachsene bietet das
Erfolgsrezept fur
Melodiespiel, Picking und
Akkordbegleitung an.
Dabei ist es egal, ob Sie
Neueinsteiger sind oder
vor langerer Zeit einmal
ein paar Griffe gelernt
haben. Edition with CD.
96 pages. Schott Music
#ED 9475. Published by
Schott Music
(HL.49033110). ISBN
9783795755980.
German. The modern
guitar method for young
people and adults offers
the recipe for success
when it comes to melody
playing, picking and
chord accompaniment. It
does not make a
difference if you are an
absolute beginner or if
you already know a few
chords. For with the
pieces that you have
always wanted to play,
you also learn to play
the guitar: plucking,
melody and song
accompaniment, and the
major chords and rhythms
with which you can play
the best 50 folk and pop
songs. The CD as a
training partner
guarantees a lot of fun
and success: You can
listen to the songs as
they are supposed to
sound. Fade out one of
the channels! You then
have 3 possibilities to
play along: melody,
picking or rhythm. $32.00 - Voir plus => Acheter | | | |
| Dynamism - Facile
Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2.5 SKU: C...(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 2.5 SKU:
CF.YAS217 Composed by
Kathryn Griesinger. Carl
Fischer Young String
Orchestra Series. Set of
Score and Parts.
16+16+4+10+10+10+12
pages. Carl Fischer Music
#YAS217. Published by
Carl Fischer Music
(CF.YAS217). ISBN
9781491160510. UPC:
680160919109. This
energetic original work
for intermediate string
orchestra layers vigorous
melodies and rhythms as
it builds toward a
climactic key change from
A minor to B minor. As
the title suggests, the
music represents a
constant state of
movement and change,
pushing forward with
momentum and building
theme upon theme,
increasing and expanding
in range, volume, and
intensity. A
sometimes-syncopated feel
conveys the restless
drive and determination
of working continuously
toward a goal. In this
piece, students can
explore the musical
elements of melody,
countermelody, and motif
while developing the
ability to count and play
independently. An
excellent selection for
working on extended
finger patterns (viola
and cello), string
crossings, divisi
playing, easy shifting
(first violin), and
dramatic dynamic
changes.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by:
--Occasionally
extending to third
position
--Keys
carefully considered for
appropriate
difficulty
--Addition
of separate 2nd violin
and viola
parts
--Viola T.C.
part
included
--Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Great Plains Saga - Débutant
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 1
SKU: CF.BAS80
Composed by Joseph
Compello. Beginning
String Orchestra (BAS).
Set of Score and Parts.
With Standard notation.
8+5+8+2+5+5+2+8 pages.
Duration 1 minute, 55
seconds. Carl Fischer
Music #BAS80. Published
by Carl Fischer Music
(CF.BAS80). ISBN
9781491151259. UPC:
680160908752. 9 x 12
inches. Key: E
minor. Joseph
Compello's Great
Plains Saga for the
beginning string
orchestra students
depicts wide open spaces,
rugged terrain, and
covered wagons heading
West through the American
plains. Students will
love playing this contest
selection, written in a
minor mode. This piece
can be learned in as
little as 10 weeks, yet
showcases the students'
abilities and
growth.
Great Plains
Saga is an easy concert
piece for a young string
ensemble. The music
should be performed in a
manner which evokes the
rustic openness of the
American continent at the
time when Native American
tribes inhabited it.
Accordingly, the music is
modal and thus provides
an ancient character to
the melodies. The first
theme appearing at m. 9
consists of six notes. It
repeats at m. 17 in the
cello part with a
countermelody in the
violins. Â After a
brief transition m. 25,
the second section begins
with a quiet two-measure
phrase that is
answered forte by the low
strings. Â This
call-and-response episode
continues until m. 43
where the transition to
the opening theme begins.
At m. 49 the director may
wish to slow the tempo
just a bit to give the
music a heavier feel. The
coda at m. 57 may be
played freely and
dramatically.
About Carl
Fischer Beginning String
Orchestra
Series Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
- Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
- Limited
keys and rhythms - only
simple 8th note
patterns
- Limited
independence of
parts
- Playable
after limited study
time
- First
position and natural
bowings
- Piano for
rehearsal and
reinforcement
$48.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Great Plains Saga - Débutant
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 1
SKU: CF.BAS80F
Composed by Joseph
Compello. Beginning
String Orchestra (BAS).
Full score. With Standard
notation. 8 pages. Carl
Fischer Music #BAS80F.
Published by Carl Fischer
Music (CF.BAS80F).
ISBN 9781491151624.
UPC: 680160909124. 9 x 12
inches. Joseph
Compello's Great
Plains Saga for the
beginning string
orchestra students
depicts wide open spaces,
rugged terrain, and
covered wagons heading
West through the American
plains. Students will
love playing this contest
selection, written in a
minor mode. This piece
can be learned in as
little as 10 weeks, yet
showcases the students'
abilities and
growth.
Great Plains
Saga is an easy concert
piece for a young string
ensemble. The music
should be performed in a
manner which evokes the
rustic openness of the
American continent at the
time when Native American
tribes inhabited it.
Accordingly, the music is
modal and thus provides
an ancient character to
the melodies. The first
theme appearing at m. 9
consists of six notes. It
repeats at m. 17 in the
cello part with a
countermelody in the
violins. Â After a
brief transition m. 25,
the second section begins
with a quiet two-measure
phrase that is
answered forte by the low
strings. Â This
call-and-response episode
continues until m. 43
where the transition to
the opening theme begins.
At m. 49 the director may
wish to slow the tempo
just a bit to give the
music a heavier feel. The
coda at m. 57 may be
played freely and
dramatically.
About Carl
Fischer Beginning String
Orchestra
Series Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
- Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
- Limited
keys and rhythms - only
simple 8th note
patterns
- Limited
independence of
parts
- Playable
after limited study
time
- First
position and natural
bowings
- Piano for
rehearsal and
reinforcement
$6.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Volumes 1 & 2 (Teacher Manual)
GIA Publications
SKU: GI.G-10003 Foundational Skills. Composed by Keitha Lucas Hama...(+)
SKU: GI.G-10003
Foundational
Skills. Composed by
Keitha Lucas Hamann and
Michele Henry. Music
Education. 98 pages. GIA
Publications #10003.
Published by GIA
Publications
(GI.G-10003). ISBN
9781622774135. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 3: Treble Clef (Student Workbook)
GIA Publications
SKU: GI.G-10007 Minor Skills. Composed by Keitha Lucas Hamann and ...(+)
SKU: GI.G-10007
Minor Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10007. Published by GIA
Publications
(GI.G-10007).
Help your
students Level Up! their
sight-reading skills
using their minds and
ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Level Up - Vol. 2: Treble Clef (Student Workbook)
GIA Publications
SKU: GI.G-10004 Emerging Skills. Composed by Keitha Lucas Hamann a...(+)
SKU: GI.G-10004
Emerging Skills.
Composed by Keitha Lucas
Hamann and Michele Henry.
Music Education. Book. 72
pages. GIA Publications
#10004. Published by GIA
Publications
(GI.G-10004). ISBN
9781622774142. Help
your students Level Up!
their sight-reading
skills using their minds
and ears, as well their
voices! Level Up! is a
sequential, interactive,
and comprehensive
resource built from the
authors’ decades
of research and
experience teaching
students of all levels
and ages. Using the
concept of target skills
(isolated pitch and
rhythm patterns), Level
Up! guides students to
carefully understand and
analyze every new skill
by difficulty. Authors
Michele L. Henry and
Keitha Lucas Hamann then
reinforce each skill by
asking students to
sight-read specially
sequenced practice
melodies. Each of the
five
volumes—Foundation
al, Emerging, Minor,
Developing, and
Advanced—is
designed as an
interactive workbook for
students to mark up, and
is available in both
treble clef and bass clef
editions. The companion
Teacher Manuals include
clear instructions for
how to best use the Level
Up! system, outline the
approach and sequencing,
and provide assessments.
Level Up! supports the
artistic literacy goals
of the National Coalition
for Core Arts Standards
(NCCAS) and many state
music education
standards. The companion
website,
giamusic.com/levelup,
provides even more
reinforcement. The goal
of Level Up! is simple:
to help students become
independent and confident
musicians, with benefits
to last a lifetime!
Michele L. Henry, Ph.D.
is Professor of Choral
Music Education at Baylor
University, Waco, Texas.
Keitha Lucas Hamann,
Ph.D. is Associate
Professor of Music
Education at the
University of Minnesota,
Twin Cities. Â Level
Up! is the most
sequential approach to
the teaching of
sight-reading that
I’ve ever seen!
Designed for use with
singers at the middle
school through high
school levels, the
methodology aligns with
National Standards, UIL,
and TEKS, and is range
related for developing
voices. Within each
lesson, specific skills
are targeted and the
interactive approach
further encourages the
mastery of skills.
Individual assessment is
provided both for
long-term and short-term
goals, thus creating a
complete and accessible
methodology which can be
used in any choral or
general music classroom.
—Lynne Gackle,
Director of Choral
Activities, Baylor
University This book
fills a unique niche in
the field. I love that it
takes the needs of
developing/changing voice
singers into account and
that students can write
in the books like a
workbook as they are
learning the tools for
sight singing. Teachers
will definitely
appreciate the
opportunities for
assessment built into the
series. —Jessica
Nápoles, Associate
Professor of Choral Music
Education, University of
North Texas As a teacher,
I really do love this
resource. It’s
broken down in a way that
makes it very easy to
incorporate into my
lessons, and the fact
that it’s
sequential and very clear
about the concepts
introduced at each level
is extremely helpful. I
can see my students
(beginners especially)
getting better and more
confident with their
sight-reading. I look
forward to using this
resource as our primary
sight-reading resource!
—Courtney Neva,
Choir Director, Dripping
Springs High School. $8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
|
