SKU: GI.G-10833

ISBN 9781574635614.

From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan     Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson     Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman     Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse     Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller     Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid     University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II     Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos     Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams     Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson     Grass Valley Elementary School, Camas, WA.

SKU: CF.CPS125F

ISBN 9780825888199. UPC: 798408088194. 9x12 inches.

Named for the beautiful Catawba River, this piece begins with a brilliant fanfare, revealing the principle motive upon which the entire composition is based. Shifting tonalities and colorful scoring are the hallmark of the opening section. This is followed by an expressive con moto section that provides the piece with dramatic contrast. Once the opening theme returns, Catawba Crossing develops into a rousing march in 6/8 time, followed by a return to the opening material, bringing the piece to an exciting conclusion. An impressive choice for contest or festival performance.

SKU: HL.50606829

ISBN 9798350114430. UPC: 196288188292.

Lász ló Dubrovay's work, written in 2006, on the 250th anniversary of Mozart's birth, is a salute of a 21st-century composer to one of the greatest geniuses in the history of music. The composer builds his original ideas on one of the best-known melodies of The Marriage of Figaro (Figaro's aria: ''Non pi? andrai, farfallone amoroso''). The series of variations on the theme of the aria is created by the involvement of special instruments, and by fully harnessing their technical abilities, while Dubrovay's hallmark of a perfect balance and peculiar compositional tone is realised on an exceptionally large orchestra. The work is suited to illustrate the potentials of crossovers between different periods in the history of music, but it can also be played at a festive, thematic concert.

SKU: AP.45988S

UPC: 038081525693. English.

Alliances are central to the success of any project, big or small. People looking past their differences to achieve a common goal have been a hallmark of our country since its inception. This piece is a celebration of the great things that are possible when we work together. (4:10).

SKU: FG.042-08331-4

ISBN 979-0-042-08331-4.

The Piano Quintet was written in 1951-53, in Kokkonen's pre-serialist period. In it he makes important early experiments with the thematic integration which has become the hallmark of his later symphonic thinking.

SKU: GI.G-8789

UPC: 788147878902. English. Text Source: Revised Order of Mass 2010, Lectionary for Mass

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts.

SKU: GI.G-8789A

UPC: 785147878940. English. Text Source: Revised Order of Mass 2010.

In 1988, GIA released Michael Joncas’s No Greater Love, a flexible mass setting offering cathedral-style music that was accessible to the singing assembly. Beautiful melodies enhanced by SATB choir and extensive orchestrations were the hallmark of this best-selling work. Now, Michael Joncas has revised this treasured setting using the 2010 Revised Order of Mass. The revision has a new through-composed Gloria that can be sung in unison during the Sundays of Ordinary Time, and for more festive occasions, one can add the optional instrumental and SATB choral parts. Also new to this setting are the gospel acclamation and a sung setting of the prayer of the faithful. The memorable congregational parts for the Kyrie and the Agnus Dei haven’t changed and the much-loved Holy, Holy has been adapted to accommodate the 2010 Revised Order of Mass text. The optional orchestration is now reduced and includes string quartet, flute, and oboe parts.

SKU: HL.35007407

UPC: 884088662134. 9.0x12.0x0.341 inches.

Paul Creston's writing has been a hallmark of contemporary American music, ranging from chamber and orchestral music to stage and film music. This movement remains one of his most notable for school string orchestra, adapted from a string quartet by the composer himself. Here's a perfect opportunity to introduce your students to fugal writing in a contemporary style.

SKU: MB.30420

ISBN 9780786685417. 8.75 x 11.75 inches.

How to Play a Tune in Any Key takes a comprehensive look at transposition in a short and easy-to-understand book. The reader will learn how to play each part of their favorite songs - chords, melodies and more - in new keys of their choosing. Transposition is an incredible skill to have - it opens familiar tunes to new sonic palettes; it allows musicians to play melodies in ranges and registers best-suited for their instrument; and it is a hallmark tool of professional musicians.

SKU: XC.HCB2205FS

12 x 9 inches.

Matthew Putnam does it again with this tuneful traditional march that will sound great right away with a developing band. All of the hallmark characteristics and what make a great march are present to give you limitless teaching opportunities.

SKU: XC.HRMG2131

UPC: 785147104353. English. Text source: Traditional.

Elegan t simplicity is the hallmark of this shimmering a cappella setting of a favorite text: Set me as a seal upon your heart ... for love is as strong as death. Straightforward rhythms, careful management of vocal ranges, and a judicious use of close cluster harmonies put this work well within the reach of many choirs. A perfect choice for choirs looking to establish a more mature sound and musical sensitivity.

SKU: GI.G-10352

SKU: GI.G-9729

ISBN 9781622775323.

Comp iled and Edited by James Mick, David Pope, and Soo Han. Chapter authors: Brenda Brenner, Robert Gillespie, Soo Han, Mark Laycock, James Mick, Christopher Selby, and James Woomert.   This much-anticipated fourth volume in the indispensable Teaching Music through Performance in Orchestra series arrives 13 years after the publication of the previous volume, with a new team of authors and editors, each at the top of the string education profession. But while the team is new, the book remains an essential resource for today’s string teachers and conductors at all levels. Part I features practical chapters by leading educators: “Selecting and Teaching Concert Music” by Christopher Selby, “Preparing for the Podium” by James Mick, “Begin with the Score: Making Notation Come Alive” by Mark Laycock, “From Poof to Portato: A Sequence of Bow Strokes for the Heterogeneous Class” by Brenda Brenner, “NRB (Notes, Rhythm, and Bow): Systematic Ways of Providing Technique in the Orchestra Classroom” by Soo Han, “Bowing Styles for the Ages: What Are They? How Do They Sound? When Do I Use Them? How Do I Get My School Orchestra to Play Them?” by Robert Gillespie, “If Only We Had More Rehearsal Time! Strategies for Optimizing Rehearsal Efficiency and Performance Preparedness that Have Nothing to Do With Conducting” by James Woomert. Part II contains analyses of 92 of the most significant works for string and full orchestra in print, Grades 1 through 6. Like the first three volumes of this series, each Teacher Resource Guide includes essential information on each musical selection, including composer and composition information, historical background, technical requirements, stylistic considerations, musical elements (form and structure), suggestions for additional listening, and a guide to selected references. Click HERE to access a spreadsheet with recommended recordings for works in Volume 4. A Note about Volume 5:   In preparation for Volume 5 of this hallmark series, we welcome your input as we seek to include more repertoire from historically underrepresented composers. For more details, please reivew the following PDF and use the Google Form below to submit your suggested works. PDF: Diversity, Equity, and Inclusion in the TMPO Series Loading….

SKU: ST.CD0087

Sydney Carter's Lord of the Dance CD is a brilliant compilation that matches the finest work of this much-loved songwriter with some of the leading lights in contemporary music.

The distinguished musicians and performers appearing on the disc include Sarah-Jane Morris, Why?, Norma Winstone, The Kingdom Choir, Martyn Joseph, Whirling Pope Joan, Matt Redman, Ian Shaw, Isla Blair, Carrie and David Grant and The Swingle Singers. Sydney Carter himself reads two of his own poems.

It has been the inspiration of producers Craig McLeish and Jeremy Taylor to intertwine the most popular songs - and a few unfamiliar gems - with some of Carter's searching poetry. With great sensitivity, the essential religious content of his words, whether sung or spoken, has been faithfully preserved, along with a sense of the music's origins in folksong and dance. At the same time, Carter's universal message about matters of doubt and faith is proclaimed in terms of the plenitude of contemporary sound resources, and the rich plurality of musical styles that is the hallmark of our present age.

SKU: HH.HH143-FSP

ISBN 9790708041948.

This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the ever popular subject of the separation of lovers. It records the departure of Irene from 'Adria' the conventional Arcadian code word for Venice and doubtless was written to commemorate a genuine parting of, say, members of a court. Throughout, Albinoni maintains the simple, lightly elegiac mood that is the hallmark of his style.