| Jazz Singer's Handbook, The - Book And Cd Chorale [CD] Alfred Publishing
| | |
| Lecha Adonai Ha-gedula Chorale SATB SATB, Piano - Intermédiaire Laurendale Associates
SATB choir, organ or piano - Intermediate SKU: MN.CH-1171 Composed by Dav...(+)
SATB choir, organ or
piano - Intermediate
SKU: MN.CH-1171
Composed by David
Lefkowitz and David
Nowakowsky. Arranged by
David Lefkowitz. David
Nowakowsky Foundation
Series. Octavo. Duration
2 minutes, 30 seconds.
Laurendale Associates
#CH-1171. Published by
Laurendale Associates
(MN.CH-1171).
The majesty of
this liturgical text
taken from biblical
passages, must have
inspired the melodic
theme for this
composition. Sung in the
synagogue when the Torah
is carried in a
procession, the melody
(in a shortened form) was
among the standards by
Nowakowsky used in the
Brody Synagogue during
the early years of the
20th century. It was
first introduced at the
Park Avenue Synagogue in
New York by Cantor David
Lefkowitz in 1979. The
compilation and
arrangement by Lefkowitz
(1988) used in this
publication is based on
four variant a cappella
settings in manuscript,
by Nowakowsky, all on the
same basic melodic theme.
By combining the best
choral and harmonic
aspects of these four
pieces, and then adding a
complementing
accompaniment, Lefkowitz
produced a piece that has
been successful in both
concert and worship. This
arrangement was
introduced in 1989 in
Royce Hall at UCLA with
the late Roger Wagner
conducting.
Durati
on 2:30. $2.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three for Two Wilhelm Hansen
Guitar, Violin (Score & Parts) SKU: HL.277962 3 Short Pieces for Violi...(+)
Guitar, Violin (Score &
Parts) SKU:
HL.277962 3 Short
Pieces for Violin and
Guitar Score and
Parts. Composed by
Poul Ruders. Music Sales
America. Classical.
Softcover. 30 pages.
Edition Wilhelm Hansen
#WH32906. Published by
Edition Wilhelm Hansen
(HL.277962). ISBN
9788759838877. 11x14.25
inches.
English. Written
for and dedicated to
Movses Pogossian and
David Starobin for world
premiere at Popper
Theatre, UCLA, 12th of
April 2017. Each
component is spiral
bound. $35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Textures Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Harry T. Bulow. By Harry T. Bulow. For Concert Band. Concert Band. Donald Hun...(+)
By Harry T. Bulow. By
Harry T. Bulow. For
Concert Band. Concert
Band. Donald Hunsberger
Wind Library. Level:
Medium Advanced (grade
V). Conductor Score and
Parts. 325 pages.
Published by Alfred
Publishing.
(2)$150.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Voices I Hear GIA Publications
SKU: GI.G-10678 A Philosophical and Practical Approach to the Choral A...(+)
SKU: GI.G-10678
A Philosophical and
Practical Approach to the
Choral Art. Composed
by Will Kesling. Music
Education. 472 pages. GIA
Publications #10678.
Published by GIA
Publications
(GI.G-10678). ISBN
9781622776436. Draw
ing from his five decades
of success as a conductor
and educator in the
choral field, Will
Kesling has compiled a
comprehensive choral
methods resource that
addresses every necessary
fundamental for achieving
artistry in the choral
art. Written in clear and
conversational language,
this resource covers:
Building a healthy and
beautiful choral sound
Dealing with vocal issues
Selecting repertoire and
programming concerts
Developing score study
skills and interpretive
insights Understanding
the characteristics of
musical periods and
composers Planning,
preparing for, and
running rehearsals The
Voices I Hear also
explores important but
often overlooked topics,
including a discussion of
performing sacred music
in secular education
settings, techniques for
performing
choral-orchestral works,
choral versus orchestral
conducting, and how to
become a true
“maestro.â€
Individual chapters also
function as standalone
topics of study. A
valuable read for
emerging and seasoned
conductors alike, The
Voices I Hear is an
expert study of the
aesthetic, intellectual,
and practical aspects of
the choral art. Dr. Will
Kesling is Professor of
Choral and Orchestral
Conducting at the
University of Florida,
where he has taught for
two decades. He has
conducted hundreds of
choral ensembles and
nearly fifty of the
world’s finest
symphony orchestras. His
ensembles have received
international attention
for their excellence and
musical expression. Â
Thank you, Dr. Kesling,
for the decade you gave
of yourself to write the
most complete and
comprehensive writing on
the topics of choral
techniques, methods, and
conducting I have seen.
It is in-depth yet
practical, to the point
of being a valuable
resource for both the
young conductors entering
the choral field to the
well-established
professionals. You have
given us a solid
foundation in all
significant areas of the
choral art, including,
among many others, the
production of beautiful
vocal tone, detailed
physical vocal
production, textual and
physical components of
English diction,
repertoire programming,
appropriate style,
interpretation and
phrasing, and a pathway
to successful conducting
of combined choral and
orchestral forces. Your
enormous and highly
successful career, with
worldwide performances
and numerous awards and
honors, has enabled you
to bring validity and
integrity to the entire
writing. —Donald
Neuen  Â
Distinguished Professor
Emeritus, UCLA Â Â
Former member of the
Robert Shaw Chorale Â
 Mr. Shaw’s
Assistant Conductor with
the Atlanta Symphony
Orchestra and Choruses
For more than 50 years,
Dr. Will Kesling has been
and continues to be a
prominent figure and
voice in the
International and
American choral
profession. His new book,
The Voices I Hear, is the
distillation of his long
and distinguished career
as a conductor and choral
music educator. The
driving and consuming
passion throughout
Kesling’s life is
the preparation and
performance of the
world’s rich and
diverse choral and
orchestral repertoire and
the education,
development, and growth
of those who perform and
conduct it. This book is
a summation of a lifetime
immersed in the choral
art and all its many
aspects. It overflows
with insights into the
choral art that will not
only instruct the
beginning conductor but
also will enlighten and
entertain the seasoned
professional conductor
and educator. It is
filled with wit, wisdom,
and practical advice to
all practitioners of the
choral arts. I
enthusiastically
recommend
Kesling’s
enlightening new book as
an important addition to
the choral pedagogy
bibliography and for use
as an invaluable new text
for choral practicum
classes for both graduate
and undergraduate
students. Dr. Kesling has
brought to the choral
profession significant
new insights to all
lovers of the choral art.
—Craig Jessop Â
 Professor of Music,
University of Utah Â
 Former Music
Director of the
Tabernacle Choir and
Orchestra at Temple
Square   and the
United States Air Force
Singing Sergeants Will
Kesling’s book,
The Voices I Hear, is
practical and
philosophical, useful and
inspirational, focused
and comprehensive. The
observations and advice
are based on his vast
personal experiences on
the podium with choirs
and orchestras, and the
book is a monumental
resource for both the
young conductor and the
veteran. Containing a
broad spectrum of musical
styles, composers, and
topics, Kesling’s
direct and practical
writing connects
immediately with
today’s choral
musician. Keep The Voices
I Hear nearby as there
will be many times down
the road where the
information and opinions
in Dr. Kesling’s
book will answer the
questions you have, as
well as the ones you
didn’t even know
to ask! —Jerry
Blackstone  Â
Professor Emeritus of
Music (conducting) and
Director of Choirs
(retired) Â Â
School of Music, Theatre
& Dance, University of
Michigan This is the
textbook I wish had been
available when I was
beginning my studies. It
is comprehensive in
scope, practical and
helpful in its
suggestions, and, perhaps
most surprising in a book
from an academic,
superbly written in clear
and powerful English.
Kesling speaks with
conviction, clarity, and
polish, and he finds
colorful and memorable
ways of making his points
and presents the material
from the perspective of
one who has done all
these things for decades
at a highly professional
level. I give this volume
the highest possible
recommendation.
—Daniel Gawthrop
  Composer &
Conductor. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Massenet and the Mediterranean World Ut Orpheus
Books and Journals SKU: UT.APS-7 Edited by Simone Ciolfi. Paperback (Soft...(+)
Books and Journals
SKU: UT.APS-7
Edited by Simone Ciolfi.
Paperback (Soft Cover).
Ad Parnassum Studies.
Essays by Mathias
Auclair, Jean-Christophe
Branger, Simone Ciolfi,
Matthew Franke, Vincent
Giroud, Stephanie Klauk,
Hugh Macdonald, Jurgen
Maehder, Claire Paolacci,
Jann Pasler, Marco
Pollaci, Alban Ramaut,
Manuela Rita, Tommaso
Sabbatini, Sabine Teulon
L. Classical. Books and
Journals. Ut Orpheus #APS
7. Published by Ut
Orpheus (UT.APS-7).
ISBN 9788881094912.
6.5 x 9.5
inches. Saggi di
Mathias Auclair,
Jean-Christophe Branger,
Simone Ciolfi, Matthew
Franke, Vincent Giroud,
Stephanie Klauk, Hugh
Macdonald, Jürgen
Maehder, Claire Paolacci,
Jann Pasler, Marco
Pollaci, Alban Ramaut,
Manuela Rita, Tommaso
Sabbatini, Sabine Teulon
Lardic
The
Mediterranean world
represented an inspiring
cultural and social
environment Jules
Massenet. It provided
him, in his operas and
instrumental music, with
characters and scenes
that enabled him to
interpret the spiritual
and psychological
tensions of the late
Romantic period. For
Massenet the
Mediterranean world had
broad boundaries in both
time and place; it
included Roman history,
the antique Orient, and
also the South of Spain,
Italy and France, with
their magical, sometimes
sinful, nuances.
Consequently,
Massenet’s
engagement with
Mediterranean culture is
dual-faceted,
encompassing antique
Roman and Oriental
societies, with their
mysterious, sensual
suggestions useful for
passionate opera plots,
and contemporary
Mediterranean societies,
suitable for a more
picturesque
approach. This book
reflects these two
tendencies. The essays
analyse the basic
duality, but also
introduce an additional
viewpoint: the reception
of Massenet’s
music in his contemporary
Mediterranean world. The
analytical approaches
represent an enquiry into
the reception of
Mediterranean
compositional theory in
Massenet’s
training. The figure
of Massenet and his music
has been neglected by
scholarship over the last
two decades. This book
aims to fill this gap
with a subject not tied
exclusively to music but
encompassing the impact
of a specific cultural
dimension on the composer
and his music. This
dimension is broad in
time and place, but no
less specific for this
breadth. This novel
approach is one we have
tried to maintain
throughout the
contributions. Although
the enquiry is
never-ending, the
contributors hope that
their combined effort as
embodied in this book
might provide a basis for
further research.
$95.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Quan els arcs fan swing Editorial de Musica Boileau
By Toni Xucla. For Jazz String Quartet. Instrumental Sets. Published by Editoria...(+)
By Toni Xucla. For Jazz
String Quartet.
Instrumental Sets.
Published by Editorial de
Musica Boileau
$18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Clarinet Concerto Clarinette et Piano De Haske Publications
Clarinet and Piano - very difficult SKU: BT.DHP-1165740-401 For Solo B...(+)
Clarinet and Piano - very
difficult SKU:
BT.DHP-1165740-401
For Solo Bb Clarinet
and Piano. Composed
by Jan Van der Roost. De
Haske Clarinet Series.
Book and Part(s).
Composed 2016. 36 pages.
De Haske Publications
#DHP 1165740-401.
Published by De Haske
Publications
(BT.DHP-1165740-401).
ISBN 9789043151511.
English-German-French-Dut
ch. Cette oeuvre en
deux mouvements pour
clarinette et orchestre
fut commandée par
Musica Reservata vof,
Belgique, et est
dédiée Eddy
Vanoosthuyse, un bon ami
et confrère du
compositeur. Elle connut
du succès sa
première mondiale le
10 décembre 2008 Salt
Lake City (Etats-Unis),
interprétée par
l’orchestre Utah
Philharmonia sous la
direction de Robert
Baldwin, avec Eddy
Vanoosthuyse comme
soliste. Par la suite,
l’oeuvre fut mise
de côté pendant
quelques années,
surtout parce que les
agendaschargés des
deux protagonistes ne
leur permettaient pas de
trouver le temps pour un
enregistrement
discographique. Pour
finir, l’oeuvre
fut enfin enregistrée
en juin 2015 Nagoya
(Japon), avec le Central
Aichi Symphony Orchestra,
mené par
l’étoilemontant
e vénézolane,
SergioRosales. La même
semaine, le 12 juin,
l’oeuvre fut
présentée en
concert pour la
première fois au Japon
par les mêmes
interprètes, et connut
ici aussi un grand
succès. Après
Concerto Doppio pour deux
clarinettes et orchestre
cordes, composé en
2001,voici la deuxième
oeuvre de concert de Jan
Van der Roost qui met la
clarinette en
vedette.
Le
premier mouvement,
Doloroso e Contemplativo,
transmet le côté
sérieux de la
clarinette et, par
conséquent, il
n’y figure presque
pas de virtuosité ou
de spectacle. Au
contraire,
l’orchestration
colorée et variée
qui est entrelacée
autour de lapartie solo
est bien plus
qu’un simple
accompagnement, et prend
la forme de
partenairemusical,
d’importance
comparable au soliste.
Une introduction un peu
mystérieuse mène
une première apogée
orchestrale en passant
par des cellules
musicales ascendantes.
Ensuite on entend
l’entrée du
soliste, d’abord
par des idées
musicales
plusfragmentaires, puis
par des lignes
mélodiques plus
longues.
L’orchestre entre
en dialogue avec le
soliste, et son
instrumentation
délicate et colorée
crée un parfait
encadrement musical. Vers
la fin,
l’atmosphère du
début est
réaffirmée, et
lesoliste finit par la
même note par laquelle
il avait
commencé.
Le
deuxième mouvement,
Giocoso e Con Bravura,
est une toute autre
histoire : ici, le
côté virtuose, et
parfois
presqu’acrobatique
, de la clarinette est
exploré. Des cascades
imposantes et
continuelles de notes
demandent une
dextérité
exceptionnelleau soliste,
ce qui, un certain
moment, et «
récompensé » par
l’orchestre, par
un clin d’oeil au
« Hallelujah » de
Handel vraiment
mérité après ces
feux d’artifice !
De temps en temps,
l’instrument solo
présente une phrase
humoristique :
laclarinette ne peut pas
que chanter, briller et
pleurer, mais aussi rire
et plaisanter. Plusieurs
passages sont presque
caricaturaux ! La palette
variée de cet
instrument magnifique est
démontrée
parfaitement, parfois
avec un brin
d’humour
oud’ironie. En
effet, les deux
mouvements contrastants
de ce concerto
démontrent les
différentes facettes
de l’instrument
qui s’est
établi sur la scène
de musique classique
ainsi que la musique
légère (quel nom
peu prometteur !). Dans
le deuxièmemouvement,
rapide pour la plupart du
temps, l’orchestre
est nouveau traité de
manière créative et
variée, offrant une
palette généreuse
de couleurs : sans
enlever
l’attention de la
partie solo difficile, on
peut dire que
l’orchestre
n’est pas
qu’
l’arrière-plan,
mais saisit
l’occasion de
briller en même temps.
Pourtant, les
dernières notes sont
accordées la
clarinette : après un
tuttiorchestral
énergique, le soliste
conclut l’oeuvre
par trois notes courtes
de pianissimo comme si,
de façon subtile, il
voulait avoir le dernier
mot. Après les
nombreuses notes
jouées par le
clarinettiste, cette
conclusion modeste estune
fin surprenante
d’une oeuvre au
style plutôt
traditionnel, qui
démontre clairement la
passion du compositeur
pour cette merveilleuse
combinaison
instrumentale. br> Un
merci particulier Peter
Knockaert pour cette
réduction pour piano
duClarinet Concerto, qui
fut créée pour le
4th International
Clarinet Competition
Ghent en 2017. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chilly Gonzales: Re-Introduction Etudes Piano seul [Partition + CD] EBR Editions Bourges
Twenty-four easy-to-master, fun-to-play piano pieces. Composed by Chilly Gonza...(+)
Twenty-four
easy-to-master,
fun-to-play piano pieces.
Composed by Chilly
Gonzales.
Book with CD. Composed
2014.
Editions Bourges #EBR525.
Published by Editions
Bourges
$24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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