SKU: GI.G-M589

ISBN 9781579996420. English.

Do It! Play and Teach is an innovative and comprehensive text for college secondary instrument courses or for any instrumental music teacher looking to master a new wind instrument. This spiral-bound book with accompanying CD is designed to develop the performance skills teachers need to provide students with exemplary instrumental models. “Focus on Teaching” bullets found throughout each book develop the pedagogical understanding needed to teach technical and musical skills to beginning and intermediate level students. Do It! Play and Teach also gives teachers the tools to assess their students’ technical and musical skills. From clear photographic models of embouchure, posture, instrument position, and hand position, to an artist-rendered CD of “Listen and Play” tracks, this series has the potential to transform both your music making and your music teaching. James O. Froseth Molly A. Weaver, contributing editor.

SKU: GI.G-10575

SKU: GI.G-10661

ISBN 9781622776399.

Hara mbee (Swahili): a festive gathering for singing and dancing. This beautiful collection of songs and games for elementary and middle school students showcases the vibrant and varied musical traditions of Tanzania, and in particular those of the Wagogo people of central Tanzania. As with all books in the World Music Initiative series, this collection guides students and teachers to an understanding of world music traditions by providing cultural and historical context for each selection, including information on geography, ethnic groups, languages, music genres, and traditional instruments—comple te with pictures and video links. Audio recordings—both a spoken pronunciation track and a singing track—are available online for all songs and chants, as well as PowerPoint slides for many of the materials. Each selection also includes notation, translations, phonetic pronunciations, and optional ideas for pedagogical extensions. Created with the generous support and input of many Tanzanian children, teachers, and friends, this collection presents the music of Tanzania in an accessible way that honors the music’s original context while adapting it for a new context and to teach new musical concepts. Kedmon Mapana is a senior lecturer of music in the Department of Creative Arts at the University of Dar es Salaam, founder of the Cigogo Music Festival, and is one of the directors of the Chamwino Arts Centre. As a member of the Wagogo ethnic group of Tanzania, his research and community interests include highlighting local communities throughout Tanzania and empowering young Tanzanians. Karen Howard (series editor) is Associate Professor of Music at the University of St. Thomas in St. Paul, Minnesota, where she teaches courses in music education, vocal pedagogy, research, and global music traditions. She has extensive training in global vocal, instrumental, and dance traditions from many music cultures, and her research interests and publications include works on world music cultures, music activism, and global singing traditions. CLICK HERE to download the Online Resources.

SKU: UT.CH-106

ISBN 9790215315921. 9 x 12 inches.

The first impulse to compose these 3 Little Suites for Guitar came from the desire to offer very young students compositions not framed by the usual features of â??music for childrenâ?? but, rather, meant to introduce into their musical horizon sonorities, rhythms, and expressive modalities not generally experienced in the more â??traditionalâ?? courses of study.
As the compositions developed, the project underwent some slight modifications, so that in the end one could say that the three suites became progressively more difficult, though remaining, in their deep essence, quite â??simpleâ??.
I would recommend paying careful attention to the titles of the pieces and to the expressive markings. Although it was not my intention to write â??descriptiveâ?? music, I have tried to handle these pieces like stage scripts, giving each a specific â??characterâ??. For this purpose my long experience as a composer of theatre music has been very helpful.
It would give me great satisfaction if guitarists of every age would enjoy performing these suites. I would like teachers to find in them cues for proposing to their pupils further refinements concerning both technique and expression, never forgetting how inexpressible music truly is.
(Carlo de Nonno).

SKU: IS.OT6577EM

ISBN 9790365065776.

Alex Christiaens was born in 1957and started courses on solfège, piano, music theory and music history at the conservatorium of Hasselt. After his secondary education (Latin-Greek), he was awarded a Master degree in translation and started to work for a Flemish bank. Since then, he has been living in Leuven. Music remained an important part of his life. After having finished the piano course at the conservatorium of Leuven, he continued his musical journey by completing the organ course with Peter Breugelmans, the harmony and composition course with Erika Budai and the clarinet course with Bart Van den Bosch. He regularly performed in public, not only as a soloist but also as the accompanist of singers, choirs and instrumentalists. Since many years, he has been active as an organist in Leuven and has been singing in the choir Tourdion under the leadership of Rik Ghesquière. He started composing as part of the harmony course. Most of his compositions are short works written for piano or solo instruments with accompaniment .

SKU: CF.SPS71

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

SKU: GI.G-9545

ISBN 9781622772551.

How choir members listen directly impacts the quality of their music making. Listening Awareness is a practical book that guides choral singers—and members of any music ensemble—to become more aware of their own sound as well as the sound of their ensemble. The goal is to help musicians take ownership of the sound they create so singers and musicians learn to provide effective feedback to improve the sound of the entire ensemble. Author Anthony Bernarducci’s approach is simple: Students need to be taught to accurately hear musical concepts before they can apply them in their own music making. He provides a practical and pedagogical approach to concepts such as tone, balance, form, and texture. He also includes exercises that apply aural concepts to style and nuance of historical and contemporary literature—always recommending suggested repertoire, composers, and recordings for each style period. Other topics in Listening Awareness include the different levels of listening, the impact of seating position on sound, strategies for starting a new work, and the characteristics of harmony and melody. Finally, Listening Awareness includes reproducible worksheets to assist with many of the exercises. States Bernarducci, “Our ability to listen, evaluate, and transform will need to be constantly sharpened throughout our careers, our students’ abilities are no exception to this need.” Anthony Bernarducci is Assistant Professor of Music at Clemson University, where he conducts the Men’s Choir and mixed chamber choir Cantorei. He also teaches courses in music theory and composition.

SKU: MB.30546

ISBN 9780786696123. 8.75 x 11.75 inches.

This volume is the first in a new series of guitar transcriptions by John Kiefer. Beginning Baroque for Guitar features simplified arrangements of Baroque music. The pieces are primarily monodic and can be performed with a pick or fingers. The music has been notated without fingerings or tablature to promote musical literacy and encourage all fingering possibilities. In addition to the pieces formatted with melody/chord symbols, five duets and four canons are included. This book can supplement basic guitar methods, guitar classes and guitar ensemble courses.

SKU: BT.EMBZ14223

English-German-Hungari an.

Publication of György Kurtág's string chamber music is a long-awaited event: his chamber music master courses and the recording made by the Orlando Trio have aroused considerable interest in these works worldwide. The first three volumes contain pieces for violin (Z. 14220), for viola (Z. 14221) and for string trio (Z. 14223). As our title - Signs, Games and Messages - suggests, they include compositions of varying length written for different types of occasion: musical 'letters', tributes and playful experiments in instrumental technique.

Die Herausgabe von György Kurtágs Kammermusik für Streicher stellt ein lang ersehntes Ereignis dar: Die von ihm veranstalteten Meisterkurse und die Schallplattenaufnahme desOrlando Trios lösten gegenüber diesen Werken weltweites Interesse aus. Zunächst erscheinen drei Hefte, die Stücke für Violine (Z. 14220), für Bratsche (Z. 14221) und für Streichtrio (Z. 14223). Wie auch ihr Titel - Zeichen, Spiele und Botschaften - erahnen lässt, finden sich in ihnen Kompositionen unterschiedlichen Ausmasses und zu verschiedenen Anlässen: musikalische ‚Briefe', Hommagen und instrumententechnische Spielereien.

SKU: IS.FQ6573EM

ISBN 9790365065738.

Alex Christiaens was born in 1957and started courses on solfège, piano, music theory and music history at the conservatorium of Hasselt. After his secondary education (Latin-Greek), he was awarded a Master degree in translation and started to work for a Flemish bank. Since then, he has been living in Leuven. Music remained an important part of his life. After having finished the piano course at the conservatorium of Leuven, he continued his musical journey by completing the organ course with Peter Breugelmans, the harmony and composition course with Erika Budai and the clarinet course with Bart Van den Bosch. He regularly performed in public, not only as a soloist but also as the accompanist of singers, choirs and instrumentalists. Since many years, he has been active as an organist in Leuven and has been singing in the choir Tourdion under the leadership of Rik Ghesquière. He started composing as part of the harmony course. Most of his compositions are short works written for piano or solo instruments with accompaniment .

SKU: IS.FQ6575EM

ISBN 9790365065752.

Alex Christiaens was born in 1957and started courses on solfège, piano, music theory and music history at the conservatorium of Hasselt. After his secondary education (Latin-Greek), he was awarded a Master degree in translation and started to work for a Flemish bank. Since then, he has been living in Leuven. Music remained an important part of his life. After having finished the piano course at the conservatorium of Leuven, he continued his musical journey by completing the organ course with Peter Breugelmans, the harmony and composition course with Erika Budai and the clarinet course with Bart Van den Bosch. He regularly performed in public, not only as a soloist but also as the accompanist of singers, choirs and instrumentalists. Since many years, he has been active as an organist in Leuven and has been singing in the choir Tourdion under the leadership of Rik Ghesquière. He started composing as part of the harmony course. Most of his compositions are short works written for piano or solo instruments with accompaniment .

SKU: BR.SON-627

ISBN 9790004803295. 10 x 12.5 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts … are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. … In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. … For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. … JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.

SKU: BR.SON-624

ISBN 9790004803264. 9 x 12 inches.

In 1998, at the end of the 20th century, Breitkopf & Hartel started the publication of the Complete Edition, which is made possible thanks to the cooperation of the various Sibelius publishers. The Editors (Helsinki University Library and The Sibelius Society of Finland) and the Editorial Committee (Chairman: Timo Virtanen, Helsinki) believe that the volumes of JSW will provide the basis for a now conception of the creative work of Jean Sibelius.Reviews: One immediately recognizes the towering production quality of these volumes - a point that can be extended to all volumes thus far published in the set. The music is a joy to read; and the lucidity and thoroughness of the texts ... are models of scholarly editions, and should be required reading for all bibliography and music-editing courses. ... In sum, the JSW is a remarkable project: the scholarship is impeccable, the music scores and texts are simply a joy to study. Edward Jurkowski, Notes December 2011: 442-443At the back of this magnificent book are pages of critical commentary on a bar-by-bar analysis of an endless supply of musical notation requiring interpretation by the editor. ... For the general, non-musically trained, purchaser of the edition there is the magisterial introduction to read, and fascinating reading it is. Edward W. Clark, Sibelius Society Newsletter 2009 The Sibelius pieces, however, are a revelation. I opened this magnificently produced volume - complete with multilingual critical report and generous facsimiles of original manuscripts - expecting Grieg-style quasi-nationalistic character pieces, and was instead presented with an incredible array of styles, textures, harmonic languages and levels of difficulty. Chris White, Piano Professional Summer 2009: 2This is not only a scholarly edition of one of the composer's major works, it is also a model for the philological editing of music in general. ... JSW has chosen to have the emendations reflected in two places, in certain cases even in three: as graphic indications in the music text, in prose form in the critical commentary, and sometimes also in the form of a warning footnote on the music page. There can be no doubt that such a procedure is very user-friendly, but it disturbs the appearance of the music and may mislead the user into thinking that there are two or more equally valid readings. Niels Krabbe, Fontes Artis Musicae 54/2, 2007: 248 Editorial standards are high throughout, and maintain a careful balance between the competing demands of practical exigency and the need to provide as much scholarly evidence of variants as possible. The critical commentaries provide concise and effective descriptions of the sources and, where appropriate, information on compositional genesis and historical context. The introduction to each volume provide useful background information on historical reception, including much new material not previously brought to light in Tawaststjerna's biography. Daniel M. Grimley, Nineteenth-Century Music Review 2/2, 2005: 244.