SKU: SU.80101120

Six contemporary composers were invited to write new hymn preludes for this collection. The result is a set of fresh, accessible compositions, highly suitable for worship or recital use. The six compositions are: Prelude on Wachet auf (Frederick Frahm), Prelude on Melita (John S. Dixon), Prelude on Kingsfold (Bruce Polay), Trio on Wareham (Sandra Gay), Prelude on Gelobt sei Gott (David W. Solomons), and Jubilee-Postlude on Converse (Carson Cooman).
Published by: Zimbel Press.

SKU: GI.G-9403

SKU: GI.G-9660

ISBN 9781622773572.

To learn from Alice is to come under a peculiar kind of enchantment . . . To hear her is to be spellbound by a melodic voice. — John Wykoff, from the Prelude The Melodic Voice presents a series of interviews with preeminent composer, conductor, and teacher Alice Parker that offers a fuller and more intimate view of her life and music than ever before. The conversations Cameron LaBarr and John Wykoff document in these pages perfectly capture the essence of Alice’s core philosophies on melody, arranging, singing, music teaching, conducting, and many other topics. During the course of the interviews, Alice discusses a wide range of topics: her childhood, her time as a student at Smith College and Juilliard, the death of her husband, her work with Robert Shaw, living in New York City, experiences with teaching, her compositional process, the importance of folk song, advice for students and teachers, and much more. In the accompanying video component, Alice speaks candidly and directly about many of her most popular and well-loved arrangements, including Hark, I Hear the Harps Eternal, Saints Bound for Heaven, What Shall We Do With a Drunken Sailor?, and John Saw Duh Numbuh, among others. Too few have had the privilege of attending one of Alice’s workshops or engaging with her in long conversations and round-the-table singing. But the conversational nature of this book gives everyone the chance to engage with her in a deeper way. Musicians and non-musicians alike are sure to be inspired by Alice’s words. Cameron LaBarr is Director of Choral Studies at Missouri State University. His choirs have performed extensively both at home and abroad, and he has worked as a guest conductor and clinician across the United States, Europe, South Africa, and Asia. John Wykoff is Associate Professor of Music Theory and Composition at Lee University. As an active composer, he writes for choir, orchestra, and chamber groups, and his music has been performed internationally by leading ensembles. Check out this clip below of Alice Parker discussing her beloved arrangement Hark, I Hear the Harps Eternal. This is just a small part of the over three hours of video interviews included in the purchase of this resource.

SKU: GI.G-9736

ISBN 9781622775385.

Cont ributors: Kevin Boyle • John M. Feierabend • Lillie Feierabend • Betsy Greene • Connie Greenwood • Rachel Grimsby • Andrew Himelick • Lindsay Jackson • Craig Knapp • Chris Anne Powers • Stephanie Schall-Brazee • Missy Strong Feierabend Fundamentals: History, Philosophy, and Practice is the first comprehensive look at all aspects of John M. Feierabend's innovative and popular approach to teaching music, written by a team of practitioners from early childhood to college and beyond. Topics include elementary general music, instrumental and choral music, assessment, children with special needs, establishing a First Steps business, and a comparison of the major music education methodologies. Feierabend Fundamentals is written for new teachers, teachers certified by the Feierabend Association for Music Education, veteran teachers, and undergraduate and graduate college students. Edited and compiled by Missy Strong and John M. Feierabend, this book is a major contribution to the music education profession and is a significant step to bringing this powerful yet child-centered approach to an even larger community. Missy Strong has been joyfully teaching general and vocal music at the preschool, elementary, and middle school levels for over two decades. She is a Founding Member and Endorsed Teacher Trainer with the Feierabend Association for Music Education and is currently the president-elect. Missy is also a sought-after author, editor, presenter, and consultant who works with educators at the international, regional, state, local, and collegiate levels. John M. Feierabend, PhD, is considered one of the leading authorities on child development in music and movement. His teaching and scholarship have provided thousands of teachers and their students with the materials and techniques to help build community by enabling all people to become tuneful, beatful, and artful. To that end he has developed two research-based and developmentally appropriate pedagogical methods: First Steps in Music, a music and movement program for infants through elementary aged children, and Conversational Solfege, a music literacy method for use in elementary through college music classes.

SKU: GI.G-10595

ISBN 9781622776221.

Cont ributors: John M. Denis (Texas State University) • Kyle Glaser (Texas State University) • Jacob Harrison (Texas State University) • John Lopez (Texas State University) • Jocelyn Prendergast (Truman State University) • Brett Richardson (University of the Incarnate Word) • Jordan C. Stern (Texas State University) • Olivia G. Tucker (University of New Mexico) • Brian Wilson (Denton High School) • Jesse Woolery (Denton High School)   Congratulations on setting out in an amazing, rewarding, fun, difficult, confusing career. This book is intended to be all the things I wish I had known when I started, everything necessary to make those first years more successful. — John M. Denis, from the Introduction Written by a team of authors from Texas, one of the strongest music education communities in the United States, this practical, personal, and conversational guide for aspiring and young instrumental music educators takes a comprehensive view of all aspects of building a successful school band program. Girded with important theoretical underpinnings for each topic, Program Notes covers the job interview, sequencing, conducting, rehearsal strategies, and dozens of other topics for beginning band, concert band, and marching band, as well as jazz, orchestra, mariachi, and modern band. Chapters also focus on promoting creativity, recruitment and retention, finances, communication, leadership development, working with exceptional learners, and technology. Rounding out the book are a sample handbook for students, a concert self-evaluation form, and example interview questions. With flair and years of experiences to share, the co-authors have created a resource that is designed to make the lives of young band directors better. As Denis states in the book’s introduction, “Every skilled teacher has an exponential impact on the world, and I hope this book further fosters caring people to become exceptional band directors.” Compiler and editor John M. Denis is Assistant Professor of Music Education at Texas State University in San Marcos, Texas, where he teaches upper-level undergraduate and graduate music education courses. He has sixteen years of experience working with Texas students at the public school and college levels. Dr. Denis is also creator and producer of Program Notes: The Band Director Podcast.

SKU: FP.FZZ12

ISBN 979-0-57050-332-2.

The first of three superb sets of new music and arrangements for brass ensemble. Includes: 1. Bandkraft a!! John Golland: A substantial piece with an exciting syncopated rhythm introduced in the opening bars and referred to throughout in a fanfare-like manner, to which a hint of dissonance adds extra thrill to the sound. 2. Saraband a!! Gordon Jacob: A stately Elizabethan dance of great beauty, utilising modal harmony in Jacob's characteristic style. Constant speed, full note values and careful playing will achieve a beautiful, delicate effect. 3. La Donna E Mobile a!! Verdi, arr. Roy Newsome: An amusing arrangement of this popular favourite by a conductor and adjudicator of international acclaim. Easy and enjoyable to play and to listen to. 4. Spike's Rag a!! Michael Ball: A skilfully written piece in the true tradition of Scott Joplin, with the ragtime rhythm the backdrop to an unfolding conversation between the sections of the band. Really persuasive entertainment. 5. National Anthem a!! arr. John Golland: A simple first verse setting the scene for the colourful and majestic second, utilising chromatic harmonies and an optional tenor counter melody for added splendour.

SKU: BA.BVK02090

ISBN 9783761820902. 21.5 x 15.5 cm inches. Language: German. Preface: Mosch, Stephan.

This book is in German.

,,Weil jede Note zahlt(Because Every Note Counts) - this is the credo regarding interpretation which Alfred Brendel formulates in this book. It is an invitation to reflect about how to deal with Mozart's music, about what we generally call ,,interpretationand what has undergone fundamental changes again and again in the course of the last 100 years.

Famous Mozart interpreters and world-renowned musicologists share their experiences and insights in conversations and essays: What did it mean and what does it mean to perform Mozart?

From the contents:
- How does Mozart compose? About his scores and compositional procedures
- Why spontaneity and risk are so important: on performance practice
- Mozart's theatre of diversity: questions about the human existence on stage
- From Richard Strauss to Nikolaus Harnoncourt: on the artistic physiognomy of great Mozart conductors
- How did composers of the 20th century respond to Mozart?
- Music festival history is German history: a documentary on the Mozartfest Wurzburg

Conversat ions
by Markus Thiel with Alfred Brendel, John Eliot Gardiner, Christian Gerhaher, Brigitte Fassbaender, Hartmut Haenchen, Markus Hinterhauser, Rene Jacobs, Frank Peter Zimmermann and Tabea Zimmermann

Authors of the Essays
Ulrich Konrad, Robert D. Levin, Stephan Mosch, Wolfgang Rathert and Thomas Seedorf

Documentar y Part
Hansjorg Ewert, Christian Lemmerich, Dimitra Will, Renate Ulm

The Editor
Stephan Mosch is Professor for Aesthetics, History and Artistic Practice at the Hochschule fur Musik Karlsruhe. Barenreiter already published his books ,,Komponieren fur Stimme. Von Monteverdi bis Rihm. Ein Handbuch(BVK 2379) as well as ,,Weihe, Werkstatt, Wirklichkeit. Wagners ,,Parsifalin Bayreuth 1882-1933(BVK 2326).

In collaboration with the Mozartfest Wurzburg which celebrates its 100th Anniversary in 2021.

SKU: KN.19747

UPC: 822795197471.

This grade 5+ piece is like a conversation between two people. The question is played by player 1 and answered by player 2. Since each player has different drums, like humans, their voices are different - thus a conversation is heard. Sometimes they even speak in unison. Player 1: 4 tom-toms and snare drum; Player 2: bongos, timbales and snare drum. Duration ca. 8:00.

SKU: GI.G-8451

ISBN 9781909469112. English. Text Source: Wild Goose Resource Group, Iona Community, Scotland. Text by John L. Bell.

This new liturgy from the Wild Goose Resource Group seeks to engage people with the biblical and contemporary issues of wealth and material possessions in an accessible way. Spare Change & Gilt-Edged Grace is the twelfth in the series of WGRG Liturgy Booklets. It contains a full liturgy formatted in both leader’s and congregational versions. With hope, Liturgies such as this may evoke the beginning of an honest conversation on a subject that is given scant attention in our worship today.

SKU: GI.G-5288

ISBN 9781579990756. English. Text Source: Bell, John L., Maule, Graham. Text by Various.

Perfect for discussion starters or scriptural reflections, in small groups, church services, and personal study. A wide range of issues and emotions are explored.

SKU: PE.EP73642

ISBN 9790577022901.

When I started work on this clarinet quintet, in October 2021, the 3-month-old Taliban takeover of Afghanistan was very fresh in everyones mind and there seemed to be a collective feeling of utter helplessness as the country descended into chaos and fear, once more. The idea for this piece came in a conversation with my Afghan friend, Gulwali Passarlay, in which he was expressing the hope that people would continue to think about Afghanistan and to remember, violent political upheaval aside, what an incredibly rich, beautiful and ancient culture this country has.

Part of this wonderful culture are the centuries-old, mythical tales, often with a moral message, that have been passed down through many generations. The Faithful Gazelle tells of a Beggar raised to riches by a magical Gazelle, only to lose everything again when she becomes sick and he ignores her pleas for help.

The clarinet with its enormous scope of timbre and pitch seemed the perfect vehicle for the Gazelle and the cello a gruff, then majestic, then gruff again Beggar!

I am deeply grateful to West Cork Chamber Festival for commissioning this work and to clarinettist Matt Hunt and the Signum Quartet for working so patiently on it, with me. Also to Gulwali Passarlay and specialist Afghan musicologists John Baily, Katherine St John and Dr Lloyd Miller for sharing their immense knowledge and love of Afghan music and culture.
Roxanna Panufnik, 31 January 2022

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

SKU: PR.441410240

UPC: 680160589128. Libretto by Gene Scheer.

August 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.

SKU: PR.114405050

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

SKU: PR.11440505S

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

SKU: KN.19746

UPC: 822795197464.

This timpani duet is a contemporary portrayal of an increasingly animated conversation between two people. As the players communicate through their drums, a variety of solo, tutti and call-and-response textures are used. Paying careful attention to changing dynamics and emphatic articulations will yield dramatic results. Duration 4:10.