Par SPARKE PHILIP. Whilst making no claims to be stylistically authentic, this little piece aims to capture the infectious spirit of mariachi, a word whose origins are lost in the mists of time, but which describes not only the performers (on guitars, vihuelas, violins, trumpets and harp) but also the music itself. Their music speaks of love, passion, politics, life in the country and revolutionary heroes but is unerringly uplifting in style and immediately recognisable as the spirit of Mexico. A chance to add that Spanish flavour to your concerts. / Niveau : 1.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

This collection of beautiful piano pieces provides a unique way for pianists to reach a state of Mindfulness by sharpening their musical focus towards their internal and external experiences within the present moment. With the help of Einaudi, Debussy, Beethoven, Vaughan Williams and Satie, as well as music themed images to colour in, this aid to simple meditation is the perfect musical remedy in an increasingly frantic and pressurised world / Recueil / Piano

Songs of the Bagpipe and Hornpipe. Par HOSAY JAMES L.. This delightful medley of timeless Scottish tunes speaks to the piper in all of us. Richly orchestrated and profuse with creative contrast, it will be an exciting addition to your next concert appearance. Regarding preparation, the ranges, rhythms and mixture of styles are right on target for this level band, and Piper’s Rhapsody is sure to become a favorite with your musicians. A study of Scotland’s culture and how the bagpipe and hornpipe are important would be appropriate. A find! / Niveau : 2.5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE

'for the National Youth Choirs of Great Britain'for junior-upper voice SSSA Choir and Double SATB Choir a cappella (Score)Commissioned by the National Youth Choirs of Great BritainText is by Arthur W. E. O'Shaughnessy, adapted by Jessica Duchen.Composer's NoteWhen the National Youth Choirs of Great Britain requested a short piece for their gala concert at Birmingham's Symphony Hall, I was particularly excited about the prospect of writing for 300 singers. A recent research trip to Estonia resulted in somewhat of a revelation: having heard and seen their world-renowned choirs in action (literally!) has resulted in We are the Music-Makers having the less mainstream 'surround-sound' of upper voices/junior choir at the back and sides of the audience and a further stereophonic double-choir on stage.This poem was sent to me by Tim Williams (my ex Head of English at school), and immediately seemed to fit this occasion. This text has already been set magnificently by Elgar, so partly to avoid any kind of comparison and also to bring its timeless message up to date, I asked my poet friend Jessica Duchen to give it a sligtly more contemporary feel.A poem about global music-making (which ties in with the NYCGB's recent World-Music CD), it speaks about humankind, nation to nation, and the mention of Babel inspiring a 'speakng of tongues' effect by using as many different international words for 'music' as possible as an accompaniment (not an easy task, as many of them are similar to our own word!). These are: French (Musique), Romanian (Muzica), Swahili (Mahewa), Polish (Muzka), Estonian (Muusika), German (Muzik), Japanese (Ongaku), and Spanish (Música). / Choeur Mixte (SSAATTBB) A Cappella

Arr. James Curnow. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky's lovely, melancholy melody was inspired by a poem that speaks of great sadness. Print the poem in your program, or have it recited as the band plays to create a deeply moving tribute to any and all departed loved ones. This is a simply gorgeous piece of music that explores dark tonalities and expressive performance. / Niveau : 4 / Musique pour célébration / Répertoire / Concert Band

Stringpack. Par CURNOW JAMES. FANFARE PRELUDE: O GOD OUR HELP IN AGES PAST is based on the hymn-tune “St. Anne, ” which was used by G. F. Handel in the Chandos anthem “O Praise the Lord, ” and by J. S. Bach in his triple fugue in E-flat “The St. Anne Fugue. ” James Curnow’s FANFARE PRELUDE: O GOD OUR HELP IN AGES PAST captures the thoughts of this magnificent hymn, which speaks of our country’s reliance upon God. The unusual 4/4 meter setting with artfully crafted re-harmonizations and lush counterpoint gives each listener cause to reflect on the importance and meaning of this melody to patriotic Americans everywhere. Inspired! / Niveau : 4 / Hymnes et chorals / Répertoire / Ensemble

Ola Gjeilo has pulled from his Norwegian heritage and used the lovely Solrenning Sæle tune to set a new text by Charles Anthony Silvestri. The text speaks of winter as a time of reset - a breath before the rebirth of spring. An excellent secular work for your winter concert. / SSAATTBB

Schirmer Performance Editions. Par SCHUMANN ROBERT. Schumann consacre beaucoup de son début de carrière à l'écriture de pièces pour piano courts, caractéristiques, développer la miniature d'un morceau parfaitement autonome, souvent suggérant des significations extramusicales. Tout d'abord publié en 1838, Kinderscenen (scènes de l'enfance) est une collection de miniatures qui capturent des émotions juvénile et expériences à l'aide de lyrisme animé et titres poétiques. Les pièces sont courtes mais évocatrices, compact encore fascinant, qui offrent un banquet musical pour l'étudiant curieux. Les éditions Schirmer Performance sont conçues pour piano étudiants et les enseignants ainsi que les pianistes professionnels. Ces éditions offrent des suggestions d'interprétation perspicaces, doigté pertinente et les commentaires historiques et stylistiques de fournir une ressource précise pour les pianistes. / Niveau : Elémentaire / Rép Classique / Répertoire / Piano

Album For The Young features 64 classic Piano pieces inspired by the spirit of childhood. From Johannes Brahms' unashamedly lyrical Wiegenlied through the more cerebral approach of Schumann's album Für die Jugend and the works of contemporary composers such as Lutoslawksi and Richard Rodney Bennett, the music contained in this collection offers many contrasting approaches to the idea of music for the young. Great composers down the ages have been consistently attracted to writing albums about or for the young. Some pieces are suitable for children to play and some are drawn from the nostalgic memory of childhood innocence. Here is a unique collection to treasure, reflecting the variety of both their emotional approaches and the richness of their creative responses. / Piano

Following on the success of her two operatic works for children and teens - Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) - Isabelle Aboulker once again hits the bull's eye with Myla And The Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children's Choir and Instrumental Accompaniment, was awarded the 'Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing.With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart.The work was written in three versions:for Narrator, Children's Choir and Piano (AL30732)for Narrator, Children's Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733)for Narrator, Children's Choir and instrumental ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734)Choral score: AL30743 / Choeur A L'Unison Et Piano

Following on the success of her two operatic works for children and teens - Douce et Barbe Bleue, Les Fables Enchantées, Little Thummie and Cendrillon (based on Perrault), as well as the adaptation of Maupassant's short story The Dumpling (2014) - Isabelle Aboulker once again hits the bull's eye with Myla And The Boat-Tree, a commission from the Villecroze Music Academy. In 2015, this musical tale for Narrator, Children's Choir and Instrumental Accompaniment, was awarded the 'Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and Marci Meth's excellent English translation, it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing.With her trademark finesse and sensitivity, the composer tells the story of a little girl dealing with the death of a person she'd cherished above all: her grandfather. Written for choir in unison, this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart.The work was written in three versions:for Narrator, Children's Choir and Piano (AL30732)for Narrator, Children's Choir and Trio (Clarinet in Bb, Cello and Piano: AL30733)for Narrator, Children's Choir and instrumental ensemble (Flute, Oboe, Clarinet in Bb, Bassoon, Horn, Trumpet in C, Trombone, Percussion, 2 Violins, Alto, Cello, Bass: AL30734)Choral score: AL30743 / Choeur A L'Unison