By Janet Coles. For Cello. A New Tune A Day. Level: Beginner. Sheet Music, Audio...(+)
By Janet Coles. For
Cello. A New Tune A Day.
Level: Beginner. Sheet
Music, Audio CD and DVD
(Region 0), Instrumental
Tutor. 48 pages.
Published by Boston
Music.
Improve Your Teaching! Formation musicale - Solfège [Edition pour professeur] Faber Music Limited
Improve Your Teaching!. (An essential handbook for instrumental and singing teac...(+)
Improve Your Teaching!.
(An essential handbook
for instrumental and
singing teachers). By
Paul Harris. Book;
Reference Textbooks;
Textbook - General. Faber
Edition: Improve Your
Teaching. Book. Published
by Faber Music
Essentials of Music Theory Software, Version 2.0. (For 5 computers (1 Educator, ...(+)
Essentials of Music
Theory Software, Version
2.0. (For 5 computers (1
Educator, 4 Students)).
By Andrew Surmani and
Morton Manus. Reference
Textbooks; Textbook -
General; Theory.
Essentials of Music
Theory. Software.
Published by Alfred Music
Publishing
El Teclado Electronico De La A a La Z composed by Robert Moore. For electronic k...(+)
El Teclado Electronico De
La A a La Z composed by
Robert Moore. For
electronic keyboard. This
edition: Paperback.
Instructional. Method.
Book. Text Language:
Spanish. 144 pages.
Published by Santorella
Publications
Piano SKU: BT.EMBZ14002 Tagebucheintragungen, persönliche Botschaft...(+)
Piano
SKU:
BT.EMBZ14002
Tagebucheintragungen,
persönliche
Botschaften. Composed
by Gyorgy Kurtag.
Contemporary Music. Book
Only. Composed 1997. 48
pages. Editio Musica
Budapest #EMBZ14002.
Published by Editio
Musica Budapest
(BT.EMBZ14002).
English-German-Hungari
an.
The idea of
composing 'Games' was
suggested by children
playing spontaneously,
children for whom the
piano still means a toy.
They experiment with it,
caress it, attack it and
run their fingers over
it. They pile up
seemingly disconnected
sounds, and if this
happens to arouse their
musical instinct they
look consciously for some
of the harmonies found by
chance and keep repeating
them. Thus this series
does not provide a tutor,
nor does it simply stand
as a collection of
pieces. It is a
possibility for
experimenting and not for
learning to play the
piano.Pleasure in
playing, the joy of
movement - daring and if
need be fast movement
over the entire keyboard
right from the
firstlessons instead of
clumsy groping for keys
and the counting of
rhythms - all these
rather vague ideas lay at
the outset of the
creation of this
collection. Playing - is
just playing. It requires
a great deal of freedom
and initiative from the
performer. On no account
should the written image
be taken seriously but
the written image must be
taken extremely seriously
as regards the musical
process, the quality of
sound and silence. We
should trust the picture
of the printed notes and
let is exert its
influence upon us. The
graphic picture conveys
an idea about the
arrangement in time of
even the most free
pieces. We should make
use of all that we know
and remember of free
declamation, folk-music
parlando-rubato, of
Gregorian chant and of
all that improvisational
musical practice has ever
brought forth.Let us
tackle bravely even the
most difficult task
without being afraid of
making mistakes: we
should try to create
valid proportions, unity
and continuity out of the
long and short values -
just for our own
pleasure! (BMC CD
139).
Piano SKU: BT.EMBZ8379 Composed by Gyorgy Kurtag. Contemporary Music. Boo...(+)
Piano
SKU:
BT.EMBZ8379
Composed
by Gyorgy Kurtag.
Contemporary Music. Book
Only. Composed 1979. 84
pages. Editio Musica
Budapest #EMBZ8379.
Published by Editio
Musica Budapest
(BT.EMBZ8379).
English-German-Hungari
an.
The idea of
composing 'Games' was
suggested by children
playing spontaneously,
children for whom the
piano still means a toy.
They experiment with it,
caress it, attack it and
run their fingers over
it. They pile up
seemingly disconnected
sounds, and if this
happens to arouse their
musical instinct they
look consciously for some
of the harmonies found by
chance and keep repeating
them. Thus this series
does not provide a tutor,
nor does it simply stand
as a collection of
pieces. It is a
possibility for
experimenting and not for
learning to play the
piano.Pleasure in
playing, the joy of
movement - daring and if
need be fast movement
over the entire keyboard
right from the
firstlessons instead of
clumsy groping for keys
and the counting of
rhythms - all these
rather vague ideas lay at
the outset of the
creation of this
collection. Playing - is
just playing. It requires
a great deal of freedom
and initiative from the
performer. On no account
should the written image
be taken seriously but
the written image must be
taken extremely seriously
as regards the musical
process, the quality of
sound and silence. We
should trust the picture
of the printed notes and
let is exert its
influence upon us. The
graphic picture conveys
an idea about the
arrangement in time of
even the most free
pieces. We should make
use of all that we know
and remember of free
declamation, folk-music
parlando-rubato, of
Gregorian chant and of
all that improvisational
musical practice has ever
brought forth.Let us
tackle bravely even the
most difficult task
without being afraid of
making mistakes: we
should try to create
valid proportions, unity
and continuity out of the
long and short values -
just for our own
pleasure! (BMC CD
139).
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Mark
Hollingsworth will walk
you through all 23
lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Clarinet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Mark
Hollingsworth Mark
Hollingsworth began
studying music at five
years of age. His
background includes both
classical and jazz
training. After high
school Mark won a
scholarship from Berklee
College of Music in
Boston and graduated
Magna Cum Laude, with a
major in woodwind
performance. Mark has
over fifteen years
experience as a studio
musician in Los Angeles
recording for movies,
albums, television
broadcasts and numerous
"jingles" as well as
cartoons for Warner
Brothers and Walt Disney.
He has also performed in
concerts with a wide
range of artists
including Quincy Jones,
Natalie Cole, Celine
Dion, Whitney Houston,
Donna Summer and
Manhattan Transfer to
name a few. Some of
Mark's most significant
accomplishments include
memorable television
appearances with Stevie
Wonder, Ray Charles,
Michael Bolton and
Michael McDonald . He has
worked on numerous
recordings with Tom
Petty, Luther Vandross,
U2, the Library of
Congress and soundtracks
for the Ren and Stimpy
show. Mark's musical
breadth also includes
skills on an extensive
collection of flutes from
around the world. For
more information about
Mark Hollingsworth visit:
www.windshoremusic.com.
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Mark
Hollingsworth will walk
you through all 23
lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Flute" From A
Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Mark
Hollingsworth Mark
Hollingsworth began
studying music at five
years of age. His
background includes both
classical and jazz
training. After high
school Mark won a
scholarship from Berklee
College of Music in
Boston and graduated
Magna Cum Laude, with a
major in woodwind
performance. Mark has
over fifteen years
experience as a studio
musician in Los Angeles
recording for movies,
albums, television
broadcasts and numerous
"jingles" as well as
cartoons for Warner
Brothers and Walt Disney.
He has also performed in
concerts with a wide
range of artists
including Quincy Jones,
Natalie Cole, Celine
Dion, Whitney Houston,
Donna Summer and
Manhattan Transfer to
name a few. Some of
Mark's most significant
accomplishments include
memorable television
appearances with Stevie
Wonder, Ray Charles,
Michael Bolton and
Michael McDonald . He has
worked on numerous
recordings with Tom
Petty, Luther Vandross,
U2, the Library of
Congress and soundtracks
for the Ren and Stimpy
show. Mark's musical
breadth also includes
skills on an extensive
collection of flutes from
around the world. For
more information about
Mark Hollingsworth visit:
www.windshoremusic.com.
(Eight Music Lessons Designed for the Early Grades Teacher or Substitute with a ...(+)
(Eight Music Lessons
Designed for the Early
Grades Teacher or
Substitute with a Limited
Music Background) Written
by Claire D. Clark, Dena
C. Adams. Instructional
book and CD. Series:
General Music and
Classroom Publications.
61 pages. Published by
Alfred Publishing.
By Nicholas Keyworth. Book; CD; Reference Textbooks; Textbook - General. Faber E...(+)
By Nicholas Keyworth.
Book; CD; Reference
Textbooks; Textbook -
General. Faber Edition:
Trinity Step-by-Step
Series. 24 pages.
Published by Faber Music
Textbook - General. Essentials of Music Theory. General Theory. Instructional bo...(+)
Textbook - General.
Essentials of Music
Theory. General Theory.
Instructional book.
Introductory text,
instructional text,
musical examples and
glossary. 120 pages.
Published by Alfred Music
Publishing
Everything You Need to Know to Start Playing Now!. Composed by Morton Manus and ...(+)
Everything You Need to
Know to Start Playing
Now!. Composed by Morton
Manus and Ron Manus. Bass
Guitar Method or
Supplement;
Method/Instruction. Teach
Yourself Series. Book;
DVD. 80 pages. Alfred
Music #00-44503.
Published by Alfred Music
Santorella Publications' proudly boasts our connection to some of the best studi...(+)
Santorella Publications'
proudly boasts our
connection to some of the
best studio players in
the Los Angeles studio
circuit. Each one of
these great musicians,
when they are not in a
session or performing on
a new movie soundtrack,
are giving lessons to
horn players of all ages.
Santorella Publications
is setting a new trend in
the industry by making it
possible for you to study
with these talented
professionals in a
virtual world with Learn
From A Pro. Chris Tedesco
will walk you through all
23 lessons as if you're
sitting in a studio by
his side. If you went to
Los Angeles and took 23
lessons, it would cost
over $1,000.00. Now you
can Learn "Trumpet" From
A Pro for only $12.95 and
in the privacy of your
own home. Whether you are
an early beginner or an
adult, here is your
chance to fulfill that
dream. Do something for
yourself and learn to
play today with
Santorella's Learn From A
Pro series. About your
private instructor, Chris
Tedesco Chris Tedesco has
distinguished himself as
a soloist, chamber
artist, orchestral and
commercial trumpeter in
Los Angeles for over 20
years. His early
classical training
included studies with
Chuck Lirette of the
Buffalo Philharmonic and
college training with
Gilbert Johnson, (former
principal trumpet of the
Philadelphia
Philharmonic) at the
University of Miami in
Florida. Chris Tedesco's
road travels included
concert tours with the
Glenn Miller Band, Tommy
Dorsey Orchestra, but it
was Cruise Ships that
brought him to Los
Angeles in 1987. Chris
Tedesco can be heard on
the movie soundtracks of
Finding Nemo, Road to
Perdition, Boat Trip, The
Mexican, Best in Show,
Ring of Fire, After the
Storm, Durango Kids,
Winchell, Absolute Power,
Star Trek - First
Contact, Nixon,
Stonebrook, Heaven and
Earth, Cool World and
Lorenzoes Oil. On the
small screen you can hear
his solo Trumpet on the
theme to the hit TV show
"The District" along with
many national TV
commercials. Chris
Tedesco has recorded with
Joe Cocker, Natalie
Merchant, Ellis Hall,
Royal Crown Revue, Pat
Boone, Cher, Brian
Setzer, Dwight Yoakum,
Juan Carlos Quintero,
Thom Rotella, Jump with
Joey, Leslie Paula, Boom
Shaka and for The Disney
Afternoon. For more
information about Chris
Tedesco visit:
www.christedesco.com.
Modern Techniques for the Electric Guitarist. By Dean Brown. Musicians Institute...(+)
Modern Techniques for the
Electric Guitarist. By
Dean Brown. Musicians
Institute Press
(Instruction taken from
the curriculum of MI).
DVD . Published by
Musicians Institute
Press.
(Something New Every Lesson) Written by John Thompson. Instructional book for pi...(+)
(Something New Every
Lesson) Written by John
Thompson. Instructional
book for piano. With
introductory text,
instructional text,
instructional photos,
illustrations, easy piano
notation, fingerings and
lyrics (on some songs).
79 pages. Published by
Willis Music Company.
By Amos Miller. For Trombone. A New Tune A Day. Level: Beginner. Sheet Music, Au...(+)
By Amos Miller. For
Trombone. A New Tune A
Day. Level: Beginner.
Sheet Music, Audio CD and
DVD (Region 0),
Instrumental Tutor. 48
pages. Published by
Boston Music.
Musicians Institute Private Lessons. Musicians Institute Press. Instruction. Sof...(+)
Musicians Institute
Private Lessons.
Musicians Institute
Press. Instruction.
Softcover Audio Online.
With guitar tablature.
128 pages. Published by
Musicians Institute Press
58
Easy Pieces for
Guitar. Arranged by
Martin Hegel. This
edition: Saddle
stitching. Sheet music
with CD. Guitar. Dieses
Heft enthalt alles, was
man fur den
Gitarrenunterricht
braucht: 58 leichte
originale Gitarrenstucke
von Aguado, Mertz,
Diabelli, Carulli, Sor
oder Carcassi, aber auch
leicht spielbare
Bearbeitungen der
klassischen Musik aus den
Bereichen Orchesterm.
Softcover with CD. 46
pages. Schott Music
#ED21305. Published by
Schott Music
(HL.49019327).
ISBN
9783795747558. UPC:
841886018204.
9.0x12.0x0.2
inches.
This volume
contains everything
needed for guitar
lessons: 58 easy original
guitar pieces by Aguado,
Mertz, Diabelli, Carulli,
Sor or Carcassi, but also
easy-to-play arrangements
of classical music from
the fields of orchestral
music, chamber music or
opera. Among them are
themes from Vivaldi's
Four Seasons, from
Handel's Music for the
Royal Fireworks, Mozart's
Magic Flute, Beethoven's
Symphony No. 9 or Verdi's
Chorus of the Hebrew
Slaves. It is this
volume's concern to make
classical masterpieces of
concert literature
accessible to children by
means of such rather easy
arrangements and make
them enjoy classical
music. All pieces are
recorded on the
accompanying CD to make
it easier for the pupils
to study and master the
works.
By Request Piano seul - Facile De Haske Publications
Piano - easy SKU: BT.DHP-1053813-401 All Time Piano Hits. Arranged...(+)
Piano - easy
SKU:
BT.DHP-1053813-401
All Time Piano
Hits. Arranged by
Andy Newland. Pop & Rock.
Book Only. Composed 2005.
28 pages. De Haske
Publications #DHP
1053813-401. Published by
De Haske Publications
(BT.DHP-1053813-401).
ISBN 9789043122276.
9x12 inches.
English-German-French-Dut
ch.
The following
situation may be familiar
to you: You’re at
a party, visiting friends
or hosting relatives and
someone asks you to play
something on the piano.
It’s best to
choose a song that people
know, but it is often
difficult to choose one
that is suitable. You are
expected to perform on
the spot and impress your
audience. This book
contains thirteen pieces
written especially for
such occasions. From
Lambada to Beethoven,
from The Muppet Show to
Sting, you’re sure
to find familiar songs
for your impromptu
performances. And best of
all, these pieces can be
played by anyone who has
taken piano lessons for
just a few
years.
Een stuk
spelen op verzoek - van
klassiek tot populair? In
dit boek staan dertien
bekende stukken waarmee
de pianist voor de dag
kan komen bij diverse
gelegenheden. Van de
Lambada tot
Beethoven en van The
Muppet Showtot Sting:
By Request is
geschikt voor iedereen
die een paar jaar les
heeft gehad.
Die
folgende Situation ist
sicherlich vielen
vertraut: Bei einer Party
oder einem Familienfest
wird man gebeten, etwas
Nettes auf dem Klavier
vorzuspielen. Da ist es
oft schwer, das Passende
zu finden. Dieses Buch
enthält dreizehn
leichte Stücke, mit
welchen auch Spieler mit
wenig Erfahrung bei
solchen Gelegenheiten
groß herauskommen
können. Ob vorgetragen
oder zu Hause zum eigenen
Vergnügen gespielt: Es
ist für jeden Anlass
und jede Stimmung etwas
dabei!
Quando alla sera
fra amici o in famiglia,
vi viene domandato di
mettervi al pianoforte e
di suonare una piccola e
simpatica musica, la
difficolt risiede nella
scelta del brano. By
Request contiene 13
brani adatti a questo
genere di situazione:
dalla Lambada a Ludwig
van Beethoven, da Muppet
Show a Sting, tutti i
brani presenti in questa
raccolta sono celebri e
accessibili a tutti i
pianisti con qualche anno
di pratica
strumentale.
(Teacher Curriculum Package). This edition: Teacher Curriculum Package. Classroo...(+)
(Teacher Curriculum
Package). This edition:
Teacher Curriculum
Package.
Classroom/Pre-School;
Method/Instruction; Other
Classroom; Reference
Textbooks; Textbook -
Classroom. Expressions
Music Curriculumâ?¢.
Published by Alfred Music
.
Book 2. By Ned Bennet. For Clarinet. A New Tune A Day. Instructional: Instructio...(+)
Book 2. By Ned Bennet.
For Clarinet. A New Tune
A Day. Instructional:
Instructional,
Instructional: Method.
Instructional book with
accompaniment/examples
cd. 48 pages. Published
by Boston Music Company.
Choral SA choir, piano SKU: CF.CM9576 1. Who Robbed the Woods 2. Cool ...(+)
Choral SA choir, piano
SKU: CF.CM9576
1. Who Robbed the
Woods 2. Cool is the
Valley Now. Composed
by Paul David Thomas.
Sws. Performance Score.
16 pages. Carl Fischer
Music #CM9576. Published
by Carl Fischer Music
(CF.CM9576).
ISBN
9781491153987. UPC:
680160912483. 6.875 x
10.5 inches. Key: G
minor. English. Emily
Dickinson (1830-1886) ,
Walt Whitman
(1819-1892).
The
two pieces, Who Robbed
the Woods? and O Cool is
the Valley Now, combine
to create a set that both
explores the subtle
beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinsons poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees behalf, who
would do such a thing?
Whitman ponders a trees
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 712. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 3953). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modes lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
910, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
aWho Robbed the Woods?a
and aO Cool is the Valley
Now,a combine to create a
set that both explores
the subtle beauty,
serenity, fragility, and
resiliency of nature and
examines our relationship
to the natural world
around us. The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled
The Lesson of the
Tree. Only two
stanzas in length,
Dickinsonas poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the treesa behalf, who
would do such a thing?
Whitman ponders a treeas
silent majesty and power
and its ability to be
ayet say nothing at all.a
The musical setting
begins and ends in the
mode of G-Dorian while
moving briefly in the
middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7a12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39a53). O Cool
is the Valley NowA also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this modeas lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9a10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree.
Only two stanzas in
length, Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning
a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm. 39-53). O Cool
is the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
Who Robbed the Woods? and
O Cool is the Valley Now,
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around us.
The first song combines a
short poem by Emily
Dickinson with a journal
entry excerpt by Walt
Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson's poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees' behalf, who
would do such a thing?
Whitman ponders a tree's
silent majesty and power
and its ability to be yet
say nothing at all. The
musical setting begins
and ends in the mode of
G-Dorian while moving
briefly in the middle
section to Bb major. The
Dorian mode, similar to
the natural minor but
with a raised sixth scale
degree, possesses a
mysterious and whimsical
sound, fitting for a poem
that considers the
possibility of talking
trees. The accents and
syncopation of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7-12. The beginning a
cappella section should
be hushed yet intense; a
richer, fuller sound may
be brought out in the
middle section where the
key shifts to Bb major
and the choir sings of
the many noble qualities
of trees (mm. 39-53). O
Cool is the Valley Now
also makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode's lack of a
leading tone gives the
melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9-10, imitating the
rolling hills and valleys
evoked in the text. The
phrases of the vocal
lines should also be
flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p.
14. The two pieces,
“Who Robbed the
Woods?†and
“O Cool is the
Valley Now,â€
combine to create a set
that both explores the
subtle beauty, serenity,
fragility, and resiliency
of nature and examines
our relationship to the
natural world around
us.The first song
combines a short poem by
Emily Dickinson with a
journal entry excerpt by
Walt Whitman entitled The
Lesson of the Tree. Only
two stanzas in length,
Dickinson’s poem
considers the ways in
which people use and
exploit trees for their
own purposes and asks, on
the trees’ behalf,
who would do such a
thing? Whitman ponders a
tree’s silent
majesty and power and its
ability to be “yet
say nothing at
all.â€The musical
setting begins and ends
in the mode of G-Dorian
while moving briefly in
the middle section to Bb
major. The Dorian mode,
similar to the natural
minor but with a raised
sixth scale degree,
possesses a mysterious
and whimsical sound,
fitting for a poem that
considers the possibility
of talking trees. The
accents and syncopation
of the piano
accompaniment should be
carefully observed, with
particular attention paid
to the syncopation found
in gestures occurring in
mm. 7–12. The
beginning a cappella
section should be hushed
yet intense; a richer,
fuller sound may be
brought out in the middle
section where the key
shifts to Bb major and
the choir sings of the
many noble qualities of
trees (mm.
39–53).O Cool is
the Valley Now also
makes use of a modal
scale. Set primarily in D
Mixolydian, similar to D
major but with a lowered
seventh scale degree,
this mode’s lack
of a leading tone gives
the melody a folk-tune
quality. The piano should
at all times remain
legato and flowing, its
ascending and descending
gestures, found in mm.
9–10, imitating
the rolling hills and
valleys evoked in the
text. The phrases of the
vocal lines should also
be flowing and carefully
shaped. Additional rubato
and dynamic subtleties
may be added to
accentuate any number of
the suspensions and
dissonances that occur,
especially on p. 14.
(Book 2). By Ned Bennet. For Flute. Songbooks and Methods. Tune a Day. Instructi...(+)
(Book 2). By Ned Bennet.
For Flute. Songbooks and
Methods. Tune a Day.
Instructional:
Instructional,
Instructional: Method.
Instructional book with
accompaniment/examples
cd. Text language:
English. 48 pages.
Published by Boston Music