| O Magnum Mysterium Chorale 3 parties SSA, Piano [Octavo] Carl Fischer
(From Magnum Mysterium ). Composed by Thomas Juneau. For SS choir, piano or har...(+)
(From Magnum Mysterium
). Composed by Thomas
Juneau. For SS choir,
piano or harp. Octavo. 12
pages. Duration 4
minutes, 32 seconds.
Published by Carl Fischer
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| All the Best for Christmas Organ Orgue - Intermédiaire Lillenas Publishing Co.
(A Treasury of Yuletide Favorites). For organ: 3-staff. Christmas. Published by ...(+)
(A Treasury of Yuletide
Favorites). For organ:
3-staff. Christmas.
Published by Lillenas
Publishing Company
$42.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Towards Center GIA Publications
SKU: GI.G-7661 The Art of Being for Musicians, Actors, Dancers, and Te...(+)
SKU: GI.G-7661
The Art of Being for
Musicians, Actors,
Dancers, and
Teachers. Composed by
James Jordan and Nova
Thomas. Evoking Sound.
Music Education. Book.
200 pages. GIA
Publications #7661.
Published by GIA
Publications (GI.G-7661).
ISBN 9781579997694.
UPC: 978157997694.
English. Foreword
by James Conlon
Imagination is spiritual
perception. Authenticity
is spiritual
presence.  —
M. C. Richards Performing
artists and teachers
often speak of the huge
impact
“Center†has
upon their profession and
craft. In this book,
conductor and educator
James Jordan details how
the power of Center
grounds performance,
teaching, and learning,
bringing the reader full
circle to the ideas first
introduced in his
best-selling book The
Musician’s Soul.
Nova Thomas, an acclaimed
singer and master
teacher, relates how she
employs Centering in her
work preparing actors and
vocalists for their life
on the stage. The
insights of these two
renowned teachers reveal
the importance of
Centering in the
day-to-day life for all
performance, artists, and
teachers—illustrat
ing the
“how’sâ€
and
“why’sâ€
of Centering, and how
Centering can transform
one’s performance
and teaching. The authors
also cover the
groundbreaking
contribution of M.C.
Richards, whose efforts
to define Center
profoundly shaped the
creative life of all
musical and dramatic arts
in the United States.
Toward Center also
covers: • A
definition of Center
• The importance of
knowing “The
Crossing Pointâ€
• An overall
philosophy of Centering
• Aspects of
Spiritual Center •
Aspects of Physical
Center and Grounding
• Breath exercises
to access Center •
Performance/Teaching
focus as an aspect of
Center •
Application of
Stanislavsky Circles of
Attention to performance,
teaching, and conducting
• Role of Centering
in the development of the
creative arts •
Insightful applications
of Centering by the
authors to all performing
artists and teachers
• The role of focus
and its use in
performance, teaching,
and conducting •
How to achieve
authenticity, honesty,
and spiritual presence in
both performance and
teaching  This
beautiful, illustrated
book is an invaluable
resource for performers,
actors, conductors, and
teachers alike. Widely
acknowledged as one of
the most influential
conductors in America,
James Jordan, Senior
Conductor at Westminster
Choir College of Rider
University, through his
eighteen books and
recordings, has brought
about far-reaching
changes in choral music,
music education, and
conducting. Nova Thomas,
an internationally
acclaimed soprano who has
performed in opera houses
around the world, is an
Assistant Professor of
Voice at Westminster
Choir College of Rider
University, where she
serves as Director of the
university's renowned
Music Theater Program.
She also serves as Chair
of the Voice and Speech
Program at the New School
for Drama of the New
School University in New
York City. . $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Inflection Points Potenza Music
Flute, bassoon and piano SKU: P2.10007 Composed by Thomas Dempster. Chamb...(+)
Flute, bassoon and piano
SKU: P2.10007
Composed by Thomas
Dempster. Chamber music,
20th century. Published
by Potenza Music
(P2.10007).
Composer Thomas
Dempster says, In
differential calculus, an
inflection point is a
point on a curve at which
the curvature changes
sign - between positive
and negative curvature. I
construe the entirety of
the piece as a somewhat
long arc; the inflection
point of the entire piece
happens somewhere during
the second movement. The
first movement ('Quirky
Rays and Charming
Segments') takes the idea
of a stationary point as
a tonal center as more
literally sees a line, or
a curve, or pitches and
motives passed around
between the ensemble.This
movement juggles a number
of ideas and verily
proffers some
short-lived, rhythmically
unstable and tonally
ambiguous lines and arcs
that return later on. The
second movement ('Distant
Planes and Objects')
contains a fair amount of
parallel motion, open and
sparse figures, and
static textures. Motion
in pitch space extends
outward in both
directions from Ab and
eventually returns,
retracing the points. The
final movement ('Jiggly
Dots and Origins') is a
mildly psychotic gigue
that melds together the
ideas of the previous two
movements.. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Two Landscapes of Song for Treble Voices Carl Fischer
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. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lessons with the Hudson Greats - Volume 1 Batterie Hudson Music
(Featuring Instruction from Jason Bittner, John Blackwell, Keith Carlock, David ...(+)
(Featuring Instruction
from Jason Bittner, John
Blackwell, Keith Carlock,
David Garibaldi and
more). By David
Garibaldi, Jason Bittner,
John Blackwell, and Keith
Carlock. For Drum.
Percussion. Softcover
with DVD. 104 pages.
Hudson Music #HDBK36.
Published
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Zwerg Nase Carus Verlag
KiSolisten, KiChor (1-3stg, 2. und 3. Stimme ad lib.), Pfte SKU: CA.1244803(+)
KiSolisten, KiChor
(1-3stg, 2. und 3. Stimme
ad lib.), Pfte SKU:
CA.1244803 Composed
by Thomas Nutzenberger.
Musicals for children,
Secular choral music.
Piano score. Duration 60
minutes. Carus Verlag #CV
12.448/03. Published by
Carus Verlag
(CA.1244803). ISBN
9790007252687. German.
Text: Hauff, Wilhelm /
Liebenspacher-Helm,
Sigrid. This is the
bizarre and fantastic
story of the boy Jacob
who is transformed into a
dwarf with a huge nose by
an mysterious fairy. He
spends seven years in the
fairy's palace, and
during this time becomes
a marvellous cook. The
years go by as in a
dream, and he does not
imagine that he is in
truth in the body of a
loathsome dwarf. When he
sees his parents again,
they do not recognize
him. He is mocked and
rejected by everyone. But
Jakob is not
disheartened! He has to
protect himself and
survive setbacks and
tests until at the end of
the story he regains his
true form. Zwerg Nase,
based on the fairy tale
of the same name by
Wilhelm Hauff, is a story
which gives courage and
hope. It is a story which
tells of self-confidence
and friendship. There are
the animals in the
fairy's palace, who stand
alongside Zwerg Nase, and
above all his girlfriend
the goose Mimi who is
herself an enchanted
maiden and is saved from
the oven by Zwerg Nase.
Mimi knows which magic
herb can give him back
his true form. And
everything turns out well
in the end. The text and
music convey the magical
content of the fairy tale
in a playful, yet
convincing way. The
libretto is catchy in its
verse and rhyme, comic
ideas alternate with
touching and atmospheric
passages. Classic and
contemporary elements mix
together in the setting,
oriental borrowings stand
alongside rhythmic pieces
such as boogie-woogie,
tango, and waltz. Written
for chorus and solo
voices, the Singspiel is
suitable for children and
young people from 6 to 14
years. It is about an
hour in length. This is
the bizarre and fantastic
story of the boy Jacob
who is transformed into a
dwarf with a huge nose by
an mysterious fairy. He
spends seven years in the
fairy's palace, and
during this time becomes
a marvellous cook. The
years go by as in a
dream, and he does not
imagine that he is in
truth in the body of a
loathsome dwarf. When he
sees his parents again,
they do not recognize
him. He is mocked and
rejected by everyone. But
Jakob is not
disheartened! He has to
protect himself and
survive setbacks and
tests until at the end of
the story he regains his
true form. Zwerg Nase,
based on the fairy tale
of the same name by
Wilhelm Hauff, is a story
which gives courage and
hope. It is a story which
tells of self-confidence
and friendship. There are
the animals in the
fairy's palace, who stand
alongside Zwerg Nase, and
above all his girlfriend
the goose Mimi who is
herself an enchanted
maiden and is saved from
the oven by Zwerg Nase.
Mimi knows which magic
herb can give him back
his true form. And
everything turns out well
in the end. The text and
music convey the magical
content of the fairy tale
in a playful, yet
convincing way. The
libretto is catchy in its
verse and rhyme, comic
ideas alternate with
touching and atmospheric
passages. Classic and
contemporary elements mix
together in the setting,
oriental borrowings stand
alongside rhythmic pieces
such as boogie-woogie,
tango, and waltz. Written
for chorus and solo
voices, the Singspiel is
suitable for children and
young people from 6 to 14
years. It is about an
hour in length. $57.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rehearsing the High School Orchestra GIA Publications
SKU: GI.G-10494 Composed by Sandy Goldie. Music Education. 104 pages. GIA...(+)
SKU: GI.G-10494
Composed by Sandy Goldie.
Music Education. 104
pages. GIA Publications
#10494. Published by GIA
Publications
(GI.G-10494). ISBN
9781574635195. This
book contains collective
insights from some of the
most inspirational high
school orchestra
directors in the United
States. They reveal their
ideas on rehearsal
philosophy, rehearsal
preparation, warm-up
strategies, favorite
repertoire, tone/bow
control, intonation,
articulation, expression,
online instruction,
recruiting and building
community. Each of their
stories is as unique as
the individual strategies
and approaches they
share. You will surely be
inspired by their ideas,
approaches, and
strategies presented in
Rehearsing the High
School Orchestra. I know
the most joy in my life
has come from my violin.
(Albert Einstein)
—Gail Barnes,
University of South
Carolina, Columbia, South
Carolina Success is not
final, failure is not
fatal, it is the courage
to continue that counts.
(Winston Churchill)
—David Eccles, The
Lovett School, Atlanta,
Georgia I want every
student who comes through
my door to enjoy and see
the value of music.
—Creston Herron,
Klein High School, Klein,
Texas Without music, life
would be a mistake.
(Friedrich Nietzsche)
—Cathie Hudnall,
Norcross High School,
Norcross, Georgia To make
a resolution and act
accordingly is to live
with hope. There may be
difficulties and
hardships, but not
disappointment or despair
if you follow the path
steadily. Do not rest in
your efforts, without
stopping, without haste,
carefully taking a step
at a time forward will
surely get you there.
(Shinichi Suzuki)
—Scott Laird,
North Carolina School of
Science and Mathematics,
Durham, North Carolina
Orchestra class teaches
so much more than how to
play a stringed
instrument. We learn
valuable life skills in
‘O.R.C.H.E.S.T.R.A
€™â€”Opportunit
y, Responsibility,
Concentration, Honesty,
Effort, Self-Discipline,
Trust, Respect, and
Attitude. —Charles
Laux, Alpharetta High
School, Alpharetta,
Georgia I teach
excellence and the
commitment it takes to be
excellent. Music is the
discipline that I use to
teach this. While music
is a beautiful artform,
the subject matter is
never more important than
the subject itself.
—Kirt Mosier,
Youth Symphony of Kansas
City, Kansas City,
Missouri You are the
music while the music
lasts. (T. S. Eliot)
—Kirk Moss,
University of
Northwestern—St.
Paul, Roseville,
Minnesota The job of
teaching is less about
feeding information to
students, and more about
making them hungry.
—Christopher
Selby, School of the
Arts, Charleston, South
Carolina High achievement
always takes place within
the framework of high
expectations. (Charles
Kettering) —Laura
Mulligan Thomas,
Charlottesville High
School, Charlottesville,
Virginia. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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