PARTITIONS GRATUITES : ORGUE SEUL
- First Emotion

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.FAS110F

Composed by Yukiko Nishimura. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #FAS110F. Published by Carl Fischer Music (CF.FAS110F).

ISBN 9781491151785. UPC: 680160909285. 9 x 12 inches.

Featuring long phrases in a slow tempo, Interlude Nightfall is a?perfect composition to teach musicianship with young students using dramatic harmonies. Yukiko Nishimura's musical imagery provides a great opportunity for string orchestras to showcase their musical phrasing and expression.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well.This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like “risoluto.” The second section from m. 29 is a kind of “chorale,” so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion.Please enjoy the thick harmonies.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.FAS110

Composed by Yukiko Nishimura. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+2+8 pages. Duration 4:39. Carl Fischer Music #FAS110. Published by Carl Fischer Music (CF.FAS110).

ISBN 9781491151419. UPC: 680160908912. 9 x 12 inches. Key: G minor.

Featuring long phrases in a slow tempo, Interlude Nightfall is a?perfect composition to teach musicianship with young students using dramatic harmonies. Yukiko Nishimura's musical imagery provides a great opportunity for string orchestras to showcase their musical phrasing and expression.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like arisoluto.a The second section from m. 29 is a kind of achorale,a so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well. This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like risoluto. The second section from m. 29 is a kind of chorale, so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion. Please enjoy the thick harmonies.
This work features long phrases in slow tempo, and the harmonies are very dramatic. The music should not be too square. Conductors must pay special attention to how the orchestra expresses these long phrases and harmony changes. The intonations of each phrases are important as well.This work consists of three sections, the first of which starts at m. 5. It should be played with confident feeling, like “risoluto.” The second section from m. 29 is a kind of “chorale,” so all parts should sound well-combined, like an organ. The third section is virtually identical to the first section but can be played with greater emotion.Please enjoy the thick harmonies.

By Various. Bass. Softcover. With guitar tablature. 120 pages. Published by Hal Leonard

SKU: GI.G-9820

The Heart of Teaching Music. Composed by Scott N. Edgar. Social Emotional Learning. Music Education. Book. 48 pages. GIA Publications #9820. Published by GIA Publications (GI.G-9820).

ISBN 9781622773527.

This convenient workbook contains thirty practical and engaging activities for music educators implementing Social Emotional Learning (SEL) curriculum in their classrooms. Each worksheet corresponds to an exercise detailed in Scott N. Edgar’s pioneering book Music Education and Social Emotional Learning: The Heart of Teaching Music. These activities offer students the opportunity to reflect musically, socially, and emotionally, and also enhance individual social emotional competence and musicianship. These activities are well-suited for musical and SEL assessment purposes.  This workbook is organized into sections based on the three core SEL goals: Self, Others, and Decisions. Edgar first defines each goal and then provides teachers with learning standards and skill sets for each goal. This workbook also includes a series of thoughtful reflection questions at the end of each section, which students may respond to in a developmentally appropriate way.   As an added convenience, the workbook contains a unique code allowing the purchaser to download an electronic file containing select worksheets, along with permission to reproduce them.  The Music Education and Social Emotional Learning Student Workbook is perfect for any teachers hoping to better equip themselves with the tools to implement a musical SEL curriculum, help their students, and truly teach music with heart!     Scott N. Edgar is a professor of music at Lake Forest College in Illinois and presents internationally on music education and social emotional learning. He has taught instrumental music in Ohio, Michigan, and Illinois. .

SKU: GI.G-10850

A Guide for Developing Teacher SEL Competencies. Composed by Michelle McConkey & Scott N. Edgar. Social Emotional Learning. Music Education. 96 pages. GIA Publications #10850. Published by GIA Publications (GI.G-10850).

ISBN 9781622777266.

Befo re music teachers can effectively implement Social Emotional Learning (SEL) with students in the classroom, they must first develop their own SEL skills and tend to their personal well-being. This practical guide takes teachers through thirteen sequential units designed to hone important self-care and SEL skills, such as regulating emotions, resolving conflict, managing stress, and building positive relationships. Each unit is structured around the three core pillars of SEL—Identity, Belonging, and Agency—and offers connections for both pre-service and in-service music teachers that guide them through a series of thought-provoking exercises to strengthen their skills, as well as space to discover, reflect, journal, draw, and commit to growth. An essential resource for current or future music teachers, and an ideal supplement for collegiate music education courses, this resource can be used again and again, year after year, to guide teachers on their journey to SEL competency and personal well-being. Michelle S. McConkey is Associate Professor of Music Education at California State University in Chico, California. She received her doctoral degree in music education from Arizona State University and is an active clinician, presenting workshops and research sessions at state, national, and international music education conferences. Scott N. Edgar is Associate Professor of Music at Lake Forest College. He is the author of Music Education and Social Emotional Learning and is an internationally sought-after clinician on the topic. Dr. Edgar also serves as Director of Practice and Research for the Center for Arts Education and Social Emotional Learning (www.artsedsel.org).

SKU: GI.G-10452

Teaching Music with Heart. Composed by Scott N. Edgar. Social Emotional Learning. Music Education. 318 pages. GIA Publications #10452. Published by GIA Publications (GI.G-10452).

ISBN 9781622775576.

Cont ributors: Jill Gagliardi, Elise Hackl, Meghan Hickey, Mary Jensen, Jessica Kwasny, Andrew M. Ladendorf, Brandon Larsen, Sandra Lewis, Darlene Machacon, Rachel Manchur, Bobby Olson, Michael J. West, and William Winters This book showcases the inspiring stories and innovative ideas of music educators who are implementing Social Emotional Learning (SEL) instruction with intentionality in their classrooms at the elementary, middle, and high school levels. By utilizing and adapting materials in Scott N. Edgar’s pioneering first book, Music Education and Social Emotional Learning, these teachers—represent ing all areas of music education—share their real-world challenges and triumphs with SEL instruction, along with many tips, activities, lesson plans, and suggestions for embedding SEL in a way that is musical, intentional, and meaningful. Importantly, Portraits of Music Education and Social Emotional Learning approaches SEL from a culturally relevant and equitable lens, accounting for the ways in which SEL instruction interacts with culture, race, background, and uniqueness, therefore making it a powerful tool for embracing social justice and student empowerment. At its core, SEL gives students the ability to have difficult conversations, cope with stress, and navigate challenges. And while each teacher presents their unique approach to SEL, they come to the same conclusion: SEL is critical to the success of their students and programs. Scott N. Edgar is Associate Professor of Music at Lake Forest College. He is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on the topic. Dr. Edgar serves as Director of Practice and Research for The Center for Arts Education and Social Emotional Learning (www.artsedsel.org). Dr. Edgar is a Music for All Educational Consultant, a Conn-Selmer Educational Clinician, and VH1 Save the Music Foundation Educational Consultant.   Finally, the go-to book for music educators who have intuitively and intentionally created classrooms where music and Social Emotional Learning (SEL) are seamlessly aligned. These practical ideas of how to teach music at all levels, grounded in the practices of SEL, will inspire all educators to not only teach from the heart, but to lead with empathy and compassion. —Pamela Randall-Garner, Ed.D.     Senior Staff Advisor     CASEL: Collaborative for Academic, Social, and Emotional Learning   This book is a must-read as well as a compelling study. Wisely, Dr. Scott Edgar brought together an amazing group of remarkable educators who share their own experiences as they avail their students to the immeasurable value of the Social Emotional Learning landscape. Be prepared to be challenged, educated, and enlightened. You have in your hands a rare gift bearing benefits to everyone traversing the educational highway. We are all indebted to this great team of first-class authors and educators. BRAVO! —Tim Lautzenheiser In this new publication, Scott Edgar continues to provide teachers with rich insights and practical suggestions for understanding and implementing Social Emotional Learning (SEL) into music education classes, from elementary through high school grades. Practicing music educators share pragmatic ideas for successful embedding of SEL into their teaching. A must-read for any music teacher wishing to better understand and promote well-being in their students. —John M. Feierabend.