| Emotional Accordion Part 1 MDS (Music Distribution Services) (+)
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Expectation
-
Pleasure
-
Fair Dance
-
Consolation
-
Carefree
-
Petit Morceau
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Morning Blues
-
Une Belle matinee
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Revelation
-
Wondering
-
Variations On A Theme
-
Touch
-
Emotion
-
Dance Constance
-
Beat
-
Gypsy Melody
-
Serene
-
Memory
-
Melodie d'un
Saxophone
-
Hopeful
-
Melody
-
La Valse
-
Spirit
-
Forward
-
Compassion
-
Cheerful
-
Resolute
-
Tango d'Esperanza
-
Welcome
-
In Classical Style
| | |
| Dein Klavier wird Dich lieben 2 Vol. 2 Piano seul - Facile Music Distribution Services
Piano - easy to intermediate SKU: M7.ART-42102 11 gefühlvoll-emotio...(+)
Piano - easy to
intermediate SKU:
M7.ART-42102 11
gefühlvoll-emotionale
& moderne
Klavierstücke von
romantisch-melancholisch
bis
fröhlich-heiter.
Composed by Tatjana
Davidoff. Score with
online audio files. 48
pages. MDS (Music
Distribution Services)
#ART 42102. Published by
MDS (Music Distribution
Services) (M7.ART-42102).
ISBN
9783866421028. Lern
e ausdrucksvoll,
authentisch und bildhaft
zu spielen! Eigene
Gefühle entdecken und
erleben! Lerne mit deiner
Interpretation deine
eigene Geschichte zu
erzählen! 'Dein
Klavier wird Dich lieben
- Band 2' für
fortgeschrittene Spieler
enthält 11
gefühlvolle, moderne
und abwechslungsreiche
Klavierkompositionen
für Solo-Piano von
romantisch und
melancholisch bis
fröhlich und heiter.
So bleibt jede 'Session'
immer einzigartig,
spannend und fordernd.
Der Vorgängerband
'Dein Klavier wird Dich
lieben' hat bereits den
Grundstein für den
sicheren Umgang mit
Intervallen gelegt. In
'Band 2' lernst Du nun
Arpeggios und Akkorde zu
spielen. Die einfachen
Dur- und Mollharmonien
schulen Dein Gehör und
die ausführlichen
Fingersätze
erleichtern Dir das
Spielen an sich.
Klanglich orientiert sich
die Musik an modernem
Pop, Rock und Jazz, ist
aber vor allem Eines:
Musik aus dem Herzen, die
für jeden
zugänglich ist, denn
diese Kompositionen sind
pure Emotion. Das
Stück 'A Box Full Of
Memories' habe ich für
Dich zuerst als
Geschichte geschrieben
und danach als
Musikstück komponiert
(die Zeit vergeht und die
schönen Erinnerungen
wärmen unsere
Gegenwart auf). Jedes der
Klavierstücke wird
bestimmt auch Deine
Fantasie wecken, da die
Melodien sehr
eingängig und
einprägsam sind und
gleichzeitig Raum lassen
für die eigene
Kreativität. Ich
wünsche Dir
gefühlvolle Momente
und große Freude mit
'Dein Klavier wird Dich
lieben - Band 2'! $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Interlude “Nightfall” [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
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.â€
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. $7.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Interlude “Nightfall” - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
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.â€
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. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First 50 Songs You Should Play on Bass Basse electrique - Facile Hal Leonard
By Various. Bass. Softcover. With guitar tablature. 120 pages. Published by ...(+)
By Various. Bass.
Softcover.
With guitar tablature.
120
pages. Published by Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music Education and Social Emotional Learning - Student Workbook GIA Publications
SKU: GI.G-9820 The Heart of Teaching Music. Composed by Scott N. E...(+)
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. Â 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. . $12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Social Emotional Learning for the Pre-Service and In-Service Music Teacher GIA Publications
SKU: GI.G-10850 A Guide for Developing Teacher SEL Competencies. C...(+)
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). $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Portraits of Music Education and Social Emotional Learning GIA Publications
SKU: GI.G-10452 Teaching Music with Heart. Composed by Scott N. Ed...(+)
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 Â
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. $34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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