Kikkehihi

SKU: HL.48182031

UPC: 888680847074. 9.0x12.0x0.079 inches.

“Composed by Makoto Shinohara, Kassouga is a piece for advanced Flute players, accompanied by a Piano. This work lasts 6 minutes and is dedicated to Hirohiko Kato. Very difficult, the first section of the piece slowly but expressively and includes a Cadenza by the Flute solo. The second part is then introduced, fast, energetic and rhythmic, before another Cadenza by the Solo Flute, leading to the end of the work finishing really harmoniously. It is a melodious work that is relatively challenging and could be played in recitals or for contests. Makoto Shinohara is a Japanese composer from Osaka. He studied in France with Olivier Messiaen and Tony Aubin and in Germany with Bernd Alois Zimmermann and Gottfried Koenig. He wrote some Orchestral pieces, some chambre music some electronic music and some works for traditional Japanese instruments.”.

SKU: BR.BES-3091

ISBN 9790004610046. 11.5 x 16.5 inches. German.

Text by the composer after a folk FairytaleTranslation: German (A. Bernhard), French (L. Laloy), Ital. (E. Magni)Place: In the evil realmCharacters: Kashchey (tenor) - Princess Tausendschon (soprano) - Ivan Korolyevich (baritone) - Kaschtscheewna (mezzo-soprano) - Hero Sturmwind (bass)Kashchey holds the Princess captive in his kingdom, which is besieged by a snowstorm. His daughter, who is helping her father defend his realm, ensures Kashcheys immortality as long as her heart remains unmoved. In search of his beloved Princess, Ivan Korolyevich enters the evil realm. But instead of killing him, Kashcheys daughter falls in love with the young man. Unfortunately, she cannot destroy the love between Ivan and the Princess, and becomes despondent. When the compassionate Princess kisses her rival on her brow, Kashcheys daughter begins to weep. Her tears transform her into a weeping willow and Kashchey dies.

SKU: YM.GTW01095361

ISBN 9784636953619.

New Sounds in Concert Band Series (NSB). Medley of 4 songs composed for Keyakizaka 46, girls idol group
Duration: approx7'45
Arranged by Toru Kanayama

Sekai niwa Ai shika nai(Only Love in the World); Futari Season; Dissonance; Silent Majority.

SKU: PO.PE061S

ISBN 9781877218613.

Commissioned by the Jazz Choir of Hamilton's Hillcrest High School, Tangi te Kawekawea (1998) is a setting of a Maori planting spell for SATB choir and three percussionists. This simple and very effective work is a highly enjoyable work suitable for performers of any skill level. It is perfect for choirs looking for a short energetic work that features Te Reo (Maori language) and percussion.

SKU: BT.DHP-1115084-020

9x12 inches. English-German-French-Dutch.

It may be surprising to see a fanfare piece commissioned by a Japanese ensemble, since fanfare orchestras are typically found in Belgium, Holland and Luxembourg, and also France and Switzerland. Senzoku Gakuen is one of the largest and mostprestigious music universities in Japan, and home to a wide variety of ensembles and orchestras. Since 2006 they have had a fanfare orchestra, which was started by Sotaru Fukaishi, a euphonium teacher who felt further performance opportunity wasneeded for saxhorn instruments. Fukaishi had loved the sound of fanfare orchestras ever since visiting the World Music Contest in Kerkrade (Holland) several years earlier. Jan Van der Roost was involved with this new initiative from the beginning,and they were also joined by Manu Mellaerts for certain projects. The Dean of the music department, Professor Kazuo Tomioka, fully supports the ensemble and commissioned Ostinati. The première took place on June 11th at Maeda Hall inMizonokuchi (Kawasaki) where Senzoku Gakuen is based. The piece opens with an impressive timpani solo, followed by brass and saxophone. The rhythmical pulse remains constant and the music is fiery and assertive in character. A pentatonic melodygradually emerges and the music loses its vehemency and softens. The initial percussion ostinati subsequently recurs and the first section of the piece concludes in a similar mood to the opening. The second movement is sweet and melodic, opening witha long passage for the saxophone family in a minor key. The same theme then appears in the major and is developed upon; the music builds to a majestic orchestral forte, reminiscent of a pipe organ in its sonority. The theme returns in the originalminor key with a change in instrumentation leading the movement to a quiet and peaceful end on a soft E minor chord. The finale starts with percussion: a four-bar pattern is repeated several times over which the movement’s melodic themes areintroduced. These melodic elements are varied and used in different versions and the ostinato idea, which characterizes the entire piece, is highlighted. The theme travels through the orchestra, appearing on various instruments and in variousregisters. It captures the listener’s attention and displays the full range of sound and colour within the fanfare orchestra.

Het is misschien verrassend dat dit fanfarewerk is geschreven in opdracht van een Japans ensemble, aangezien fanfareorkesten vooral te vinden zijn in België, Nederland en Luxemburg, en ook wel in Frankrijk en Zwitserland. SenzokuGakuen is een van de grootste en meest prestigieuze muziekopleidingen van Japan, en de thuisbasis van een grote verscheidenheid van ensembles en orkesten. In 2006 is er een fanfareorkest opgericht, en wel door Sotaru Fukaishi, eeneuphoniumdocent die vond dat er meer mogelijkheden moesten komen voor optredens met saxhoorninstrumenten. Fukaishi had enkele jaren daarvoor genoten van de fanfareklank toen hij het Wereld Muziek Concours in Kerkrade bezocht. DeBelgische componist Jan Van der Roost was van het begin af aan betrokken bij dit nieuwe initiatief, en ook Manu Mellaerts werd voor een aantal projecten aangetrokken. Het hoofd van de muziekfaculteit, professor Kazuo Tomioka, staatgeheel achter het ensemble en gaf de opdracht tot het schrijven van Ostinati. De première vond plaats op 11 juni in de Maeda Hall in Mizonokuchi (Kawasaki), waar Senzoku Gakuen is gevestigd. Het werk begint met een indrukwekkendepaukensolo, gevolgd door koper en saxofoon. De ritmische puls blijft constant, en de aard van de muziek is vurig en krachtig. Geleidelijk komt er een pentatonische melodie naar voren en wordt de muziek minder heftig, ze wordtzachter van karakter. De aanvankelijke ostinati in het slagwerk verschijnen dan opnieuw, waarna het eerste deel van het werk eindigt in dezelfde sfeer als waarmee het begon. Het tweede deel is lieflijk en melodisch. Het opentmet een lange passage voor de saxofoons in een mineurtoonsoort. Dan klinkt hetzelfde thema in majeur en daar wordt op voortgeborduurd: de muziek ontwikkelt zich tot een majestueus orkestraal forte, dat qua sonoriteit doet denken

Es mag überraschen, dass dieses Fanfareorchesterwerk ausgerechnet von einem japanischen Ensemble in Auftrag gegeben wurde, da Fanfareorchester doch eher in Belgien, den Niederlanden oder Luxemburg oder auch in Frankreich oder Schweiz zu finden sind. Senzoku Gakuen ist eine der größten und renommiertesten Musikschulen Japans und Heimstätte einer Vielfalt an Ensembles und Orchestern. Im Jahr 2006 wurde ein Fanfareorchester gegründet. Den Anstoß gab Sotaru Fukaishi, ein Euphoniumlehrer, der den Instrumenten der Saxhorn-Familie mehr Spielmöglichkeiten bieten wollte. Fukaishi hatte sich einige Jahre zuvor bei der Weltmeisterschaft in Kerkrade (Holland) in den Klang vonFanfareorchestern verliebt. Jan Van der Roost war von Beginn an in die Entwicklung dieser Idee involviert und, einige Projekte betreffend, ebenso Manu Mellaerts. Der Dekan des Musik-Colleges, Professor Kazuo Tomioka, steht voll und ganz hinter dem Ensemble und gab Ostinati in Auftrag. Die Premiere fand am 11. Juni 2011 in der Maeda Hall in Mizonokuchi statt, dem Heimatort der Schule Senzoku Gakuen. Das Stück beginnt mit einem eindrucksvollen Paukensolo, bevor Blechbläser und Saxophon einsetzen. Der rhythmische Puls bleibt konstant unter einer feurigen, nachdrücklichen Musik. Eine pentatonische Melodie bildet sich nach und nach heraus, während die Musik an Heftigkeit verliert und sanfter wird. Die anfänglichen Ostinati im Schlagwerk kehren zurück und so endet der erste Satz des Werkes in einer der Eröffnung ähnlichen Stimmung. Der zweite Satz ist lieblich und melodiös. Er beginnt mit einem langen Abschnitt für die Saxophone in Moll. Dann erscheint das gleiche Thema in Dur und durchläuft eine Entwicklung; die Musik baut sich zu einem majestätischen orchestralen Forte auf, das in seiner Klangfülle an eine Orgel erinnert. Dann kehrt das Thema in seiner ursprünglichen Moll-Tonart und in veränderter Instrumentierung zurück, um den Satz ruhig und friedvoll in einem e-Moll-Akkord enden zu lassen.

Il pourrait paraître surprenant qu’un ensemble japonais puisse commander une pièce pour orchestre de fanfare, puisque l’on rencontre surtout ce type de formation en Belgique, aux Pays-Bas et au Luxembourg, ainsi qu’en France et en Suisse. Senzoku Gakuen, l’une des plus grandes et plus prestigieuses académies de musique du Japon, compte une grande variété d’ensembles et d’orchestres. En 2006 s’y est ajouté un orchestre de fanfare fondé par Sotaru Fukaishi, un professeur d’euphonium qui pensait qu’il était nécessaire d’offrir de plus larges possibilités aux cuivres de la région. Depuis qu’il avait assisté au World Music Contest de Kerkrade (Pays-Bas), plusieurs années auparavant,Fukaishi se prit de passion pour le son chaud et généreux de l’orchestre de fanfare, une formation atypique au Japon. Jan Van der Roost a favorablement adhéré cette nouvelle initiative, tandis que Manu Mellaerts collabora avec les deux hommes afin de concrétiser certains projets. Le professeur Kazuo Tomioka, doyen du collège de musique, soutint vigoureusement l’orchestre et commanda Ostinati. La création de l’oeuvre fut donnée le 11 juin 2011 au Maeda Hall de Mizonokuchi (Kawasaki), où se trouve Senzoku Gakuen. La pièce débute avec un impressionnant solo de timbales précédant l’entrée des cuivres et des saxophones. La pulsion rythmique est constante, la musique est énergique et de caractère affirmé. Une mélodie pentatonique émerge graduellement, alors que la trame musicale diminue d’intensité et s’adoucit. L’ostinato la percussion revient fréquemment et la première partie de l’oeuvre se termine dans un climat semblable celui du début. Le deuxième mouvement, doux et romancé, débute avec un long passage en mode mineur joué par les saxophones. Le même thème apparaît alors en mode majeur et se développe peu peu ; la musique s’intensifie pour arriver un majestueux et orchestral forte dont les sonorités rappellent celles d’un orgue d’église. Puis le thème revient sa tonalité mineure d’origine avec un changement d’instrumentation qui mène.

SKU: GI.G-7850

ISBN 9781579998059. English.

Adventures with Music Book 1 A new adventure series where the heroes are young musicians! Dale and his friends waited for this moment, and now it was here: they were finally old enough to play an instrument. Little did Dale know that his decision to play the cornet would take him on an adventure of a lifetime... This first book in The Adventures with Music Series begins in the U.S. during World War II. Paul and Ann Kimpton bring to life this unforgettable story about best friends, their dog Scout, bike rides, forts, foot races, and heroism—capturing the spirit of a remarkable time and the sheer joy of making music Excerpt from the book... The Conn instrument factory was on fire, and only one person could save the town.... Hurry, Dale! You have no time to spare! Grandpa warned as Dale hopped on his bike. He put the bugle to his lips, but nothing came out. Remember what you have been taught, Grandpa advised. Dale licked his lips and tried again. This time the Fire Call came out loud and clear. The sound echoed across the valley. Grandpa shouted, Now ride to each corner and play it as loud as you can. This is going to be your most important performance ever! Paul Kimpton grew up in a musical family and was a band director in Illinois for 34 years. His father Dale was a band director and professor at the University of Illinois, and his mother Barbara was a vocalist. When Paul is not writing, he is reading or enjoying the outdoors. Ann Kimpton played French horn through college and went on to be a mother, teacher, and high school administrator. Her parents, Henry and Maryalyce Kaczkowski, both educators, instilled an appreciation for the fine arts and the outdoors in all of their children. How to use the Adventures with Music series: 1. Parents, Teachers, Librarians: Intended for intermediate readers in grades 4 through 8, these books capture the interests of both boys and girls. The series fosters a love of reading while exposing students to American history and the foundations of music. The musician characters provide positive role models for any child, but especially students who like music or play an instrument. 2. General Music Classroom: Support reading across the curriculum in your classroom! The Adventures with Music series promotes musicians as can-do kids. Musical concepts are embedded throughout each high-interest story, thus reinforcing what students are learning in your classroom. Provide your students with a background rich in music history in an exciting context. The books are written to appeal to a variety of reading levels, and as a result, support differentiated instruction in your classroom. 3. Instrumental Music Teachers: Build interest when recruiting beginners, and maintain that excitement, as students develop their musical skills. The Adventures with Music series provides students with positive role models of well-rounded, active musicians. Students see how music can be an essential part of their lives and are drawn to the exciting stories that reinforce the concepts they will encounter when they play an instrument. The series’ characters learn to read music, rehearse, and persevere all while developing leadership skills in their school’s music program. Music history is woven throughout, helping you keep the legacy of music alive for young musicians.  .

SKU: GI.G-7850CG

ISBN 9781579999124. English.

This Curriculum Guide is designed to help teachers get the most out of the book Starting Early: A Boy and His Bugle in America During WWII, the first in the Adventures with Music series...a series where the heroes are young musicians! Intended for readers in Grades 4 through 8, the Adventures with Music series fosters a love of reading while exposing students to American history and the foundations of music. The musician characters provide positive role models for any child, but especially students who like music or play an instrument. This Curriculum Guide will assist teachers in developing language, literacy, content, and music skills in their classroom by providing a framework to strengthen student literacy skills while enabling students to develop or enrich their base of musical knowledge. This Guide will also help educators blend the teaching of music with the English Language Arts Common Core State Standards. Included are vocabulary suggestions, active reading questions, enrichment activities that cover the entire book. In addition, this Guide contains quizzes, music literacy vocabulary, student worksheets, and much more. Written by the authors of Starting Early, this Curriculum Guide is an essential resource for any teacher hoping to bring positive experiences with music and literacy beyond the classroom. Paul Kimpton grew up in a musical family and was a band director in Illinois for 34 years. His father Dale was a band director and professor at the University of Illinois, and his mother Barbara was a vocalist. When Paul is not writing, he is reading or enjoying the outdoors. Ann Kimpton played French horn through college and went on to be a m other, teacher, and high school administrator. Her parents, Henry and Laryalyce Kaczkowski, both educators, instilled an appreciation for the fine arts and the outdoors in all of their children.

SKU: GI.G-8093CG

ISBN 9781579999315. English.

This Curriculum Guide is designed to help teachers get the most out of the book Dog Tags: A Young Musician’s Ultimate Sacrifice During WWII, the second in the Adventures with Music series…a series where the heroes are young musicians! Intended for readers in Grades 4 through 8, the Adventures with Music series fosters a love of reading while exposing students to American history and the foundations of music. The musician characters provide positive role models for any child, but especially students who like music or play an instrument. This Curriculum Guide will assist teachers in developing language, literacy, content, and music skills in their classroom by providing a framework to strengthen student literacy skills while enabling students to develop or enrich their base of musical knowledge. This Guide will also help educators blend the teaching of music with the English Language Arts Common Core State Standards. Included are vocabulary suggestions, active reading questions, enrichment activities that cover the entire book. In addition, this Guide contains quizzes, music literacy vocabulary, student worksheets, and much more. Written by the authors of Starting Early, this Curriculum Guide is an essential resource for any teacher hoping to bring positive experiences with music and literacy beyond the classroom. Paul Kimpton grew up in a musical family and was a band director in Illinois for 34 years. His father Dale was a high school band director and professor at the University of Illinois, and his mother Barbara was a vocalist. When Paul is not writing, he is reading or enjoying the outdoors.  Ann Kimpton played French horn through college and went on to be a mother, teacher, and high school administrator. Her parents, Henry and Maryalyce Kaczkowski, both educators, instilled an appreciation for the fine arts and the outdoors in all of their children. .

SKU: GH.CVI-3648

Kokonaisvaltaisen aanenkayton tekniikka (Complete Vocal Technique, CVT) on uraauurtava innovatiivinen lahestymistapa lalunopetukseen, josta on apua kaikille ihmisaanesta kiinnostuneille, niin aloittelijoille kuin kokeneille ammattilaisillekin. Mnetelman tekniikoita voidaan kayttaa kaikissa laulutyyleissa.

Kirja perustuu tuoreeseen ja jatkuvasti paivettyyn laulutekniikan tutkimukseen. CVT:ta suosittelevat laulajat, laulunopettajat, nayttelijat, puheterapeutit ja laakarit eri puolilla maailmaa.

Cathrine Sadolin on maailman johtavia lauluaanen tutkijoita. Han on perehtynyt laulamisen eri tyyleihin 25 vuoden ajan ja itsekin ammattilaulajana kehittanyt innovatiivista lahestymistapaansa myos omien kokemustensa kautta. Han vierailee saannollisesti luennoitsijana aanenkayton kansainvalisissa konferensseissa. Han on erikoistunut laluaanen ongelmien ratkaisuun, vasyneen aanen kuntoutukseen ja laulutekniikan opetukseen kaikissa eri musiikin tyylilajeissa. Han on tyoskennellyt niin teattereissa, oopperoissa kuin levy-yhtioissakin aanikouluttajana ja tuottajana. Han on itse esiintynyt eri puolilla Eurooppaa klassisen, folk- ja rockmusiikin laulajana ja tehnyt useita levyva.

Vuonna 2002 Cathrine perusti kolmivuotisen laulu- ja laulunopettajakurssin, joka on tarkoitettu jatkokoulutukseksi laulamisen ammattilaisille. Vuonna 2005 han perusti Koopenhaminaan Complete Vocal Institute (CVI) -oppilaitoksen. Nykyaan CVI:lla on haaraosastoja eri maissa, ja se on Euroopan suurin laulamisen ammattilaisten ja puoliammattilaisten koulutuslaitos.