We Seek a Rest

SKU: FJ.FJH2302

ISBN 9781619282162. UPC: 241444384138. English.

Timothy Brown brings a fresh approach to etudes with these 22 studies. 14 are one page long, the rest are two pages. Some of the specific technical skills are: learning staccato with both hands; R.H. rotation of 3rds, 4ths, and 5ths; developing loose wrists; playing 6ths; and many more. Interesting, fun and pedagogical---your students will enjoy playing these.

SKU: BP.DF1022

6.88 x 10.5 inches.

From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar.

SKU: GI.G-9082

ISBN 9781622771752. English.

Contributors: Sandra Babb, Bronwen Fox, Talia Greenberg, Stuart Chapman Hill, Tara Sievers-Hunt, Michele Kaschub, Mary Copland, Kennedy Chi-hin Leung, Tom Lopez, Wendy Northrup, Stephen A. Paparo, Sarah Price, Carlos Xavier Rodriguez, Julia Shaw, Philip Silvey, Janice Smith, Brent C. Talbot, Raymond Wise, Paulina Wai-Ying Wong.   By seeking to open the act of composing to students of all ages, colors, classes, and backgrounds, Strand and Kerchner seek to demystify the act of composition itself. . . . The chorus is the ideal place to affect this kind of change. —Dominick DiOrio     From the Foreword Musicianship: Composing in Choir is a pioneering and practical answer to one of the great music education mysteries: how to effectively bring music composition to the choir room at all levels, in alignment with the National Core Arts Standards. Written and edited by Jody Kerchner and Katherine Strand together with a team of 18 nationally recognized teachers, researchers, and musicians, this book is truly a landmark publication. Central to this book are engaging project-based activities for individuals, small groups, and full ensembles. The authors’ goal is to provide singers with exciting new tools for exploring music. By promoting comprehensive choral musicianship, teachers will celebrate their students’ creativity, and their own. Section 1, Principles and Foundations, provides a rationale for the critical importance of including composition in the choral classroom, pedagogical principles upon which to base composition activities, and practical examples that can be taken directly from the page into the classroom. Section 2, Looking in on Composing in Choir, shares the latest the latest in practices and research related to teaching arranging and composing at a variety of levels and choral styles, with practical ideas suitable for a wide range of choral programs, student ages, ability levels, and interests. Section 3, Composition Projects for Choir, includes lesson plans with goals, outcomes, and procedures for page-to-classroom activities. Examples include composing ostinatos, rounds, partner songs, and songs over a bass line, lessons on arranging, leveraging technology, and using composition to teach sight singing. These lessons are a gold mine of ideas for choral educators and students alike. Every lesson has been “test-driven” with diverse student populations. Ultimately, Kerchner, Strand, and their team show that composing and arranging are not superhuman gifts, activities, or experiences that need to occur in solitude: Creativity and composition should be for everyone. With Musicianship: Composing in Choir, teachers and their students have access to tools and ideas that have the potential to transform their music making. Jody L. Kerchner is Professor & Director of Music Education at the Oberlin Conservatory of Music, where she is the secondary-school music and choral music education specialist. She is also founder and conductor of the Oberlin College Women’s Chorale and the Oberlin Music at Grafton Prison Choir. Her research interests include music listening, choral pedagogy, reflective praxis, empathetic leadership, and music teacher preparation. Katherine Strand is Associate Professor of Music and Chair of the Music Education Department in the Jacobs School of Music at Indiana University, where she teaches classes in participatory music practices, curriculum, and qualitative research methods. She taught K–12 choral and general music in rural and urban settings and served as choral director for the Virginia Governor’s School for the Visual and Performing Arts and Humanities. Her research interests include teaching for creativity, multicultural music pedagogy, and curriculum. Clint Randles, Series Editor, is Assistant Professor and Coordinator of Music Education at the University of South Florida School of Music in Tampa, Florida.

SKU: ST.LS18

ISBN 9790220215193.

CONTENTS

ANONYMOUS
As at noon Dulcina rested (E - G)
Go now, my soul, to thy desired rest (C - D)
How now, shepherd, what means that? (E - E)
If I freely may discover (C - C)
If I seek t'enjoy the fruits (D - D)
I prithee leave, love me no more (G - A)
Music, thou soul of heav'n (D - D)
Shall I weep, or shall I sing? (D - D)
Sweet Muses, nurses of delights (C - C)
Sweet, stay awhile! (F sharp - G)

WOODSON, Leonard
Marigold of golden hue (G - G).

SKU: PR.11642143L

UPC: 680160693320. 11 x 17 inches.

For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.

SKU: CF.W2687

ISBN 9781491150955. UPC: 680160908455. 9x12 inches.

This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trombone, edited by Alan Raph, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.
The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) willend. There are things which appear clear enough when stated verbally but which when writtendown on paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech norword can clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level ofperfection, should above all things, always try to hear good music well interpreted. Theymust seek out, among singers and instrumentalists, the most illustrious models, and by doingthis purify their taste, develop their sentiments, and bring themselves as near as possible tothat which is beautiful. Perhaps then the innate spark which may someday be destined todemonstrate their own talent, will reveal itself and render them worthy of being, in their turn,cited and imitated in the future.

SKU: GI.G-6182INST