SKU: HL.275459
9.0x12.0x0.087 inches.
Score and Parts for Anna Thorvaldsdottir's Sequences. Written for bass flute, bass clarinet, baritone saxophone and contrabassoon. Composed for the International Contemporary Ensemble (ICE) for the ICEcommons Project and the New York Public Library. The first performance was given on 2 February 2013 at Kaldalon Hall, Harpa Centre, Reykjavik, Iceland. Duration: c. 8 minutes.
SKU: HL.280397
9.0x12.0 inches.
Peter Gregson's Sequence Four for String Quartet and Juno Synthesiser.
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SKU: PR.414412280
ISBN 9781491136393. UPC: 680160688937.
Michael Sachs, Principal Trumpet of The Cleveland Orchestra since 1988, presents a compendium of practice sequences to woodshed and refine over 50 excerpts from the orchestral trumpet literature, from Bach through the modern masters.PRACTICE SEQUENCES shows each original excerpt, followed by a progressive series of work routines to isolate a variety of building-block elements including intervals, rhythm, articulation, intonation, range, and dynamics. These practice sequences lead the performer to accurate facility and performance, while providing practice strategies that are applicable to any other challenging music beyond the examples in the book — a perfect companion to Sachs’ book THE ORCHESTRAL TRUMPET.PRACTICE SEQUENCES for The Orchestral Trumpet:• Teaches how to practice essential details in 55 passages from 39 orchestral works that you’ll face in auditions and performance.• Teaches how to practice most effectively, providing a thorough set of strategies that you can apply to any other excerpt beyond the book.• Offers the perfect description of how to approach new repertoire challenges through sequential, step-by-step problem solving to build facility.• Is the ideal companion to THE ORCHESTRAL TRUMPET (Presser 414-41227). While the latter presents almost 200 excerpts, PRACTICE SEQUENCES is a detailed study on the process of learning 55 selected excerpts.• Provides a permanent compendium of master classes with Michael Sachs, principal trumpet of the Cleveland Orchestra since 1988.
SKU: GI.G-9543
ISBN 9781622772568.
The Complete Choral Warm-Up Sequences represents the first truly pedagogically sequenced collection of choral warm-ups in print and the culmination of work begun three decades ago by Frauke Haaseman and James Jordan. The goal of these twenty sequenced choral warm-ups is to build vocal technique and enduring musical skill in ensembles, regardless of age or experience. By synthesizing the most essential elements of the best-selling book The Choral Warm-Up, authors James Jordan and Jesse Borower assemble a practical and easy-to-use resource for conductors and teachers. The warm-up sequences provide a daily “diet†of vocal technique development based onthe latest research in voice science coupled with exercises to develop intonation and audiation according to the principles of Edwin E. Gordon’s Music Learning Theory. This package includes a book for conductors, a book for accompanists, and links to important online audio and video downloads. Written in an easy-to-use format for choral conductors, this valuable resource is a rich collection of cutting-edge pedagogy and the latest in voice science. Features include: An introduction and concise overview of choral and vocal pedagogy Vocal exercises composed within a harmonic context, designed to strengthen each singer’s audiational skill while training legato, register consistency, range extension, and more Concise descriptions of what to listen for in each exercise and solutions to remedy common vocal issues Aural Immersion Exercises that will quickly attune an ensemble to the modality needed for any repertoire Chants that will heighten both the essential musicianship of each singer and the sensitivity of the ensemble as a whole Entire warm-up sequences designed to prepare a stylistically appropriate sound for multiple genres while developing real and enduring vocal and musical skill.
SKU: CA.1630100
ISBN 9790007099688. Language: all languages.
SKU: HL.48184253
UPC: 888680976323. 9.0x12.0x0.113 inches.
Louis Moyse: Exercices sur des Sequences inhabituelles Vol.1, No.1 (Flute solo).
SKU: UT.CH-157
ISBN 9790215320369. 9 x 12 inches.
Vals d'la Masca; Il racconto della Montagna; Sequenze sotterraneeThe Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861.The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls...The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution.(G. Signorile).
SKU: GI.G-10720
English, Latin. Text Source: Easter: Victimae paschali laudes, ascr. Wipo of Burgundy, d.1048, tr. Peter J. Scagnelli. Pentecost: Veni Sancte Spiritus, ascr. Stephen Langton, ca. 1150-1228, tr. Peter J. Scagnelli, after Edward Caswall, 1814-1878. Corpus Christi: Thomas A.
SKU: GI.G-10720K
Text Source: Easter: Victimae paschali laudes, ascr. Wipo of Burgundy, d.1048, tr. Peter J. Scagnelli. Pentecost: Veni Sancte Spiritus, ascr. Stephen Langton, ca. 1150-1228, tr. Peter J. Scagnelli, after Edward Caswall, 1814-1878. Cor.
SKU: HL.48024592
ISBN 9781784540685. UPC: 888680931285. 9.0x12.0x0.226 inches.
This 17-minute choral sequence is scored for mixed chorus and organ, with optional percussion, and presents five of the Latin motets’which occur at the end of movements in MacMillan's St John Passion (2007): Astiterunt reges terr, Judas, mercator pessimus, Peccantem me quotidie, Crucifixus etiam pro nobis, Stabat Mater. In the last of these, MacMillan quotes Bach's Passion Chorale; Bach's original is therefore included as an optional opening movement in the sequence, to be sung in German or English. The sequence was selected by Nigel Perrin (Bath Camerata), who comments, “I chose these movements because they stand on their own and are effective as 'motets' with organ accompaniment. The order of movements forms a sort of chronological sequence. Although the keys do not relate I felt that this did not matter as each movement is completely different, creating its own sound-world and emotion. I have not added to the original settings; rather, I have removed material so that the choral construction can stand alone.†A Choral Sequence from the St John Passion represents a significant addition to the repertory of devotional works for Passiontide and is appropriate for church and concert performance alike.
SKU: FP.FSD03
ISBN 9790570503827.
Steele's superb song-cycle Autumn Sequence was written for the pupils of Stockport Grammar School, and is scored for speaker, solo voices, chorus, flute or piccolo or recorder, tubular bells, handbells, organ pedal and piano, being the rather idiosyncratic resources then available at the school. It was first performed on October 3rd 1969 in the schools Hallam Hall, where the composer had been responsible for the specification of the recently installed organ. Douglas Steele himself played the piano part in his own inimitable style extending and improvising the cadenzas between the movements. A recording is available on Campion Cameo 2040/1 featuring Richard Baker narrating and choirs from Carlisle Cathedral, with John Turner on recorder.Autumn Sequence can be heard on the album Autumn Sequence: The Music of Douglas Steele and his circle.
SKU: GI.G-VHS-396
This hands-on video focuses on one of the most important educationaltools to be developed in recent years: the MIDI Sequencer. This video featuresdozens of examples of how the MIDI Sequencer can be used with children inreal teaching situations including chorus, classroom singing, listeningand rhythm activities, Orff ensembles, recorders and electronic piano lab.Like the piano or stereo, the MIDI sequencer is becoming an indispensibletool for music teachers. Why? What can you do with one? Looking for newteaching ideas? This video is for you!
SKU: GI.G-6855
UPC: 785147685500. English. Text source: Sequence Ascr. Wipo of Burgundy, d. 1048; Translation: Peter Scagnelli.
Utilizing a recurring refrain for the assembly, this lively setting of the sequence will be immediately accessible at your Easter liturgies. The gospel acclamation draws on the same melodic material as the response to the sequence. Scored for organ and mostly unison choir singing in alternation, the setting includes a simple, but engaging, part for tambourine, combined with additional percussion instruments, the Renaissance-like qualities of the piece will come alive! Percussion part is for tambourine.
SKU: C4.9790902260312
ISBN 9790902260312. 8.27 x 11.7 inches.
Michael Leighton Jones has created a brilliant sequence of six Marian works that take their lead from their plainsong counterparts. These wonderfully reflective and carefully-crafted motets take the practice of fauxbourdon in new directions, with free harmonic invention linking old to new in a beautifully warm soundworld. Motets may be performed individually on feast days or within the appropriate liturgical season, or the whole sequence can make an effective frame for a concert programme.
