Winning Tradition

SKU: HL.44010538

UPC: 884088481483. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.

Also available for euphonium and piano (HL44010860) Scaramouche was commissioned by Katrina Marzella with a grant from the BBC Performing Arts Fund. Undoubtedly the finest baritone player of her generation, Ms. Marzella was granted an education bursary from the BBC Performing Arts Fund (as a result of winning BBC Radio 2's “Young Brass Soloist of the Year” in 2004), which allowed her to commission a series of new works for euphonium. Scaramouche continues Sparke's series of works that highlights the Italian theatre tradition of commedia dell'arte. Like its predecessors Pantomime and Harlequin, Scaramouche draws on the contrasting moods of pathos and comedy characterized by the symbolic “happy/sad” masks of European theatre. A slow, expressive ballad followed by a spirited vivace allows the composer to exploit both the lyrical and technical sides of the instrument, and the soloist to display its full capabilities.

SKU: MB.95381

ISBN 9780786603213. UPC: 796279023641. 8.75 x 11.75 inches.

Whispering Stones won the award for â??Best Recordingâ? from the Washington Area Music Association and has continued to be a favorite with fans of fingerstyle guitar music throughout the world. The book features Celtic-inspired original and traditional tunes performed on solo acoustic guitar with the occasional addition of flute, mandolin, cello, piano, or bells. The tunes appear in the same order as in the recording. Al Petteway is an award-winning fingerstyle guitarist and composer. His many â??Wammieâ? awards from the Washington Area Music Association include â??Artist of the Yearâ? and â??Musician of the Yearâ?. Alâ??s playing fuses Celtic/British ideas and tunings with American themes and drive. Acoustic Guitar Magazine praised his â??concise, clean arrangements similar to John Renbournâ??s better workâ??. In notation and tablature.

ISBN 9781622774333.

Music teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose” that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians” for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte. He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusician.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell     Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough     Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed” to non-musical applications. We observe the music lessons and the active “transposition” or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer     Professor Emerita, Westminster Choir College of Rider University     Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes” eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D.     Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath     Pianist, Author, Teacher     University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills” which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson     Principal Oboe, New York Philharmonic (1978–2005)     Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney     Award-winning concert pianist (Geneva Competition) and teacher     Author of The Perfect Wrong Note: Learning to Trust Your Musical Self.

SKU: LP.765762115620

UPC: 765762115620.

Come and See is an invitation for each of us to experience Jesus as He enters Jerusalem; to witness His betrayal by a friend; to endure with Him the suffering and death of a sinless Savior; and finally to behold His empty tomb. Through the eyes of a blind beggar, we're taken through these events and more by way of a powerful and moving dramatic script, and energetic choral arrangements carefully designed for smaller choirs by two-time Dove Award winning writers, Dennis and Nan Allen. With a run time of 36 minutes, this dramatic musical includes popular worship songs Come and See and Sing to the King and the classic Wayne Watson song Friend of a Wounded Heart. Also included is a beautiful arrangement of the hymn I Saw the Cross and a new tune to the great hymn text Beneath the Cross of Jesus. Musically, this work is highlighted by settings that any choir can comfortably attain. Several opportunities for congregational involvement are included. For the full drama version, a small cast is required, and Nan Allen has written creative and very useful production notes to assist in both staging and costuming. The narrator version requires two narrators and is equally moving. This Easter, come and see what Jesus did for you.

Stereo accompaniment trax for performance use. High quality orchestral performance and recording. Note - does not include rehearsal (internal) CD points.