SKU: JK.09157
Repertoire volume accompanying Keeler and Blackham's Basic Organ Technique (#00018 - a collection of pieces for teaching and learning organ technique, available separately).Volume includes: Largo from Sonata, Op. 5, No. 7 - Corelli Peace Be Unto Thee - Mozart Durch Adam's Fall - Pachelbel Benediction - Josquin des Pres Christus Der Ist Meines Lebens - Marpurg Duo - Dandrieu Chorale Prelude In Quiet Joy - Bach Aus Meines Herzens Grunde - Bach Herr Jesu Christ, Dich Zu Uns Wend - Walther Allein Gott In Der Hoh' Sei Ehr' - Armsdorf Allein Gott In Der Hoh' Sei Ehr' - Zachau Vom Himmel Hoch, Da Komm Ich Her - Zachau Prelude in G Minor - Bach Adagio - Handel Supplication - Schubert Pastoral - Zipoli Prelude and Fugue in G Major - Bach Tocatta In E Minor - Pachelbel Allein Zu Dir, Herr Jesu Christ - Pachelbel Largo - Vivaldi Freu Dich Sehr, O Meine Seele - Karg-Elert Alle Menschen Mussen Sterben - Bach Wachet Auf Ruft Uns Die Stimmme - Walther Jesu, Word of God Incarnate (Ave Verum) - Mozart Prelude and Fugue in F Major - BachComposer: VariousEditor: J. J. KeelerArranger: E. Donnell Blackham Difficulty: Medium Advanced.
SKU: BR.EB-8948
ISBN 9790004186176. 9 x 12 inches. German.
Conscious Singing and Teaching This compact workbook for singing teachers, students of singing, and singers offers a comprehensive summary of classical voice training, based on the voice-training qualities of German speech sounds (with IPA symbols). The rich store of vocal exercises from the teachings of the renowned German pedagogue Franziska Martienssen-Lohmann (1887-1971) is systematically organized according to the three functional areas of the voice - stimulation of phonation, voice production, shaping of sound. The clear layout also makes it possible to find exercises for specific tasks. The book will help students of singing find ways to practice on their own. Experienced singers and teachers of singing will find here ideas for structuring and expanding their own repertoire of vocal exercises. This is the book I've been hoping for for many years! I studied for a while with Elisabeth Grummer, who studied with Franziska Martienssen-Lohmann, the great German singing teacher of the 20th century. Her teaching was rooted in bel canto and the then new knowledge of vocal physiology, but also infused with her love of language and use of the imagination. Imagining the sound you want to make before the voice is heard was one of her main concepts, before the scientists ever discovered prephonatory tuning. The book is only available in German at the moment, but feelers have been put out to an English publisher. I recognize many exercises in this book that I learnt from Grummer and still use today in my own teaching. The descriptions are clear, with step by step tips for their execution. This is a book that many will want to possess! Prof. Eleanor Forbes | Berlin.
SKU: PR.164002120
UPC: 680160037582.
Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings. When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements. The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence. The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep. The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes. Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.
SKU: GI.G-10377
ISBN 9781574635324.
A unique resource for both novice and experienced band directors gathering effective teaching tools from the best in the field including more than 40 chapters dealing with every aspect of teaching instrumental music from curriculum to valuable websites. This best-selling and highly praised text has become the method of choice for university methods courses throughout the United States and Canada. What's New in the Revised Edition? Curriculum—updated to 2014 National Music Education Standards, including relevant learning theories, modalities, and music instruction theories. Resources—for concert band, marching band, pep band, jazz ensemble, and chamber groups School Law—learn more about the teacher’s Code of Ethics, music copyright law, and examine common ethical teaching scenarios. Anatomy of Music-Making—prese nts effective methods for teaching tone quality, balance, blend, intonation, pulse, rhythm, technique, style, articulation, phrasing, interpretation, and expression. STEPS© Method—for creating rehearsal plans and providing a theoretical approach to understanding the ensemble to improve score study and objective assessment. Motivation—surveys current intrinsic and extrinsic methods, and explores the development of leadership and character in the instrumental program, including Social Emotional Learning (SEL). Job Readiness—new teacher assessment and certification requirements, as well as valuable information guiding the new teacher throughout the music practicum and the job interview. Intonation—expande d tools for training the ear in both the individual student and full ensemble. Program Administration— the “nuts and bolts†of managing the instrumental program have been updated with topics on assessment, evaluation, rehearsal planning, score study, repertoire selection, programming, rehearsal facilities, auditions, seating, recruiting and retention, budget planning, music library management, basic instrument repair, booster groups, advocacy, time management, practicing tips, and classroom management and discipline. Mind Your P’s and Q’s—conside rs the implications and relationships of Professional Growth, Personal Growth, Intelligence Quotient, and Emotional Quotient. Supplementary Website—numerous charts, figures, templates, a balanced instrumentation calculator, teaching tools, recruiting materials, assessment rubrics, various learning activities. Learn more about this new resouce in this short video below: Click here to download Lesson Plan Forms.  A wonderful resource for all music educators! Dr. Jagow’s book is comprehensive and impressive in scope. An excellent book! Bravo! —Frank L. Battisti Finally, an exceptional text that offers the depth of understanding our students need in critically important topic areas. Bravo! —Don Harris So many important facets are uncovered and solutions revealed. It’s a must for the library of any serious music educator. —H. Robert Reynolds There are a growing number of fine books dealing with different aspects of the wind band and ensemble, none cover so many essential aspects in so much detail. —Tim Reynish Dr. Jagow's book is a fantastic resource for instrumental conductors, both the young and the more experienced! —George Edge . . . a book which contains a wonderfully diverse wealth of knowledge that is 'hands on' for the informed music educator. . . . an excellent resource for both beginning teachers and veteran music educators. —Dr. Linda R. Moorhouse From creating artistic musical experiences to establishing a first-class organization blueprint, there is no stone left unturned. This is not a book to be recommended, but a book to be REQUIRED. —Tim Lautzenheiser.
SKU: PR.16400212S
UPC: 680160037605.