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Vous avez sélectionné:
Stand Out Fit In
Chorale SATB
Partitions à imprimer
12 partitions trouvées
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1
Together We Stand
Together We Stand
#
Chorale SATB
#
INTERMÉDIAIRE
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Leif Ingvald Skaug
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Together We Stand
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Leif Ingvald Skaug
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SheetMusicPlus
Choral Choir (Mixed) - Level 3 - SKU: A0.922605 Composed by Leif Ingvald Skaug. Arranged by Leif Ingvald Skaug, JC Vesttun. Gospel,Pop. Octavo. 5 pages....
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Choral Choir (Mixed) - Level 3 - SKU: A0.922605 Composed by Leif Ingvald Skaug. Arranged by Leif Ingvald Skaug, JC Vesttun. Gospel,Pop. Octavo. 5 pages. Leif Ingvald Skaug #5710009. Published by Leif Ingvald Skaug (A0.922605). Produced as a response to Covid19, and after 5 days, it was viewed by 1 million on Facebook and shared over 20.000 times.It started as a choir project by the composer, Leif Ingvald Skaug, who started live global gospel choir practices online. Several thousands have joined, and the production has singers from over 70 countries.Perfect for all choirs, young and old. Easy and catchy harmonies. Fits on big concerts, and smaller venues. In church as well.Spotify:https://open.spotify.com/track/6R40JrudJOniseVMxns186…Itunes:https://music.apple.com/…/gospel-explosion-feat-…/1508176870Youtube:https://www.youtube.com/watch?v=OIaHb81JhT0
$4.99 ≈
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Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99 ≈
¥623.29
To Sleep! To Sleep! (SATB)
To Sleep! To Sleep! (SATB)
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Chorale SATB
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INTERMÉDIAIRE
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Christopher Kalstad
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Christopher Kalstad
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To Sleep! To Sleep!
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Christopher Kalstad
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.793274 Composed by Christopher Kalstad. Arranged by Christopher Kalstad. Contemporary,Standards. Octavo. 4 pages...
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Choral Choir (SATB) - Level 3 - SKU: A0.793274 Composed by Christopher Kalstad. Arranged by Christopher Kalstad. Contemporary,Standards. Octavo. 4 pages. Christopher Kalstad #6657885. Published by Christopher Kalstad (A0.793274). Here is Alfred Tennyson's poem To sleep! to sleep! in a warm and lush setting for SATB choir. Tennyson's poem is about how all the highs and lows of human experience are leveled and equalized by sleep. This lovely two-minute work fits in well into any mixed choir program.
$2.05 ≈
¥14.52
Valentine's Day Choral Activity/Game Sight Singing
Valentine's Day Choral Activity/Game Sight Singing
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Chorale SATB
#
INTERMÉDIAIRE
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J
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Valentine's Day Choral Activit
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J. Gallagher
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.978029 Composed by J.C. Baker, Fermata Nowhere. Instructional,Standards. Octavo. 1 pages. J. Gallagher #5034151....
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Choral Choir (SATB) - Level 3 - SKU: A0.978029 Composed by J.C. Baker, Fermata Nowhere. Instructional,Standards. Octavo. 1 pages. J. Gallagher #5034151. Published by J. Gallagher (A0.978029). For a whole week of Valentine's Day have your students use this fun and engaging sight reading practice with love songs THEY WILL KNOW! I use it as a warm up/ do now at the start of band and choral classes for the first 5-10 minutes or so.These are quick 2, 4, and 8 measure examples totaling 10 songs for the students to practice sight reading using solfege.There are some tricky syncopated rhythms involved as well as key changes (C, G, F, D, Bb).The songs included in the 10 examples are, in order:1. Can't Help Falling In Love - Elvis2. Thinking Out Loud - Ed Sheeran3. We Found Love - Rhianna4. Just The Way You Are - Bruno Mars5. She Loves You - The Beatles6. I Will Always Love You - Whitney Houston7. Shallow - A Star Is Born8. All Of Me - John Legend9. Can You Feel The Love Tonight - Elton John/Lion King10. Love Is An Open Door - FrozenThis is a great warm up exercise at the start of class or rehearsal to get the students focused and their brains warmed up for singing, sight singing, reading, and learning new music.Typically students can take either the whole sheet down in one day and we spend a good majority of a day on it OR spread it out over the week and do 1 or 2 a day.Structure it as best you see fit.The students love competing with each other to see who can figure out the solfege and the song first!Bonus points if they can name the song, artist, and the correct lyrics!
$1.99 ≈
¥14.10
I'll Be Home For Christmas
I'll Be Home For Christmas
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Chorale SATB
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FACILE
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Jazz
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Rascal Flatts
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Michael Pilley
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I'll Be Home For Christmas
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Michael Pilley Music
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.746225 By Rascal Flatts. By Kim Gannon and Walter Kent. Arranged by Michael Pilley. Jazz. Octavo. 9 pages. Micha...
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Choral Choir (SATB) - Level 2 - SKU: A0.746225 By Rascal Flatts. By Kim Gannon and Walter Kent. Arranged by Michael Pilley. Jazz. Octavo. 9 pages. Michael Pilley Music #4849749. Published by Michael Pilley Music (A0.746225). One of the most loved Christmas tunes made famous by the ultimate crooner, Bing Crosby, I'll Be Home For Christmas resonates with me every year as I have been living in the UK since 2012. It speaks of the desire to return home for the special time of year to share in the celebration with family and friends. But in a small twist, the last line of the song is if only in my dreams, leaving us to consider those around the world who are displaced from their loved ones.This arrangement is in a simple ballad style and features the melody in the soprano and tenor voices. The harmony is chromatic in parts, but with good voice leading to assist with the learning of this jazz-infused tune. The bass part mainly anchors down the harmony, with a dm consonant aiming to recreate a jazz double bass sound. Soft consonants and sweet do sounds will ensure a smooth ballad style. Ranges are within a standard choir set, so this should be performable by most community choirs with basic reading ability. Beautifully laid out in A4 size, the score and parts are easy to read and available NOW for digital download. We suggest you print on 80gsm paper, to ensure that the copies last longer in your bands library. If you're printing on letter size paper, please fit to page when sending to the printer.More music can be found at www.michaelpilleymusic.com and follow me at https://www.facebook.com/MichaelPilleyMusic/ or https://twitter.com/MPilleyMusic
$4.50 ≈
¥31.88
The Legend of Ramund
The Legend of Ramund
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Chorale SATB
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Mogens Eliasen
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The Legend of Ramund
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Soverenity Enterprises Inc.
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.1007125 Composed by Mogens Eliasen. Folk,Romantic Period. Octavo. 40 pages. Soverenity Enterprises Inc. #2948289. Publishe...
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Choral Choir (SATB) - SKU: A0.1007125 Composed by Mogens Eliasen. Folk,Romantic Period. Octavo. 40 pages. Soverenity Enterprises Inc. #2948289. Published by Soverenity Enterprises Inc. (A0.1007125). The 40-page score is a choral symphony with a powerful lesson to modern people, based on an old Danish folk song about the young super-hero Ramund. The score is dense with contents, both musically and lyrically, and alone for that reason, the 8-minute performance takes an advanced choir.The original folk song dates back to the Viking age and consist of many episodes ofRamund's life, almost like a personal saga. Some have undoubtedly been added later,making the total number of stanzas go up around 50, but the main idea of the song isto report about a young lad, whose ideas of what is right for him to do or not doare completely unaffected by other people's opinions, including those of royalties andcelebrities. The stories are in many regards comparable to those of Beowolf.Although the stories generally are dramatic and bloody, Ramund always retains hiscool attitude and shows how unimpressed he is with power demonstrations, even hisown when he is provoked to use his strength. It is a common element throughout thestories that Ramund detests evil and aggression, and he goes to great lengths to fightpower abusers and aggressive elements. He just wants to live in peace and not haveto be bothered by all those who like to abuse power!Included in this presentation for piano and 8 voices are 11 stanzas from what is believedto be original, in English translation, with focus on clarity of meaning, more so thanpoetical rules and rhymes. The first ruling concept has been to obtain clarity and agreat fit to the music. The second concept has been to add the inspiration this old folksong has created in the mind of a modern rebel who would like to see some ofRamund's attitude to power and power abusers put into action in our modern corruptsociety. Maybe in a less bloody version, but definitely with a similar effect! The added2 stanzas and the attached coda, as well as the added lyrics to the intermezzos and theincorporated commentaries to the action should serve that purpose.In addition, the original tune itself, as well as the lyrics and the intermezzo, haveinspired some musical development throughout the piece, to further accentuate themeaning and the messages about respecting each other, standing together againstabuse, and not letting power abusers get away with their crimes.The 8 voices cover ranges as follows: First sopranos: C4 through Bb5 (possibly G5); Second sopranos: C4 through E5; All altos: G3 through D5; All tenors: C3 through G#4(possibly F#4); First basses: F2 through D4; Second basses: D2 through B3
$7.00 ≈
¥49.59
Landslide
Landslide
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Chorale SATB
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FACILE
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Fleetwood Mac
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Dylan Trần
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Landslide
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Dylan Trần
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 2 - SKU: A0.1451532 By Fleetwood Mac. By Stevie Nicks. Arranged by Dylan Trần. A Cappella,Folk,Pop,Rock,Singer...
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Choral Choir,Choral,SATB Chorus - Level 2 - SKU: A0.1451532 By Fleetwood Mac. By Stevie Nicks. Arranged by Dylan Trần. A Cappella,Folk,Pop,Rock,Singer/Songwriter. 7 pages. Dylan Trần #1030859. Published by Dylan Trần (A0.1451532). Accessible and moving, this arrangement of Landslide by Fleetwood Mac is fit for professional choir, college choir, community choir, high school choir, acapella groups, vocal pop groups, and more. Dylan Tran uses idiomatic yet evocative voicings that will immediately reward on first reading as well as in polished performance. Learn more at www.dylantranmusic.com Fleetwood Mac's Landslide offers a perfect blend of musical beauty and emotional depth, making it an ideal choice for any choir seeking to connect with their audience on a profound level. Landslide isn't just another song – it's a timeless classic that speaks to the universal themes of resilience, self-discovery, and the passage of time. Its introspective lyrics and haunting melody create a captivating atmosphere that invites listeners to reflect on their own experiences and journeys in life. From a musical standpoint, Landslide offers versatility and richness that allow choirs to showcase their vocal talents. Whether it's the soft, delicate harmonies of the verses or the powerful crescendos of the chorus, this song provides ample opportunity for expressive interpretation and dynamic performance. Moreover, Landslide enjoys widespread recognition and popularity, thanks to its status as a staple of Fleetwood Mac's discography. By including this iconic song in your choir's repertoire, you can leverage its existing fan base and attract attention to your performances without sounding like a sales pitch. In conclusion, Landslide by Fleetwood Mac is more than just a song – it's an emotional journey that resonates with audiences of all ages and backgrounds.
$5.00 ≈
¥35.42
Royals
Royals
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Chorale SATB
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INTERMÉDIAIRE
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Pop musique
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Lorde
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Eric Hagmann
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Royals
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Eric Hagmann
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SheetMusicPlus
SATB, A Cappella, SATB w/ divisi - Intermediate - By Lorde. Arranged by Eric Hagmann. Score. 9 pages. Published by Eric Hagmann ...
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SATB, A Cappella, SATB w/ divisi - Intermediate - By Lorde. Arranged by Eric Hagmann. Score. 9 pages. Published by Eric Hagmann
This a cappella SATB w/ divisi + solo arrangement of ?Royals? by Lorde sticks closely to the original form but adds subtle changes to stand out from more traditional versions of the tune. Most notably, certain sections are fully reharmonized and will provide a fresh take for ears who heard the song on repeat during the summer of 2013. Additionally, the bass line follows a simple pattern that can be picked up by singers of all levels. Finally, vocal percussion can be utilized but it is not required. This arrangement would be great for both high school and college ensembles, and it would fit well as an opener in a competition set.
Ranges
Solo: F#3 - A4
Soprano: F#3 - D5
Alto: F#3 - G4
Tenor: D3 - F4
Bass: (D2 opt.) F#2 - A3
Performance time approx. 4:00
Feel free to reach out to me on my Facebook page:
https://www.facebook.com/erichagmannmusic/
$2.25 ≈
¥15.94
Before You
Before You
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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J
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Before You
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J. L. Daniel
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1028048 Composed by J. L. Daniel. Instructional,Pop,Standards. Octavo. 12 pages. J. L. Daniel #3228381. Publishe...
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Choral Choir (SATB) - Level 4 - SKU: A0.1028048 Composed by J. L. Daniel. Instructional,Pop,Standards. Octavo. 12 pages. J. L. Daniel #3228381. Published by J. L. Daniel (A0.1028048). Before You is an anthem for anyone that has ever felt left out. Minor verses underline the feeling of exclusion that so many people today unfortunately have felt. Uplifting lyrics in the chorus share the message of thinking before you speak and equality between everyone. This pop ballad is in 8 parts and would be best fit for a show choir or another ensemble of that type. J. L. Daniel composed this piece to show that everyone is loved and is worth loving. .
$2.99 ≈
¥21.18
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
THE ICON OF THE INVISIBLE GOD (SATB) – Colossians 1:15-20
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Michael A
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THE ICON OF THE INVISIBLE GOD
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M.A. Morizio
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M...
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Choral Choir (SATB) - Level 3 - SKU: A0.926661 Composed by Michael A. Morizio. Christian,Sacred. Octavo. 15 pages. M.A. Morizio #3588399. Published by M.A. Morizio (A0.926661). In the first chapter of Paul’s letter to the Colossians, we discover the next known Hymn to Christ right after his introductory passages, beginning at the 15th verse. Paul opens this letter with a blessing, then immediately flows to one of the 1st century hymns, which I have called, The Icon of the Invisible God. The lyrics of this hymn are declarative, bold and illuminating as to whom the Christ figure is-the icon, the very image of the invisible God, the firstborn of all creation. The text makes it abundantly clear that Jesus is the authority; that He was there before all things, that He created all things, and that through Him all things hold together. This anthem is composed for SATB choir with Pipe Organ accompaniment. The meter is set to 6/8 time, with a rhythm tempo of Totally Alive; which is one actual definition of the word Holy. The anthem starts at a good clip (♪=100). The key is G Major, with an incidental and occasional flatted 5th (Dâ™) as a surprise-landing befitting to the text presented, as if to say, This is so amazing, how can it be? The flatted 5th gives the piece it's own identity and causes the listener to stand up and take notice whenever it occurs. When the hymn's lyrics glide into the all-important resolution, having made peace through the blood of the cross, the song retards and lands on a surprising musical cadence, the sixth chord (E Major). In this piece, the pipe organ is boldly featured as it supports and under girds the musical line, occasionally trumpeting its own victorious motifs and adding some contrapuntal elements, such as this duplet motif, in the pedal line. The final lyrics about Christ having reconciled everything to Himself, whether things on the earth or in the heavens, finish the piece with a great, ‘High-Church’ choral ending.
$1.99 ≈
¥14.10
Song of the Mountains
Song of the Mountains
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Chorale SATB
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INTERMÉDIAIRE
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Greg Bartholomew
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Song of the Mountains
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Burke & Bagley
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.787250 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Patriotic,Standards. Octavo. 16 pages. Burke & Ba...
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Choral Choir (SATB) - Level 3 - SKU: A0.787250 Composed by Greg Bartholomew. Concert,Contemporary,Folk,Patriotic,Standards. Octavo. 16 pages. Burke & Bagley #49747. Published by Burke & Bagley (A0.787250). SONG OF THE MOUNTAINS is a setting for mixed (SSAATB) choir with piano accompaniment of text adapted from prose by American naturalist John Muir (1838-1914). Commissioned for the Combined Choirs of St. Joseph's School, Seattle, directed by Rick Boyle, who premiered the piece at Benaroya Hall's Nordstrom Recital Hall on May 6, 2004, in the second annual New Works New Hope concert for the benefit of Gilda's Club Seattle. The piece was revised in 2007 and the premiere of the revised score was given on November 16, 2007, by the Queens College Chorus, Cindy Bell conducting, at the Aaron Copland School of Music in New York. It was selected by the Portland Vocal Consort for their 2013 Best of the Northwest program. Duration ca. 6 minutes. Conductor Cindy Bell says, Driven by a refreshing text of American naturalist John Muir, Bartholomew has created an accessible work that flows easily through both key and meter changes, and features expressive, lyric melodies contrasted by exciting rhythmic drive. Song of the Mountains is almost cantata-like, or through-composed, in that each line of Muir's text receives equal and interesting interpretation. Occasional use of the triplet rhythm creates both a relaxing effect (grasses cease waving) and driving sense of forward motion (Vibrating!). Effective use of dynamics and interweaving of choral parts make for each section having a musical life of its own. Follow along in the score as you listen to a performance in this video: https://www.youtube.com/watch?v=5VVW1Ah6kqE SONG OF THE MOUNTAINS Climb the mountains and get their good tidings. Nature's peace will flow into you as sunshine flows into trees. The winds will blow their freshness into you, and the storms their energy, while cares drop off like autumn leaves. Here is calm so deep, grasses cease waving. Everything in wild nature fits into us, as if truly part and parent of us. The sun shines not on us but in us. The rivers flow not past, but through us, thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, Making them glide and sing. The trees wave and the flowers bloom in our bodies as in our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountain, is our song, our very own, and sings our love.
$2.50 ≈
¥17.71
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 2 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Chorale SATB
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INTERMÉDIAIRE
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 2 - Eighths
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Dots and Beams
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #47...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.931836 Composed by Nathan Petitpas - Dots and Beams. Instructional. Octavo. 137 pages. Dots and Beams #4776187. Published by Dots and Beams (A0.931836). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00 ≈
¥70.84
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