Rockschool is about singing the songs you love. Your Vocals Grade 7 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 7 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 7 exam.This book for female vocalists contains the songs:Bleeding Love - Leona LewisWhat's Up? - 4 Non BlondesHeaven - Emeli SandeBig Spender - Shirley BasseyAmerican Boy - EstelleI Dreamed A Dream - Les MiserablesOther features include:Fact Files: band and artists background information with recommended listening.Backing tracks: high quality recordings to sing along to in Rockschool exams.Downloadable audio: use your download card for easy access to your audio.Vocal scores: easy-to-follow separate Vocals scores.Piano and Guitar parts: Piano notation and Guitar chords included to help with practice. / Voix

Rockschool is about singing the songs you love. Your Vocals Grade 7 book contains six of the biggest tracks from the past six decades arranged for you to sing for your Grade 7 exam. This book also includes examples of all the supporting tests found in the Rockschool Grade 7 exam.This book for male vocalists contains the songs:La la la - Naughty Boy ft. Sam SmithShe Said - Plan BI Guess That's Why They Call It Blues - Elton JohnLover, You Should've Come Over - Jeff BuckleyI Just Don't Know What To Do With Myself - White StripesCome What May - Moulin RougeOther features include:Fact Files: band and artists background information with recommended listening.Backing tracks: high quality recordings to sing along to in Rockschool exams.Downloadable audio: use your download card for easy access to your audio.Vocal scores: easy-to-follow separate Vocals scores.Piano and Guitar parts: Piano notation and Guitar chords included to help with practice. / Voix

200 Exercises for Chorus and Solo Singers-What choral conductor or soloist has not looked around for new ideas for warming up the voice? Here are 200 suggestions all at once!And these creative exercises do more than just warm up the voice: they help to relax the body train the ear and develop an awareness of dynamics and rhythm.Klaus Heizmann's collection is a wonderful new resource of ideas and techniques: practical varied challenging relaxing and stimulating. I am always looking for new ideas as I like to use a different set of warm-ups at every rehersal with my choirs and I tend to choose specific exercises to suit the repertoire for the day. This collection gives us 200 excellent tools-of-the-trade; they areclearly lebeled intelligently set out well-designed and extremely useful. (Simon Carrington Director of Choral Activities New England Conservatory since 2001; Director of Choral Activities The University of Kansas 1994-2001; Founder and co-director of the King's Singers 1968-1993)

Learn the art of jazz vocal improvisation! This book will help you hear, understand and apply jazz theory so that you can solo as a complete musician?in the same way that instrumentalists do. Each lesson offers a core musical concept related to harmony, melody, and rhythm, integrating skills such as conducting and analysis. All concepts are reinforced with practical exercises. The accompanying audio tracks demonstrate techniques and let you practice improvising along with a piano accompaniment.
You will learn to:
Develop your sense of timing and swing
Understand jazz harmony, such as tensions and non-diatonic chords, as well as chord progressions such as II V and cycle V progressions, and use harmony as your basis for creating expressive solos
Navigate song forms, such as AABA, blues forms, turnarounds, and other common jazz structures
Improve your ear for jazz harmony through studying intervals and chord progressions, and by memorizing emblematic jazz melodic patterns
Create expressive vocal lines that work well over jazz chords and integrate well within the context of a jazz ensemble
?Mili Bermejo?s Vocal Jazz Improvisation is the most comprehensive vocal book I have ever seen on improvisation. Her years of research and her wisdom and artistry leave no stones unturned. I would recommend this book to instrumentalists as well, to develop their ears and breadth of expression.?
?Jerry Bergonzi, Jazz Saxophonist, Composer, Author, Educator

?I have been a huge fan of Mili as an artist for many years now, and have admired her impeccable skills as a teacher for just as long. Seeing Mili perform in duo with Dan Greenspan is one of the great wonders of the world. They make voice and bass seem like an orchestra, harmonically rich and complete, and emotionally compelling. How lucky for us that Mili has written a book on improvisation from her own assured and gracious vantage point. Her approach is accessible, organic, personal, and best of all, inspiring! She takes the fear factor out and provides tools to make improvisation a truly creative and joyful experience.?
?Peter Eldridge, Jazz Singer, Pianist, Composer (New York Voices)

?Creating awareness is at the core of this beautiful material that was very much needed in the vocal jazz field. Here is a book with clever, effectively organized information for all vocalists to develop a practical framework that covers the foundation to find confidence, strength and ultimately freedom as a vocal improviser.
Mili?s music speaks to the heart, overflowing with humanity, joy, and compassion, and this book does the same. Mili traces a clear path, guiding us step by step along the way. She draws on her own experience, which I must say reflects all vocalists? experience, as we walk this fascinating journey of jazz singing.?
?Magos Herrera, GRAMMY-nominated Jazz Singer

?How lucky for all of us that Mili Bermejo put her decades of experience and skill as both performer and teacher into this book. What a gift! Thank you, Mili.?
?Tierney Sutton, Multi-GRAMMY Nominated Jazz Singer
/ Méthodes et pédagogie / Chant / / BERKLEE

Harmony Singing Made Easy teaches you to sing harmony by ear. Murphy and friends Bill Evans Janet Beazley and Chris Stuart join together to sing some beautiful trios and quartets. First you hear thethree (or four) voices blending together then you hear each harmony part sung separately. You learn your part by singing along with us. We sing several songs in three different keys so no matter what your vocal range you can tryyour hand at singing the lead part. Sometimes the men (Bill Chris) take the lead; sometimes the women (Murphy Janet) take the lead. With three keys to choose from you can also find a harmony part to suit yourvoice.Along the way we offer some helpful hints such as 'What key do I sing in?' 'How do I find my harmony part?' and 'How can I get a good blend?' At the very end Murphy and Bill break out their banjos for a rousing quartetversion of 'Over in the Gloryland.' Very entertaining!If you've been wondering how to sing harmony we've made it as easy as possible. Or as we say in Virginia 'It's as easy as pie.' Read even more details on our blog.Will the Circle Be Unbroken Bury Me Beneath the Willow All the Good Times Are Past and Gone Don't This Road Look Rough and Rocky Amazing Grace Over in the Gloryland

A Guide to Healthy Powerful Singing-Belting is a strong way of big singing that has become very popular in contemporary styles. It is heard in everything from rock to hip-hop to pop to musical theater to the plethora of award shows. However not only is there much confusion and misinformation about how to belt well if done poorly belting can actually damage the voice. Numerous famous singers have belted their way to injury or even lost their voices sometimes permanently. Many voice teachers believe (incorrectly) that belting is simply bad physically and aesthetically. So singing students are getting mixed messages. They hear their favorite artists belt-singing throughout their favorite music yet theresources teaching healthy belting techniques are few and far between. Belting for the Contemporary Singer seeks to remedy the situation. The fact is belting can be done well and without causing injury. This book presents the facts about belting what approaches work and which to avoid. Its online video and audio demonstrate good techniques and exercises.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Most vocal teachers have already discovered Jay's extremely popular Folk Songs for Solo Singers collections. And now Alfred is excited to offer another for vocal students and their Teachers! American Folk Songs for Solo Singers includes an excellent variety of solo material for recitals concerts and contests available in two voicings.  Titles include Bright Morning Stars Down in the Valley to Pray Honey Babe How Can I Keep from Singing? My Lord What a Morning Nine Hundred Miles Old Joe Clark Pretty Little Girl Shenandoah Simple Gifts Sometimes I Feel Like aMotherless Child Sun Don't Set in the Mornin' and The Water Is Wide.

Cecil Armstrong Gibbs was a prolific and versatile English composer of the 20th century. Gibbs is best known for his output of songs but he also wrote a considerable amount of music for the amateur choirsthat he conducted. His reputation as a song-writer largely lies in his natural gift for text setting he insisted on giving priority to the words over the music and had very clear musical ideas on what a song should be. Theseprinciples prevailed when he set William Watson’s poem about a splendid city which stood by a lake and which vanished without trace to music. The Ballad Of Semmerwater is arranged here for Voice with Pianoaccompaniment.

Cecil Armstrong Gibbs was a prolific and versatile English composer of the 20th century. Gibbs is best known for his output of songs but he also wrote a considerable amount of music for the amateur choirsthat he conducted. His reputation as a song-writer largely lies in his natural gift for text setting he insisted on giving priority to the words over the music and had very clear musical ideas on what a song shouldbe.These principles prevailed when writing The Cherry Tree in 1949 the Voice is clearly put to the foreground with the Piano only supporting the singer in the background so a confident and capableperformance is needed from the soloist. Words by Margaret Rose. Performance time approximately 3 minutes.

Pro Vocal Women's Edition Volume 44-The Pro Vocal series has been designed to help you sing your favourite songs whilst accompanied by professional-sounding backing tracks. Whether you're preparing for an audition or performing on stage without a backing band this is the series for you. This book contains the lyrics melody and chord symbols for eight popular standards. The included CD contains demos for listening and separate backing tracks so you can sing along. The CD is playable on any CD but it is also enhanced for PC and Mac computer users so you can adjust the recording to any pitch without changing the tempo! Pro Vocal Women's Edition Volume 44: Favorite Standardsfeatures the songs Can't Help Lovin' Dat Man Darn That Dream Don't Be That Way A Fine Romance My Baby Just Cares for Me What Is There to Say You Took Advantage of Me and You're Driving Me Crazy! (What Did I Do?).

How to make your school sing-A Singing School is a place not just where singing happens regularly but where singing is right at the heart of school life. It is a school where all children are involved in singing every day as a normal part of school life. It is a place where the whole school community knows and can describe what difference singing makes to their school.The Singing School Handbook is a how-to guide to help teachers and singing leaders working within school settings take appropriate steps towards making their school a Singing School. With universally transferable principles suggestions and strategies this book provides a framework that applies to any educational setting orschool structure from the ages of 4-11 and beyond.