SKU: PR.114412930
UPC: 680160571604. 8.5 x 11 inches. Text: Li Bai. Li Bai. Three poems by Li Bai (701 - 762).
It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time. In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems. Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work. --Chen Yi.It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time.In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems.Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work.—Chen Yi.
SKU: BT.DHP-1074421-140
9x12 inches. English-German-French-Dutch.
Missa Katharina is a mass - comprising of the standard movementsKyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. In additionto this the composer has added additional instrumental movements- Prelude, Offertory, Postludium and the massmovements Alleluiaand Amen. Missa Katharina was primarily written for choir, sopranosolo and concert band but can also be performed with a choir,accompanied by an organ or piano only. If there is no good solosoprano voice available, the sopranos canalso sing the sopranopart tutti, standing before the choir. A truly flexible work that willbe equally at home performed in the church or in the concert hall.Choral parts available separately.<Missa Katharina is een mis die bestaat uit de gebruikelijke delen Kyrie, Gloria, Credo, Sanctus, Benedictus en Agnus dei. Er zijn instrumentale delen toegevoegd: een Preludium, Offertorium en Postludium,evenals eenAlleluia en een Amen. Het Preludium is bedoeld voor de aanvang van de mis, het Offertorium komt tussen de preek en de communieviering en het Postludium komt aan het eind vande mis. Het Alleluia wordt gezongenna het Gloria, het Amen volgt het Agnus dei.Er zijn verschillende uitvoeringsmogelijkheden:- een integrale versie,- een versie met alleen de gebruikelijke delen,- eenversie zonder koor, met alleen drie instrumentale delen,- eenuitvoering van elk afzonderlijk deel.Missa Katharina is in eerste instantie geschreven voor koor, sopraansolo en harmonieorkest. De mis kan ook worden uitgevoerdmet koor en orgel of piano. Als er geen geschikte sopraan te vinden is, kunnen desopranen van het koor de solo voor hun rekening nemen.Koorpartijen apart verkrijgbaar.Missa Katharina ist eine Messe aus den Ordinariumsteilen Kyrie, Gloria, Credo, Sanctus, Benedictus und Agnus Die. Dazu kommen die Instrumentalteile Präludium, Offertorium und Postludium sowie die MesseteileAlleluja und Amen. Missa Katharina ist in erster Linie geschrieben für Chor, Sopran-Solo und symphonisches Blasorchester. Verschiedene Aufführungsmöglichkeiten (z.B. rein instrumental oder in unterschiedlich langen Versionen) eröffnenzahlreiche Verwendungsmöglichkeiten für dieses eindrucksvolle Werk, mit dem der Komponist 2007 einen internationalen Kompositionswettbewerb gewann.Chorstimmen separat erhältlich.Missa Katharina est une œuvre de commande pour le Concours International de Composition « Missa Katharina », organisé par la Fondation allemande Dr. Dazert (Kempten/Allgäu) en collaboration avec la Confédération Internationale desSociétés Musicales (CISM), l’Euregio Via Salina et le quotidien bavarois Allgäuer Zeitung. Les membres du jury, Johann Mösenbichler (Autriche), Siegfried Bauer (Allemagne), le Père Stefan Kling (Allemagne), Isabelle Ruf-Weber (Suisse) et ReinaldScheule (Allemagne), eurent pour t che de choisir l’œuvre lauréate du concours parmi les 32 œuvres qui leur furent soumises. Après délibération, le prix du Concours fut attribué Jacob de Haan. L’œuvre fut donnée en création mondialedans la célèbre basilique d’Ottobeuren (Allgäu) en Allemagne par l’Orchestre Vent Euregio (Euregio-Blasorchester) et un Chœur formé pour cette occasion, placés sous la direction de Johann Mösenbichler.Prénom féminin d’origine grecque,Catherine (Katharina) est le symbole de la pureté. Parmi les femmes remarquables qui ont porté ce prénom, on citera Catherine de Sienne (fille d’un Ordre, mystique et docteur de l’Église), Catherine d’Alexandrie (martyre, sainte auxiliatrice),Catherine Labouré (religieuse, mystique), Anne Catherine Emmerick (religieuse, mystique), Catherine de Bologne (abbesse) et Catherine de Suède (abbesse).Missa Katharina est une messe composée des cinq mouvements Kyrie, Gloria, Credo,Sanctus, Benedictus et Agnus Dei. Ces mouvements sont complétés par trois mouvements instrumentaux (Prélude, Offertoire, Postlude) et deux mouvements de messe, l’Alléluia et l’Amen. Le Prélude marque l’ouverturedu culte, l’Offertoire célèbre la communion et le Postlude clôt le culte. L’Alléluia est chanté après le Gloria tandis que l’Amen suit l’Agnus Dei.Les possibilités d’interprétation sont les suivantes :-enversion intégrale-une version qui ne comprend que les mouvements.Partitions pour chÅ“ur disponibles séparément. Parti per coro disponibili a parte.
SKU: BT.DHP-1074421-010
Missa Katharina is a mass - comprising of the standard movementsKyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. In additionto this the composer has added additional instrumental movements- Prelude, Offertory, Postludium and the massmovements Alleluiaand Amen. Missa Katharina was primarily written for choir, sopranosolo and concert band but can also be performed with a choir,accompanied by an organ or piano only. If there is no good solosoprano voice available, the sopranos canalso sing the sopranopart tutti, standing before the choir. A truly flexible work that willbe equally at home performed in the church or in the concert hall.Choral parts available separately.Missa Katharina is een mis die bestaat uit de gebruikelijke delen Kyrie, Gloria, Credo, Sanctus, Benedictus en Agnus dei. Er zijn instrumentale delen toegevoegd: een Preludium, Offertorium en Postludium,evenals eenAlleluia en een Amen. Het Preludium is bedoeld voor de aanvang van de mis, het Offertorium komt tussen de preek en de communieviering en het Postludium komt aan het eind vande mis. Het Alleluia wordt gezongenna het Gloria, het Amen volgt het Agnus dei.Er zijn verschillende uitvoeringsmogelijkheden:- een integrale versie,- een versie met alleen de gebruikelijke delen,- eenversie zonder koor, met alleen drie instrumentale delen,- eenuitvoering van elk afzonderlijk deel.Missa Katharina is in eerste instantie geschreven voor koor, sopraansolo en harmonieorkest. De mis kan ook worden uitgevoerdmet koor en orgel of piano. Als er geen geschikte sopraan te vinden is, kunnen desopranen van het koor de solo voor hun rekening nemen.Koorpartijen apart verkrijgbaar.Missa Katharina ist eine Messe aus den Ordinariumsteilen Kyrie, Gloria, Credo, Sanctus, Benedictus und Agnus Die. Dazu kommen die Instrumentalteile Präludium, Offertorium und Postludium sowie die MesseteileAlleluja und Amen. Missa Katharina ist in erster Linie geschrieben für Chor, Sopran-Solo und symphonisches Blasorchester. Verschiedene Aufführungsmöglichkeiten (z.B. rein instrumental oder in unterschiedlich langen Versionen) eröffnenzahlreiche Verwendungsmöglichkeiten für dieses eindrucksvolle Werk, mit dem der Komponist 2007 einen internationalen Kompositionswettbewerb gewann. Chorstimmen separat erhältlich.Missa Katharina est une œuvre de commande pour le Concours International de Composition « Missa Katharina », organisé par la Fondation allemande Dr. Dazert (Kempten/Allgäu) en collaboration avec la Confédération Internationale desSociétés Musicales (CISM), l’Euregio Via Salina et le quotidien bavarois Allgäuer Zeitung. Les membres du jury, Johann Mösenbichler (Autriche), Siegfried Bauer (Allemagne), le Père Stefan Kling (Allemagne), Isabelle Ruf-Weber (Suisse) et ReinaldScheule (Allemagne), eurent pour t che de choisir l’œuvre lauréate du concours parmi les 32 œuvres qui leur furent soumises. Après délibération, le prix du Concours fut attribué Jacob de Haan. L’œuvre fut donnée en création mondialedans la célèbre basilique d’Ottobeuren (Allgäu) en Allemagne par l’Orchestre Vent Euregio (Euregio-Blasorchester) et un Chœur formé pour cette occasion, placés sous la direction de Johann Mösenbichler.Prénom féminin d’origine grecque,Catherine (Katharina) est le symbole de la pureté. Parmi les femmes remarquables qui ont porté ce prénom, on citera Catherine de Sienne (fille d’un Ordre, mystique et docteur de l’Église), Catherine d’Alexandrie (martyre, sainte auxiliatrice),Catherine Labouré (religieuse, mystique), Anne Catherine Emmerick (religieuse, mystique), Catherine de Bologne (abbesse) et Catherine de Suède (abbesse).Missa Katharina est une messe composée des cinq mouvements Kyrie, Gloria, Credo,Sanctus, Benedictus et Agnus Dei. Ces mouvements sont complétés par trois mouvements instrumentaux (Prélude, Offertoire, Postlude) et deux mouvements de messe, l’Alléluia et l’Amen. Le Prélude marque l’ouverturedu culte, l’Offertoire célèbre la communion et le Postlude clôt le culte. L’Alléluia est chanté après le Gloria tandis que l’Amen suit l’Agnus Dei.Les possibilités d’interprétation sont les suivantes :-enversion intégrale-une version qui ne comprend que les mouvements.Partitions pour chÅ“ur disponibles séparément. Parti per coro disponibili a parte.
SKU: GI.G-5960
English. Text by Catherine Bell Robertson.
A Guide for Your First Year of Teaching From fundraisers to irate parents, from meeting other teachers to measuring for new marching band uniforms, your teaching methods class never covered this territory! In Confessions of a First-Year Maestro, author Catherine Bell Robertson takes readers along as she rides the roller coaster of first year teaching! Centered on journal entries written during her first year as director of all bands, choirs, and ensembles at a parochial high school, this book captures the surprises, joys, and woes of her hectic year. As a survivor and now veteran teacher, she also looks back on this challenging time and offers insightful reflections. Robertson's journal and commentary are filled with lessons that every future teacher should read, especially those who will teach music. But while offering inspiration and a few warnings for education students, the humorous and often touching stories in this book also offer encouragement and understanding for teachers in their own first year, as well as a trip down memory lane for many veterans. A delightful and sincere look into the world of a first-year teacher as she begins her real education! Kate Robertson teaches at Arrowhead High School in Hartland, Wisconsin (not the school described in this book). She graduated with highest honors from the University of Wisconsin-La Crosse with a Bachelor of Science in Music Education and has been teaching for four years. In her spare time, she enjoys traveling, hiking, gardening, cross-country skiing, and spending time with her husband, Cal, and their dog, Jake. Currently, Ms. Robertson is pursuing a Master's Degree in Education and is beginning work on her follow-up book to Confessions of a First-Year Maestro, entitled More Confessions: A Fellowship of Teaching Strategies, Stories, and Ideas. For more information, or to contribute to this collective book, please contact Ms. Robertson at teacherconfessions@yahoo.com.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: AP.48028
ISBN 9781470642532. UPC: 038081550671. English.
Catherine Rollin's Christmas Treats and Treasures, Book 5, is a collection of six piano arrangements of holiday favorites. These beautiful, joyful, and uplifting carols and songs will bring many special musical moments to piano students as they celebrate the holidays. Titles: The Holly and the Ivy * Jingle Bells * Silent Night * O Christmas Tree * Waltz of the Flowers (from The Nutcracker) * What Child Is This?
SKU: AP.48027
ISBN 9781470642525. UPC: 038081550664. English.
Catherine Rollin's Christmas Treats and Treasures, Book 4, is a collection of seven piano arrangements of holiday favorites. These beautiful, joyful, and uplifting carols and songs will bring many special musical moments to piano students as they celebrate the holidays. Titles: Angels We Have Heard on High * Away in a Manger * It Came Upon the Midnight Clear * Jazzy and Jolly Old Saint Nick * O Little Town of Bethlehem * Ukrainian Bell Carol * Up on the Housetop.
SKU: HL.14041752
UPC: 884088878009. 8.25x11.5 inches.
Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall, Krakow, Poland on Sunday 13th January 2008, with Jacqueline Shave (Violin), Miranda Dale (Violin), Clare Finnimore(Viola), Catherine Musker (Viola), Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins, 2 Violas, and 2 Cellos)Duration: 10 minutes
SKU: BO.B.2917
ISBN 9788480200493.
English comments: Cinc cops d'arc fonamentals is a work inspired in the five bow knocks which the French pedagogue G. Catherine considers essential in his violin method Etude du mecanisme de l'archet. It is since the fifties that I know this method and the quality of those five studies-exercises has always attracted my attention, not only for its efficient technique but mainly for its melodious line as well as its harmonious subtlety. I always thought in enriching this material, so that a string ensemble could use it as a work of its repertory. --Jordi CervelloComentarios del Espanol:Cinc cops d'arc fonamentals es una obra inspirada en los cinco goles de arco que el pedagogo frances G. Catherine considera fundamentales en su metodo Etude du mecanisme de l'archet. Desde los anos cincuenta conozco este metodo y siempre me he sentido atraido por la calidad de estos cinco estudios-ejercicios, no solo por su eficacia tecnica sino sobre todo por la originalidad de su linea melodica asi como por la sutileza armonica. Siempre pense en enriquecer este material para que un conjunto de cuerdas pudiera beneficiarse con una obra de caracter pedagogico. --Jordi Cervello.
SKU: AP.36-52255268
ISBN 9781628762112. English.
This creative multi-movement original for strings offers the opportunity for your group to perform something really different at your next concert! Each of the four separate dances let your strings explore new styles and colors. Some brief solo passages showcase your best players too . Goldfinch Rag; Only You; Sunday Stroll and Tango de Teri are as fun for the players as they are for the audience.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.48180989
Parisian violinist, Georges Catherine (1872-1958) compiles an exciting collection for the violin repertoire. The first solo from Vieuxtemp's Concerto No. 5 is clearly printed with a helpful key of unusual techniques. Vieuxtemp (1820-1881) was an Belgian composer and violinist. He composed a significant amount of string music, particularly for the violin, which remain popular in the advanced violinist's repertoire. The violin solo line of Concerto No. 5 makes use of extended techniques, including harmonics, bow techniques, aritculations and hand positions. Catherine's series, First Solos Extracted from the Classic Concertos provides essential access to significant repertoire of the violin, preparing advanced violinists for the major concertos.
SKU: GI.G-9523
ISBN 9781622772520.
The Family Folk Song Project is a brilliantly simple general music activity that bridges musical experiences at home with those at school, for the benefit of all. This book includes complete instructions for The Family Folk Song Project, a class activity where every child learns a folk song from a family member and then teaches it to his or her classmates. Writes author Cathy Ward: The Family Folk Song Project has encouraged my students to sing with their families and learn about their cultural heritage. It has helped my students feel connected to music class, and I have noticed a remarkable improvement in behavior and engagement for many students after completing this project. I have collected songs in more than ten languages that are relevant to the community where I teach, and I have been able to use these songs in my classroom. This book also includes a letter to send home to parents, in both English and Spanish. It includes examples of folk songs that Ward has collected through this activity, along with ideas about using this activity to teach musical concepts to children. As music teachers, we need to provide simple, concrete opportunities for families to experience the joy of sharing music together so musical traditions can be passed on to future generations. The Family Folk Song Project is a wonderful way to accomplish this goal and help children experience lifelong connections through music. Cathy Ward teaches elementary general music in Somerville, Massachusetts.
SKU: AP.36-52702207
ISBN 9781628761894. UPC: 746241287649. English.
Includes optional Violin 2 for Viola. French carols; advanced intermediate level. First Noel, Il Est Ne, Pat a Pan, 'Twas in the Moon of Wintertime, Bring a Torch, Shepherds, Shake off your Drowsy Sleep, March of the 3 Kings, The Friendly Beasts.
SKU: GI.G-6759
UPC: 785147675907. English. Text Source: 1. Henry L. Letterman, 1966, 2. Caspar Fuger, 1592, tr. Catherine Winkworth, 1827-1878, 3. Charles Coffin, 1676-1749, 4. William How, 1823-1897, alt., 5. Reginald Heber, 1783-1826, alt., 6. Herbert Brokering, b. 1926.
Schalk proves that unison singing is neither simplistic nor boring. Choirs of children and adults alike can enrich the repertoire of the entire Christmas season with these poignant texts set to such wonderfully appealing tunes. Selections for Advent (or Christmas octave), Christmas Day, the Circumcision and Naming of Christ, Epiphany, and the Presentation of the Lord.
SKU: GI.G-017286
UPC: 600767011426.
WLP turns to the authors who contributed to the excellence of PREACH magazine for this Preaching Basics collection. Mary Catherine Hilkert addresses the important topic of the preacher's spiritual life in Making the Word a Home: Contemplative Spirituality for the Preacher. James A. Wallace helps preachers find their own voices with Preaching with Style — But Whose?.. Two thoughtful and practical offerings, Putting it All Together: Habits and Strategies for the Structuring the Homily by Daniel E. Harris and The Preacher and the Person in the Pew by Joan Delaplane give preachers concrete ways to discipline their own preaching process, and to incorporate the insights, lives, and needs of their congregations into their week-by-week sermons. A final point-counterpoint contribution is Should Your Exegesis Show? Ann Garrido and Sean Martin give solid, thought-provoking perspectives on two differing answers. Those who may be new to the ministry of preaching will find many helpful tips in this brief volume, while those who are more experienced in the pulpit will find some refreshingly invigorating advice.
SKU: CF.CM9643
ISBN 9781491157152. UPC: 680160915712. 6.875 x 10.5 inches. Key: F major. English, English. Traditional Spiritual.
For the emerging mixed choir, Delanoy's arrangement of this timeless spiritual favorite offers energy, variety and is sure to inspire through its uplifting melody of hope and determination for a better life -no matter the obstacle. Concert and festival approved!.Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle. Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.Let Me Fly is an American spiritual which, on the surface, tells of a yearning for the promised land of heaven. On a deeper level, its early singers envisioned an escape from slavery, with the Underground Railroad serving as the chariot. In either case, the song is an uplifting melody of hope and determination for a better life, no matter the obstacle.Please take note of the layered section in mm. 55-62, which starts with Part II, adds Part I in m. 57, and completes the layering with Part III at m. 59. The repeated measures of 59-60 allow for an accompanist or soloist to improvise while the choir sings and claps along for as many repeats as desired. The number of repeats is up to the discretion of the conductor. If there is no improvisation, it is recommended that mm. 59-60 be sung three times before moving on.
SKU: GI.G-7971
ISBN 9781579998400. English.
Increase student musicality, enthusiasm, and dedication with Tootles! Even beginning students can learn to play fun, engaging recorder trios! Tootles 2 brings even more fun and provides just the challenge your young students need. Written in the keys of C G, and D major and A minor, with limited ranges, these pieces encourage students to cooperate, listen to parts other than the melody, practice, and play as a group. Cak Marshall, Educational Director of Peripole-Bergerault, Inc., is a career music educator. She was an elementary music specialist at O'Hara School in the Fox Chapel Area School District of Pittsburgh, Pennsylvania, for many years. She also holds Apprentice and Master Level Orff Certification, Levels I, II, and III Orff Certification, and Kodaly Level I Certification. .
SKU: AP.48679
ISBN 9781470643829. UPC: 038081559544. English.
Commissioned by the Lancaster Music Teachers Association in 2020, this lively waltz is made all the more impressive by the work of two pianists at the keyboard. In the main theme, a lilting chordal accompaniment in the secondo part, colored by subtly jazzy harmonies, supports a lyrical melody played by both hands in the primo part. Contrasting sections feature a nostalgic second theme shared between the players, cascades of broken chords, and rich repeated chords. A brilliant and sparkling coda, reminiscent of the lights of the Eiffel Tower at night, uses the full range of the keyboard and brings the duet to a dramatic finish.
SKU: CF.CM9204
ISBN 9780825883224. UPC: 798408083229. 6.875 x 10.5 inches. Key: D minor. Text: Catherine E. Parks. Cathryne E. Parks.
Gary and Cathryne Parks work together to bring us a rollicking sea chantey to life for TBB voices. The descriptive text of the elements of a sailor's life paints a full picture of not just the challenges and joys, but of the loneliness as well. A great choice for your concert program. Duration: 1:50.
SKU: AP.36-52703440
ISBN 9781628760149. UPC: 746241228376. English.
This versatile set of quartets includes: A Mighty Fortress Is Our God; Nearer, Still Nearer; Be Thou My Vision; What A Friend We Have In Jesus and O Store Gud (Swedish Folk Hymn). Medium Level.
SKU: HL.268918
Bells Wrung is characterised primarily through its recurring 'A' pedal, imitative of a tolling belling. Similar to other pedal-orientated pieces in the Piano repetoire - Ravel's Le Gibet, or Chopin's Raindrop Prelude for example - this pervasive tone serves to mediate and unify the often dense, chromatic harmonic language, all the while providing an obvious audible continuity. The pun in the title refers to how the constantly fluctuating rhythms and metre seem to compress, stretch, or wring the musical material. Bells Wrung was awarded the Henfrey Prize for Composition and was workshopped and performed on the 19th June 2017 at St Catherine's College, Oxford, by Dominic Saunders. Duration: c. 4.