SKU: ST.MB81
ISBN 9790220220883.
The rich store of music in this volume includes the In Nomine 'Through All Parts', the 'Dovehouse Pavan', the four- and five-part hexachord compositions with their radical and exploratory modulations, Ben Jonson's A Hymn to God the Father in a four-note ostinato setting, tuneful almains, and the four-part version of 'On the Hexachord'.
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: SU.29130370
Second Movement from the oratorio Your Sovereign Mind, CF 58. Guitar and String Quartet Duration: 9’ Composed: 2016 Published by: Christopher Fulkerson.
SKU: ST.H443
ISBN 9790220221033.
Set of String Parts. Score available in Musica Britannica Volume 81 (MB81).
SKU: SU.91409192
Modernism Forever Volume One - Fulkerson, Carter, Davies Disc 1 1. The Childermass (Live) Christopher Fulkerson & The Composers Chamber Players - 14:16 2. E Io Etterno Duro (And Eternal I Endure) [Live] (Dante) for solo male sextet Christopher Fulkerson & Chanticleer - 6:48 3. Double Blizzard First Michelangelo Fantasy for violin and bass Christopher Fulkerson - 7:27 4. Clothes Another's Hand (Live) 2nd Michelangelo Fantasy for string trio Christopher Fulkerson & Friends of CF - 9:04 5. With Its Billowing Hair (Live) 4th Michelangelo Fantasy for violin and string John Casten, Christopher Fulkerson & Friends - 13:03 6. Scritti Di Leonardo (Live) for tenor, SATB soli, & five players Christopher Fulkerson, Patrick Neve, Ariel & The SFCMP - 18:23 7. Concerto for Harpsichord (Live) and seven instruments Christopher Fulkerson, Jonathan Shiff, Eric Hansen & the Intercampus Cultural Exchange - 9:04 Disc 2 1. Astraea in the Field of Stars for guitar and string quartet Christopher Fulkerson - 9:01 2. Echoes of Hart Crane (Live) for vocal ensemble SSAATTBB Christopher Fulkerson & Ariel - 3:03 3. The Sweep of Their Lyre Echoes of Our Bards I for instrument sextet Christopher Fulkerson - 7:25 4. The Rush of Their Verse Echoes of Our Bards II for eleven instruments Christopher Fulkerson 5. Mere Magic Music (Live) Part One of the Magic Cycle for eight antiphonal voices Christopher Fulkerson & The Virtuose - 6:42 6. Pour Jean-Louis for solo harp Christopher Fulkerson - 0:31 7. Tomb of Taillevant for alto flute and guitar Christopher Fulkerson - 1:41 8. Syringa (Live) by Elliott Carter for mezzo, baritone, guitar & ensemble Christopher Fulkerson & The Composers Chamber Players - 19:36 9. Westerlings (Live) by Peter Maxwell Davies Christopher Fulkerson & Ariel.
SKU: GI.G-10118
ISBN 9781622774326.
The perfect solution for distance learning! Concise lessons and exercises are designed for students to learn and practice on their own • Workbooks give all students equal access to quality instruction • No computer apps, Wi-Fi, or additional programs are needed • Teacher’s edition with hundreds of activities, worksheets, and quizzes will be available this summer—no special apps needed. Music Theory for the Successful String Musician is the music theory and history curriculum string programs have been waiting for. In two carefully crafted books, author Christopher Selby presents a comprehensive and pedagogically sound sequence specifically for orchestral string students and also addresses questions and offers guidance in resolving problems that are unique to the orchestra classroom. This curriculum will help directors teach music theory, music literacy, music history, and creativity—all of those hard-to-reach standards that ultimately help music students become more well-rounded and better performers, creators, and consumers of great music. Students will learn: Tonal literacy. Fingerboard maps and diagrams teach students how all sharp, flat, and natural notes on the staff relate to the spaces on the fingerboard. Sequential lessons introduce students to minor and major seconds and the effects that key signatures and accidentals have on finger patterns. Students also learn about thirds, tetrachords, and key signatures for all major and minor scales. Rhythmic literacy. The rhythm units teach students how to mark their music so they can perform rhythms independently, correctly, and confidently. Students will learn to read and decipher complex dotted, tied, and syncopated rhythms, as well as the longer notes and rests that are common in orchestra music. Historical awareness. Students will learn the evolution of string instruments and how string music has evolved over the past four centuries. They will learn about some of the great composers and musical genres from the Baroque, Classical, Romantic, and Modern eras. Creative activities. Creativity units teach students how to write down their ideas while also encouraging them to break free from written notation and focus on the enjoyment of making their own music with friends. These units give students opportunities to contribute their own ideas to the ever-evolving field of string music. .
SKU: GI.G-10115
ISBN 9781622774296.
SKU: GI.G-9945
ISBN 9781622774937.
The perfect solution for distance learning! Concise lessons and exercises are designed for students to learn and practice on their own • Workbooks give all students equal access to quality instruction • No computer apps, Wi-Fi, or additional programs are needed • Teacher’s edition with hundreds of activities, worksheets, and quizzes will be available this summer—no special apps needed. Music Theory for the Successful String Musician is the music theory and history curriculum string programs have been waiting for. In two carefully crafted books, author Christopher Selby presents a comprehensive and pedagogically sound sequence specifically for orchestral string students and also addresses questions and offers guidance in resolving problems that are unique to the orchestra classroom. This curriculum will help directors teach music theory, music literacy, music history, and creativity—all of those hard-to-reach standards that ultimately help music students become more well-rounded and better performers, creators, and consumers of great music. Students will learn: Tonal literacy. Fingerboard maps and diagrams teach students how all sharp, flat, and natural notes on the staff relate to the spaces on the fingerboard. Sequential lessons introduce students to minor and major seconds and the effects that key signatures and accidentals have on finger patterns. Students also learn about thirds, tetrachords, and key signatures for all major and minor scales. Rhythmic literacy. The rhythm units teach students how to mark their music so they can perform rhythms independently, correctly, and confidently. Students will learn to read and decipher complex dotted, tied, and syncopated rhythms, as well as the longer notes and rests that are common in orchestra music. Historical awareness. Students will learn the evolution of string instruments and how string music has evolved over the past four centuries. They will learn about some of the great composers and musical genres from the Baroque, Classical, Romantic, and Modern eras. Creative activities. Creativity units teach students how to write down their ideas while also encouraging them to break free from written notation and focus on the enjoyment of making their own music with friends. These units give students opportunities to contribute their own ideas to the ever-evolving field of string music. To access the online videos, visit https://www.stringeducation.org/music-theory-for-the-successful-string-musician .
SKU: GI.G-9944
ISBN 9781622773770.
SKU: GI.G-9942
ISBN 9781622773756.
SKU: GI.G-10116
ISBN 9781622774302.
SKU: GI.G-10117
ISBN 9781622774319.
SKU: GI.G-9941
ISBN 9781622773749.
SKU: GI.G-9943
ISBN 9781622773763.
SKU: HP.GC954
UPC: 763628141561. Christopher Idle.
Traditional Welsh Melody Choral Piece by Christopher Idle and Larry Mayfield.
SKU: GI.G-9602
ISBN 9781622772766.
Habits of a Successful Middle Level String Musician is a field-tested musical collection of over 300 sequenced exercises for building fundamentals. Perfect to use with the entire string orchestra or a solo player, this series contains carefully sequenced finger pattern and shifting etudes, tone and articulation warm-ups, sight-reading exercises, rhythm vocabulary studies, chorales, and much more. In one place, this series collects everything an aspiring player needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature. Habits of a Successful Middle Level String Musician: Presents a differentiated, sequential, and comprehensive method for developing finger pattern and shifting skills to address the most common problems encountered by intermediate level orchestra students. Organizes tone, rhythm, and articulation patterns into a flexible and sequential series. Creates a method for teaching scales, arpeggios, and thirds that simultaneously accommodates students of different ability levels. Provides chorales for the development of intonation, tone quality, blend, and musicianship. Presents sequenced rhythm vocabulary charts in a format that allows transfer from timing to pitches in a musical context. Includes over ten pages of audition sight-reading exercises in a full- ensemble format that is well planned in scope and sequence. Promotes the idea that students should cross the threshold from the “technical components of playing†to music making. Habits of a Successful Middle Level String Musician is the answer to the very simple question, “What should I be learning during fundamentals time?â€.
SKU: GI.G-J379
ISBN 9781622775255.
This edition includes ONLY the physical book and will not include access to the online audio files.  The third revision of Jump Right In is easier to use and as musical as ever! Highlights include the following: The series is research based and field tested. Appropriate for the following classes: elementary instrumental, general music at elementary, middle school, and high school. Also appropriate for college teachers who teach instrumental methods classes, vocal-general methods, and aural skills classes. There are 42 songs for listening and performing with accompaniments. Songs are notated and performed at musical tempos with characteristic rhythms. Contains recordings and notation for over 300 folk songs and classical melodies from many cultures in a variety of tonalities, meters, and styles. Available in two editions: one with access to Online Audio Files and one without. The audio files include (1) articulation exercises, (2) songs, bass lines, harmony parts, and accompaniments, (3) tonal patterns (neutral syllable and solfège syllables based on function), (4) rhythm patterns (neutral syllable and rhythm syllables based on function), (5) melodic patterns and accompaniments, and (6) musical enrichment (30 songs performed on recorder with accompaniments for students’ performance). Uses major and minor tonalities—G major, E minor, F major, B-flat major, and G minor. Uses both duple and triple meters—2/4, 4/4, cut time, 6/8, 3/8, and 3/4. Includes full range fingering charts based on solfège and note names and a chromatic fingering chart based on note names. Offers in-depth procedures for playing by ear and improvising—a unique and distinctive aspect of the series. The procedures for learning music notation and music theory for reading, writing, arranging, and composing.  Provides procedures for assessing performance (criterion etudes, rating scales, and embedded assessment) and knowledge (multiple choice, true-false, matching, and fill in the blanks) . There is an extensive Teacher’s Guide and coordinating rhythm flashcards and a rhythm flashcard app. This series includes audio files of the highest quality, is adaptable to the individual needs of your students, and features appropriate sequencing of activities to help students progress from sound to sight.
SKU: GI.G-J380
ISBN 9781622774968.
The third revision of Jump Right In is easier to use and as musical as ever! Highlightsàinclude the following: The series is research based and field tested. Appropriate for the following classes: elementary instrumental, general music at elementary, middle school, and high school. Also appropriate for college teachers who teach instrumental methods classes, vocal-general methods, and aural skills classes.àThere are 42 songs for listening and performing with accompaniments.àSongs are notated and performed at musical tempos with characteristic rhythms.àContains recordings and notation for over 300 folk songs and classical melodies from many cultures in a variety of tonalities, meters, and styles. Available in two editions: oneàwithàaccess to Online Audio Files and one without. The audio files include (1) articulation exercises, (2) songs, bass lines, harmony parts, and accompaniments, (3) tonal patterns (neutral syllable and solfège syllables based on function), (4) rhythm patterns (neutral syllable and rhythm syllables based on function), (5) melodic patterns and accompaniments, and (6) musical enrichment (30 songs performed on recorder with accompaniments for studentsââ¬â¢ performance).àUses major and minor tonalitiesââ¬âG major, E minor, F major, B-flat major, and G minor. Uses both duple and triple metersââ¬â2/4, 4/4, cut time, 6/8, 3/8, and 3/4. Includes full range fingering charts based on solfège and note names and a chromatic fingering chart based on note names. Offers in-depth procedures for playing by ear and improvisingââ¬âa unique and distinctive aspect of the series. The procedures for learning music notation and music theory for reading, writing, arranging, and composing.ààProvides procedures for assessing performance (criterion etudes, rating scales, and embedded assessment) and knowledge (multiple choice, true-false, matching, and fill in the blanks) . There is an extensive Teacherââ¬â¢s Guide andàcoordinating rhythm flashcards and a rhythm flashcard app. This series includes audio files of the highest quality, is adaptable to the individual needs of your students, and features appropriate sequencing of activities to help students progress from sound to sight.
SKU: GI.G-9605
SKU: GI.G-9601
ISBN 9781622772759.
SKU: GI.G-9603
ISBN 9781622772773.