SKU: LM.VV288
ISBN 9790560052885.
Le Jardin des souvenirs - La Conversation - Le Petit cirque - Un conte - Les Feuilles s'envolent - La Promenade - L'Etang miroitant.
SKU: LM.GD1536
ISBN 9790231709469.
Entree - Jouons a cache-cache - Le Clown - Valsons - Conversation - Recreation - Valse - Promenade - Marche - Avec douceur - Espieglerie - Souvenirs.
SKU: HL.49015423
ISBN 9790001083195. 9.0x12.0x0.148 inches.
Lively Conversation * Sad Waltz * An old tale * Swinging Dance * Floating Melody * Skipping Dance * An Argument * Finger Game * Sad Monologue * Boys Dance * Girls Dance * Group Dance * Alone * Round Dance * Sad Song * Twirling Dance * Teaching Notes.
SKU: BO.UDL10035
SKU: CF.CPS113F
ISBN 9780825884900. UPC: 798408084905. 9 x 12 inches. Key: Eb major.
An exceptional new composition based upon the hymn Converse (commonly known as What a Friend We Have in Jesus), William Harbinson has crafted a concert overture using the hymn's theme as a starting point. Beginning with brilliant brass fanfares and woodwind flourishes, the middle section is made up of an inversion of the hymn tune, and ends with a dramatic climax. This work is simply beautiful and heartfelt; showcasing your group's musical expression like no other.
SKU: BT.MUSM570361731
English.
Duologue for Tenor Saxophone and Bass Clarinet. In memoriam Mátyás Seiber. Score and Part.
SKU: GI.G-9660
ISBN 9781622773572.
To learn from Alice is to come under a peculiar kind of enchantment . . . To hear her is to be spellbound by a melodic voice. — John Wykoff, from the Prelude The Melodic Voice presents a series of interviews with preeminent composer, conductor, and teacher Alice Parker that offers a fuller and more intimate view of her life and music than ever before. The conversations Cameron LaBarr and John Wykoff document in these pages perfectly capture the essence of Alice’s core philosophies on melody, arranging, singing, music teaching, conducting, and many other topics. During the course of the interviews, Alice discusses a wide range of topics: her childhood, her time as a student at Smith College and Juilliard, the death of her husband, her work with Robert Shaw, living in New York City, experiences with teaching, her compositional process, the importance of folk song, advice for students and teachers, and much more. In the accompanying video component, Alice speaks candidly and directly about many of her most popular and well-loved arrangements, including Hark, I Hear the Harps Eternal, Saints Bound for Heaven, What Shall We Do With a Drunken Sailor?, and John Saw Duh Numbuh, among others. Too few have had the privilege of attending one of Alice’s workshops or engaging with her in long conversations and round-the-table singing. But the conversational nature of this book gives everyone the chance to engage with her in a deeper way. Musicians and non-musicians alike are sure to be inspired by Alice’s words. Cameron LaBarr is Director of Choral Studies at Missouri State University. His choirs have performed extensively both at home and abroad, and he has worked as a guest conductor and clinician across the United States, Europe, South Africa, and Asia. John Wykoff is Associate Professor of Music Theory and Composition at Lee University. As an active composer, he writes for choir, orchestra, and chamber groups, and his music has been performed internationally by leading ensembles. Check out this clip below of Alice Parker discussing her beloved arrangement Hark, I Hear the Harps Eternal. This is just a small part of the over three hours of video interviews included in the purchase of this resource.
SKU: FT.FM401
ISBN 9790570483006.
Takin' It In My Stride: The trumpet part is pure Louis Armstrong, with the trumpet often interrupting the conversation with the piano. Pay particular attention to the articulation markings in this piece to make it sing properly. Zac's Blue Morning: The most important things to pay attention to in this solo are the articulation markings and the mournful but conversational tone of the horn that must be maintained throughout. There are many 'blue' notes to lean into, and some opportunities for free expression in the cadenzas. Ezekiel's Rag: Written for my dog Zeke who howls along with the trumpet. I've always loved stride piano style; keep the syncopated bounce in the swing rhythms to bring this piece to life.
SKU: GI.G-10496
ISBN 9781622776061.
Imagine a conversation among leaders who are passionate about their general music teaching, who have found incredible power in Music Learning Theory (MLT), who exchange ideas about how to be successful in the classroom, and who are eager to share what they’ve learned with one another. This is the magic of Q & A for MLT. Drawing from their expertise, experience, and unique perspectives, authors Jill Reese, Heather Shouldice, and Jennifer Bailey—along with a series of guest contributors—provide practical suggestions for managing the challenges and choices in a Music Learning Theory-based classroom, sometimes agreeing and other times highlighting differing perspectives that encourage the reader to consider what best fits their understanding and context. The book addresses key topics, including: An overview of Music Learning Theory Suggestions for classroom activities Developing the teacher's own musical skills and content knowledge Blending MLT with the Kodaly and Orff approaches Measuring music aptitude and assessing student growth Long-term and short-term planning Adapting MLT for diverse populations (students with disabilities, visual impairments, and English Language Learners) How to use MLT in various contexts (the preshool classroom, urban settings, elementary choir, and middle school general music) Through a conversational blend of research, scholarship, stories from the classroom, and humor, this book gives educators a reliable source for finding answers to real-life questions and suggestions for navigating the specifics of successfully applying MLT in the classroom. Jill Reese is Associate Professor of Music Education at the State University of New York at Fredonia. Dr. Reese is also the author of Navigating Music Learning Theory: A Guide for General Music Teachers. Heather N. Shouldice is Associate Professor of Music Education at Eastern Michigan University. Dr. Shouldice is also the author of Weaving It All Together: A Practical Guide to Applying Gordon’s Music Learning Theory in the Elementary General Music Program and the host of a podcast about Music Learning Theory called “Everyday Musicality.†Jennifer M. Bailey is an elementary vocal music teacher in Farmington Public Schools with over 25 years of experience using Music Learning Theory in the classroom.
SKU: HL.49018969
ISBN 9790001171021.
The French organist and composer Jean Guillou (*1930) calls his own cycle 'Colloque' in which the grand seigneur among the virtuoso organists wants to present an exchange of ideas, while juxtaposing contrasting instruments such as the organ and percussion, piano or panpipes. 'They represent characteristic personalities who present their ideas with conviction, contradict each other and influence each other all the same.' With such musical conversations, Guillou wants to release the organ from its liturgical obligation and make it more accessible to the audience.In Colloque No. 7 the organ and the piano 'talk to each other': be it in pleasant cooperation, be it in concertante opposition - in this three-part work both instruments engage in a spirited conversation. And one can well imagine what happens musically in the concluding 'Tumultuoso' after 'Lento' and 'Misterioso'!
SKU: P2.20010
Scott Hannah writes, Amir Zaheri (b. 4 March 1979) composed Two Girls and a Boy for the Cavell Trio, and dedicates the score to the ensemble - 'for the Cavell Trio, with greatest admiration and appreciation.' Zaheri describes Two Girls and a Boy as a musical conversation, for which he first wrote a story, then created a musical setting. He likens the piece to the film work of Woody Allen, which frequently features overlapping conversations, with characters finishing one another's sentences..
SKU: HL.49045545
ISBN 9790001164344. UPC: 841886031050. 9.25x12.0x0.183 inches.
In his series of works Colloques, the French organist Jean Guillou composed Conversations since 1956 in which the organ and a solo instrument hold a conversation on the same level. For the tenth work of this series, he added percussion and six more instruments of the trumpet family to the ensemble - the solo instrument is the trumpet. A demanding concert piece for music virtuosos.
SKU: PR.114419570
ISBN 9781491131480. UPC: 680160677634. 9 x 12 inches.
What goes on in the minds of chamber musicians as they express their feelings through music? Here are five imaginary conversations for flute, oboe, and bassoon, using music rather than words. Sometimes harmonious, sometimes impatient, but like any carefully observed conversation, always complex and interesting. Performers and listeners alike will enjoy puzzling over what the composer had in mind with: 1. How Do You Do?, 2. Let’s Discuss, 3. I Hear You, 4. Then on the Other Hand, 5. Outta Here.
SKU: PR.446413390
UPC: 680160667383. 9 x 12 inches.
Concertino is about relationships and how they change over time. My first goal in writing the piece was to create two distinct characters, in this case the Oboe and English Horn. The Oboe begins with a berceuse-like melody, while the English Horn's entrance is more ambiguous and rhythmically jagged. Over the course of the piece, these two characters interact through a variety of musical settings, their material or personalities continually developing. The strings, more than mere accompaniment, provide commentary on the dramatic action, much like a Greek chorus. They establish each musical scene, interact with the two woodwinds, and further develop the musical material. And while there is a strong concertante element in the piece, it is essentially chamber music. There is a conversational quality, a sense of give-and-take between everyone involved that makes the two woodwinds first among equals as opposed to featured concert soloists. Each of the eight instruments has something unique and important to say.Concertino is about relationships and how they change over time. My first goal in writing the piece was to create two distinct characters, in this case the Oboe and English Horn. The Oboe begins with a berceuse-like melody, while the English Horn’s entrance is more ambiguous and rhythmically jagged. Over the course of the piece, these two characters interact through a variety of musical settings, their material or personalities continually developing.The strings, more than mere accompaniment, provide commentary on the dramatic action, much like a Greek chorus. They establish each musical scene, interact with the two woodwinds, and further develop the musical material. And while there is a strong concertante element in the piece, it is essentially chamber music. There is a conversational quality, a sense of give-and-take between everyone involved that makes the two woodwinds first among equals as opposed to featured concert soloists. Each of the eight instruments has something unique and important to say.
