Par ARCH GWYN / PARRY BEN. Le livre de Carol Faber est un volume passionnant de chants de Noël et de chansons avec une touche originale, contemporain, conçu pour respirer l'air frais dans les concerts de Noël. Il contient quarante pièces, habilement édité et arrangé par Gwyn Arch et Ben Parry, capturant une variété d'ambiances et styles à travers le temps - des arrangements contemporains de chants médiévaux et traditionnelles, à spirituals et la musique de partout dans le monde. Il y a aussi une impressionnante gamme de pièces originales par certains des plus respectés compositeurs chorale d'aujourd'hui, y compris Howard Goodall, Lin Marsh, Peter Gritton, Errollyn Wallen et Mike Brewer. Disposées dans le format SA(B) de la série de Faber jeunes voix, il est idéal pour les chorales de jeunes ou de chorales d'adultes amateurs qui ont une pénurie de voix masculines. / Date parution : 2001-08-23/ Répertoire / Voix

Par ARCH GWYN / PARRY BEN. UNE EXCELLENTE OCCASION DE COMMANDER PLUSIEURS EXEMPLAIRES EN A CONSIDERABLEMENT REDUIT LES PRIX - ECONOMISER 20 % PAR COPIE. Le livre de Carol Faber est un volume passionnant de chants de Noël et de chansons avec une touche originale, contemporain, conçu pour respirer l'air frais dans les concerts de Noël. Il contient quarante pièces, habilement édité et arrangé par Gwyn Arch et Ben Parry, capturant une variété d'ambiances et styles à travers le temps - des arrangements contemporains de chants médiévaux et traditionnelles, à spirituals et la musique de partout dans le monde. Il y a aussi une impressionnante gamme de pièces originales par certains des plus respectés compositeurs chorale d'aujourd'hui, y compris Howard Goodall, Lin Marsh, Peter Gritton, Errollyn Wallen et Mike Brewer. Disposées dans le format SA(B) de la série de Faber jeunes voix, il est idéal pour les chorales de jeunes ou de chorales d'adultes amateurs qui ont une pénurie de voix masculines. 10 paquets de la version SATB sont également disponibles (0-571-52324-2). Les deux publications comprennent peu exigeants clavier accompanim.../ Répertoire / Voix

Par ARCH GWYN / PARRY BEN. UNE EXCELLENTE OCCASION DE COMMANDER PLUSIEURS EXEMPLAIRES EN A CONSIDERABLEMENT REDUIT LES PRIX - ECONOMISER 20 % PAR COPIE. Le livre de Carol Faber est un volume passionnant de chants de Noël et de chansons avec une touche originale, contemporain, conçu pour respirer l'air frais dans les concerts de Noël. Il contient quarante pièces, habilement édité et arrangé par Gwyn Arch et Ben Parry, capturant une variété d'ambiances et styles à travers le temps - des arrangements contemporains de chants médiévaux et traditionnelles, à spirituals et la musique de partout dans le monde. Il y a aussi une impressionnante gamme de pièces originales par certains des plus respectés compositeurs chorale d'aujourd'hui, y compris Howard Goodall, Lin Marsh, Peter Gritton, Errollyn Wallen et Mike Brewer. Ce volume, arrangé pour SATB, est parfait pour l'école ou églises chorales. Une version SA(B) est également disponible. Les deux publications comprennent accompagnement clavier peu exigeants et les suggestions de lignes instrumentales facultatifs./ Répertoire / Voix

A Selkie Tale is a short music-theatre work (duration about 25 minutes) designed for performance by seven- to eleven-year-olds year olds. Four solo roles and several separate chorus groups give scope for the participation of a large number of children of all ability levels.The story is a humorous version of the Orkney folk-tale of an islander kidnapping a Selkie wife - a creature who is a seal in the sea and a woman on the land. Things go hilariously wrong with the Selkie wife escaping to rejoin her companions in the sea and Mansie the islander facing a most uncongenial alliance with his cousin and housekeeper Miss Trowie-Tattibogle.Vocal part.Thisis a special item which is made to order. Please e-mail our Mail Order Department for further information.

The Spiders' Revenge is a short music-theatre work (duration about 25 minutes) designed for performance by primary school children. The work was written for Evie Primary School a small rural school in Orkney of about 60 pupils between the ages of five and eleven and was specially devised to enhance an environmental studies project on 'mini-beasts'. All the pupils in the school took part in the first performance. Two children playing in a garden delight in tormenting ladybirds snails spiders and other living creatures who they claim 'have no right to be'. The spiders teach the children a salutary lesson during the course of which they learn a great deal aboutthe ways of these creatures finally recognizing the wonder of the insect world and acknowledging that all 'have their place on the earth'.The songs include simple recorder and percussion parts and guitar chords. Vocal part. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

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

Par FAGERLUND SEBASTIAN. Based on the film by Ingmar Bergman, Sebastian Fagerlund’s Autumn Sonata follows Charlotte Andergast, a celebrated concert pianist, as she visits the country home of her adult daughter, Eva. Charlotte has not seen Eva for seven years, during which time Eva and her husband Viktor have lost their three-year-old son Erik. Eva’s sister, Helena (Charlotte’s daughter), had been held in an institution but now (unbeknownst to Charlotte) lives with Eva and Viktor. Charlotte brings with her her need for adulation, imagining the chorus as an admiring concert audience applauding her every decision. When the family members converge under one roof after years of separation, they begin to delve into the past and old wounds?despite their good intentions?are reopened. Autumn Sonata was commissioned by the Finnish National Opera and premiered in Helsinki on 8 September 2017 with the Finnish National Opera Orchestra and Chorus conducted by John Storgårds. The direction and set design was made by Stéphane Braunschweig and the premiere cast included Anne Sofie von Otter, Erika Sunnegårdh, Helena Juntunen, Tommi Hakala and Nicholas Söderlund. / Instrumental Music / Répertoire / Voix

Par RATHBONE JONATHAN. At last - un livre qui rend l'entreprise mystérieux de vue-chant accessible à tous. Jonathan Rathbone a identifié avec précision ce qu'implique le processus de lecture de musique et de transformer en sons. Le cours a pris plus de deux ans à dev elop et a été conçu pour les devinettes out of sight-chant. Il a été utilisé avec succès comme un classeur individuel et avec choeurs de chanteurs, jeunes et moins jeunes. / Pédagogie / Etude / Chant

Start the school day with a musical wake-up for voice body and mind-The VOCES8 Method is an innovative new system which enhances neurological development helping to deliver improved academic results. Based on research by the Institute of Education it contains group activities based on rhythm and melody which are designed to develop key learning skills and improve students? academic learning processes for all subjects. ? Suitable for small groups or whole-school participation.? Requires no musical expertise or expensive equipment.? Supported by free online training videos.? Backed up by CPD training sessions led by members of VOCES8.? Aninteractive app enables students to explore the activities for themselves.

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