SKU: GI.G-9082
ISBN 9781622771752. English.
Contributors: Sandra Babb, Bronwen Fox, Talia Greenberg, Stuart Chapman Hill, Tara Sievers-Hunt, Michele Kaschub, Mary Copland, Kennedy Chi-hin Leung, Tom Lopez, Wendy Northrup, Stephen A. Paparo, Sarah Price, Carlos Xavier Rodriguez, Julia Shaw, Philip Silvey, Janice Smith, Brent C. Talbot, Raymond Wise, Paulina Wai-Ying Wong. By seeking to open the act of composing to students of all ages, colors, classes, and backgrounds, Strand and Kerchner seek to demystify the act of composition itself. . . . The chorus is the ideal place to affect this kind of change. ??Dominick DiOrio From the Foreword Musicianship: Composing in Choir is a pioneering and practical answer to one of the great music education mysteries: how to effectively bring music composition to the choir room at all levels, in alignment with the National Core Arts Standards. Written and edited by Jody Kerchner and Katherine Strand together with a team of 18 nationally recognized teachers, researchers, and musicians, this book is truly a landmark publication. Central to this book are engaging project-based activities for individuals, small groups, and full ensembles. The authors?? goal is to provide singers with exciting new tools for exploring music. By promoting comprehensive choral musicianship, teachers will celebrate their students?? creativity, and their own. Section 1, Principles and Foundations, provides a rationale for the critical importance of including composition in the choral classroom, pedagogical principles upon which to base composition activities, and practical examples that can be taken directly from the page into the classroom. Section 2, Looking in on Composing in Choir, shares the latest the latest in practices and research related to teaching arranging and composing at a variety of levels and choral styles, with practical ideas suitable for a wide range of choral programs, student ages, ability levels, and interests. Section 3, Composition Projects for Choir, includes lesson plans with goals, outcomes, and procedures for page-to-classroom activities. Examples include composing ostinatos, rounds, partner songs, and songs over a bass line, lessons on arranging, leveraging technology, and using composition to teach sight singing. These lessons are a gold mine of ideas for choral educators and students alike. Every lesson has been ??test-driven? with diverse student populations. Ultimately, Kerchner, Strand, and their team show that composing and arranging are not superhuman gifts, activities, or experiences that need to occur in solitude: Creativity and composition should be for everyone. With Musicianship: Composing in Choir, teachers and their students have access to tools and ideas that have the potential to transform their music making. Jody L. Kerchner is Professor & Director of Music Education at the Oberlin Conservatory of Music, where she is the secondary-school music and choral music education specialist. She is also founder and conductor of the Oberlin College Women??s Chorale and the Oberlin Music at Grafton Prison Choir. Her research interests include music listening, choral pedagogy, reflective praxis, empathetic leadership, and music teacher preparation. Katherine Strand is Associate Professor of Music and Chair of the Music Education Department in the Jacobs School of Music at Indiana University, where she teaches classes in participatory music practices, curriculum, and qualitative research methods. She taught K??12 choral and general music in rural and urban settings and served as choral director for the Virginia Governor??s School for the Visual and Performing Arts and Humanities. Her research interests include teaching for creativity, multicultural music pedagogy, and curriculum. Clint Randles, Series Editor, is Assistant Professor and Coordinator of Music Education at the University of South Florida School of Music in Tampa, Florida.
Contributo rs: Sandra Babb, Bronwen Fox, Talia Greenberg, Stuart Chapman Hill, Tara Sievers-Hunt, Michele Kaschub, Mary Copland, Kennedy Chi-hin Leung, Tom Lopez, Wendy Northrup, Stephen A. Paparo, Sarah Price, Carlos Xavier Rodriguez, Julia Shaw, Philip Silvey, Janice Smith, Brent C. Talbot, Raymond Wise, Paulina Wai-Ying Wong.  By seeking to open the act of composing to students of all ages, colors, classes, and backgrounds, Strand and Kerchner seek to demystify the act of composition itself. . . . The chorus is the ideal place to affect this kind of change. —Dominick DiOrio   From the Foreword Musicianship: Composing in Choir is a pioneering and practical answer to one of the great music education mysteries: how to effectively bring music composition to the choir room at all levels, in alignment with the National Core Arts Standards. Written and edited by Jody Kerchner and Katherine Strand together with a team of 18 nationally recognized teachers, researchers, and musicians, this book is truly a landmark publication. Central to this book are engaging project-based activities for individuals, small groups, and full ensembles. The authors’ goal is to provide singers with exciting new tools for exploring music. By promoting comprehensive choral musicianship, teachers will celebrate their students’ creativity, and their own. Section 1, Principles and Foundations, provides a rationale for the critical importance of including composition in the choral classroom, pedagogical principles upon which to base composition activities, and practical examples that can be taken directly from the page into the classroom. Section 2, Looking in on Composing in Choir, shares the latest the latest in practices and research related to teaching arranging and composing at a variety of levels and choral styles, with practical ideas suitable for a wide range of choral programs, student ages, ability levels, and interests. Section 3, Composition Projects for Choir, includes lesson plans with goals, outcomes, and procedures for page-to-classroom activities. Examples include composing ostinatos, rounds, partner songs, and songs over a bass line, lessons on arranging, leveraging technology, and using composition to teach sight singing. These lessons are a gold mine of ideas for choral educators and students alike. Every lesson has been “test-driven†with diverse student populations. Ultimately, Kerchner, Strand, and their team show that composing and arranging are not superhuman gifts, activities, or experiences that need to occur in solitude: Creativity and composition should be for everyone. With Musicianship: Composing in Choir, teachers and their students have access to tools and ideas that have the potential to transform their music making. Jody L. Kerchner is Professor & Director of Music Education at the Oberlin Conservatory of Music, where she is the secondary-school music and choral music education specialist. She is also founder and conductor of the Oberlin College Women’s Chorale and the Oberlin Music at Grafton Prison Choir. Her research interests include music listening, choral pedagogy, reflective praxis, empathetic leadership, and music teacher preparation. Katherine Strand is Associate Professor of Music and Chair of the Music Education Department in the Jacobs School of Music at Indiana University, where she teaches classes in participatory music practices, curriculum, and qualitative research methods. She taught K–12 choral and general music in rural and urban settings and served as choral director for the Virginia Governor’s School for the Visual and Performing Arts and Humanities. Her research interests include teaching for creativity, multicultural music pedagogy, and curriculum. Clint Randles, Series Editor, is Assistant Professor and Coordinator of Music Education at the University of South Florida School of Music in Tampa, Florida.
SKU: GI.G-9692
ISBN 9781622773510.
This book of versatile, pedagogically based choral warm-ups helps conductors take full advantage of this important time in every rehearsal, providing tools for assessment, musicianship, and ensemble unity at the same time singers are warming up their voices. The exercises in Aligning Voices are organized into nine chapters, each focusing on a different area of choral technique: Rhythm Brilliance Intonation Balance Dynamics Consonants Beginning Consonants Diphthongs and Ending Consonants Vowels Each warm-up contains two or more parts, allowing the director to work toward improving choral sound in a texture similar to that of the repertoire. Moreover, author Dean Luethi provides every warm-up in three voicings—SATB, SSAA, and TTBB—and sequentially organizes them by difficulty level. In addition, each section begins by defining the objective for each exercise and offering practical solutions for many of the common challenges choirs face in each area. A companion student edition that contains only the music notation for each warm-up exercise is also available (G-9692S). These exercises go well beyond simply warming up the voice. This resource is a must-have for all choral directors looking to make the most of their warm-up time. Dean Luethi is Associate Professor and Director of the School of Music at Washington State University. In addition to his work at the university, he is a frequently sought after conductor, adjudicator, and clinician, and he has been published in the Choral Journal and Music Educators Journal. Watch this introductory video on Dean Luethi's (Lee-thee) book Aligning Voices: Exercises to Build Choral Musicianship.
SKU: GI.G-6390B
English.
Every choir needs a leader to inspire, train and direct it. That person needs all kinds of musical, social, and administrative skills, and these are all explored in depth in The Voice for Life Guide to Choir Training. Here is a comprehensive manual dedicated to the theory and practice of choir training, drawn from the collective knowledge and wisdom of seasoned practitioners in the field. Conceived for experienced leaders and novices alike, it systematically addresses the many different aspects of choir training from conducting and rehearsal management to legal, financial, worship and pastoral issues. It offers countless practical strategies that will be of enormous assistance to all choir trainers and directors, whether or not they are running a Voice for Life scheme. Choir training is a challenge and it demands commitment, but it is hugely rewarding. The Voice for Life Guide to Choir Training will equip musicians in this role with all the skills they need to develop their talents – and those of the singers in their care – so that everyone can grow in confidence and skill, give pleasure and enrichment to those who hear them, and help to inspire the worship of the gathered community. From the Table of Contents: Part 1: Face to face with the choir, Introduction, Rehearsal management, Planning, Warm-ups, Developing technique, Developing musicianship, Working on repertoire Part 2: Behind the scenes, Introduction, The purpose of the choir, Setting up a choir, Recruiting and retaining singers, Jobs within the choir, Choir in context, Legal and administrative matters, Financial matters, Health and safety, Safeguarding Part 3: The choir in public, Introduction, The choir in worship, The content of church services, Different types of church music, Preparing worship music with the choir, Hymns, Worship songs, Anthems, Settings of the Mass, Singing the psalms, Chant from the Taizé tradition, World music, Improving congregational singing, The choir in performance, Repertoire selection, Copyright and licensing, Arranging and composing for choir Part 4: You as a choir trainer, Introduction, Managing your time, Understanding people, Leadership skills, Communication skills Part 5: The choir trainer’s toolkit, Introduction, Some thoughts about music literacy, Conducting skills, Positioning the choir, Keeping it all together, Focus the choir!, Energize the choir!, Working with young singers, Changing and developing voices, Voice change in older singers, Falsetto, Vibrato, The individual voice and its registers, Getting a good sound: intonation, Getting a good sound: blending, Troubleshooting, Music reference, Photocopiable resources, Voice for Life publications and resources, Other RSCM publications and resources, Index.
SKU: GI.G-9595
ISBN 9781622772728.
By Jeffery L. Ames, Hilary Apfelstadt, Lynne Gackle, James Jordan, Jo-Michael Scheibe, and Phillip A. Swan. Compiled and edited by Hilary Apfelstadt and Jo-Michael Scheibe. Choosing repertoire is one of the most important and time-consuming tasks choral conductors undertake. And the Teaching Music through Performance in Choir series remains one of the most important resources for choir directors looking for quality repertoire that has been vetted by a distinguished panel of educators. Each volume in the series contains Teacher Resource Guides for 100 works, organized by difficulty. Selected by a team of leading choir directors, the repertoire in Volume 5 balances SATB literature with works for women’s and men’s choirs, and includes a healthy mix of selections aimed at bringing greater attention to the rich choral culture in Canada. Featuring the same team of authors as Volume 4, this volume also includes chapters that cover: “More than Spirituals and Concert Gospels: Choral Music in the Western European Tradition by Contemporary African American Composers†by Jeffery Ames, “North of the Border: Accessible Choral Music by Canadian Composers†by Hilary Apfelstadt, “Engaging the Voice, the Mind, and the Spirit: An Effective Approach toward Literature Selection with Treble Voices†by Lynne Gackle, “The Blueprint of Ensemble Musicianship Contained within Chant†by James Jordan, “It’s All About the Up: Journey, Text, Gesture, Music, and Motion†by Jo-Michael Scheibe, and “Community Collaboration: Relevant Programming that Moves Beyond the Classroom and into the Community†by Phillip Swan. Indexes by title, publisher, and composer/arranger for all five volumes of the series are included, and an extraordinary companion recording of all selections is also available. There is simply no better way to find and prepare the best choral literature available for achieving excellence in choral music education at all levels. The Teaching Music through Performance in Choir series continues to make a significant contribution to the choral arts.
SKU: AP.51253
ISBN 9781470670917. UPC: 038081582900. English.
Non-rehear sal days---the day after a concert, the gap between a December performance and holiday break, the last week of the school year, or when lots of singers are absent. Time is too precious not to fill these periods with meaningful learning. This creative assortment of activities, projects, and games is designed to build student musicianship and social-emotional skills while helping you make an intentional plan for every meeting. Craft a rich and resonant choral experience even when you can't rehearse. Plus, no more movie days when you're out---you'll have engaging sub plans ready to go!
SKU: GI.G-9815
ISBN 9781622773688.
Habi ts of a Successful Choral Musician is a resource for both choir directors and choral singers that builds music fundamentals (sight-singing and ear training) and vocal functions (from posture to tone). This book has provided a clear and well-organized pedagogy that is helping my students to improve in all facets of being a choral musician. — Alan Davis, Director of Choirs, Hemet High School, Hemet, CA Habits of a Successful Choral Musician by Eric Wilkinson and Scott Rush is a fantastic resource for choir directors who seek to develop all levels of singers. The book provides a pedagogical approach to teaching voice building, rhythm work, tuning exercises, sight-reading, theory exercises, and suggestions to nurture the entire musician. I love how this one method book covers multiple aspects of musicianship, rather than having to use multiple books to build each individual skill. — Emily Chandler, Director of Choirs, Seven Lakes High School, Katy, TX Habits of a Successful Choral Musician is a field-tested, vital, and—most important—musical collection of more than 200 sequenced exercises for building fundamentals and artistry. Perfect for use by an entire choir or soloist, this book contains carefully sequenced warm-ups, vocalises, chorales, rhythm work, tonal patterns, sight-singing etudes, and much more. In one place, this book presents everything an aspiring singer 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 Choral Musician: Provides material for use during fundamentals time that promotes a comprehensive approach to developing skills necessary to fill the musical toolbox. Includes a sequential format that leads to the mastery of reading rhythms and, ultimately, to musical sight-singing. Provides chorales and other ensemble exercises for the development of tone quality, ensemble sonority, and musicianship. Includes partner songs, folk songs, and rounds to develop harmony skills. Combines pedagogy, literacy, fundamentals development, sight-singing, and musicianship into one book under one cover. Promotes the idea that technique and artistry are not taught in silos but are simultaneously taught as students build capacity in both areas. Habits of a Successful Choral Musician is the answer to the question, What should I be learning during fundamentals time? Eric Wilkinson is the Director of Choral Studies at Wando High School in Mount Pleasant, South Carolina. Scott Rush is the Director of Fine and Performing Arts in Dorchester District Two (SC) and is the lead writer for the Habits series published by GIA. Preview the contents with Erik Wilkinson in this video...
SKU: GI.G-9815T
ISBN 9781622773671.
SKU: GI.G-10014
ISBN 9781622774494.
May this book serve to mend with gold our individual lives, and collectively to sing together toward the future. —Makoto Fujimura, from the Foreword Twenty years after the publication of his landmark work The Musician’s Soul, James Jordan returns to themes of musicianship, human connection, and artistry—but with depth and insight only possible with twenty years of additional perspective. Jordan explores our need for humility in music making and the importance of “slow art†for all musicians and teachers in this fast information age. He reflects on the loneliness of musicians and draws on yoga concepts to explore our deepest places. And he advocates, with contributions from Dominic Gregorio and Mark Moliterno, the gift of abundances and learning to breathe “as†another. The Musician’s Being, like its predecessor, is filled with inspiring, thought-provoking quotations, enlightened ideas and insights, and a contagious passion for the art of music making. Jordan has written another profound guide to musicianship and to “being†that miracle of artistry and human experience. James Jordan is Professor and Senior Conductor at Westminster Choir College in Princeton, New Jersey, where he conducts the acclaimed Westminster Williamson Voices. He is also Artistic Director and Conductor of the professional ensemble The Same Stream Choir (thesamestreamchoir.com), and Co-Director of the Choral Institute at Oxford (rider.edu/Oxford). He has published over 60 books and resources for music educators and conductors that are read around the world. Dominic Gregorio (1977–2019) served as Associate Professor and Director of Choral Activities at the University of Regina in Canada. He collaborated with James Jordan on several notable publications, including Discovering Chant, The Musician's Spirit, and The Musician's Being. Mark Moliterno is an accomplished professional opera singer, voice teacher, yoga teacher, IAYT-certified Yoga Therapist, workshop leader, and author who is known as a specialist in helping people understand and uncover their authentic voices.  Enjoy this discussion of The Musician’s Being featuring Makoto Fujimura, Irene Gregorio, Alec Harris, Mark Moliterno, and Mike Scheibe. The hour is filled with enlightened, thought-provoking ideas and insights, and a contagious passion for the art of music making.
SKU: GI.G-10562
ISBN 9781622775989.
Cont inuing the journey started in The Musician’s Soul in 1999… In The Musician’s Empathy, James Jordan argues for both awareness and understanding of the essential role Empathy plays in honest musicianship. Jordan states that our awareness of what Empathy is (and is not) will build both new human depth and new connection within the rehearsal room and concert hall. This book is a collection of suggestions and metaphors for how musicians can harness their own human empathy to refocus rehearsals and performances. Jordan passionately argues that an acute and constant awareness and understanding of Empathy should be at the forefront of all music making, and must be the threshold to artistry and human connection in a post-pandemic world “re-set.†Joining with James Jordan, Jason Max Ferdinand shares how Empathy has shaped his own music making. The book also contains a wealth of QR codes for video presentations dealing with topics related to this book for both self-exploration and class use. Grammy-nominated James Jordan is Professor of Conducting at Westminster Choir College of Rider University, where he conducts the acclaimed Westminster Williamson Voices. He is Artistic Director and Conductor of The Same Stream (www.thesamestreamchoir.c om). He is Co-Director of the Choral Institute at Oxford and Director of the Westminster Conducting Institute. Jason Max Ferdinand is Director of Choral Activities at Oakwood University, where he conducts the Aeolians of Oakwood University.
SKU: AP.49675
UPC: 038081567624. Lat.
Lyrical voices float over a Bach-inspired piano accompaniment in this beautiful setting built on five common Latin words. Three independent melodies are introduced one at a time and eventually layered to create artful polyphony that is easily achieved. Cue-sized notes in the SAB/3-Part Mixed provide options for changing voices, and the treble arrangement can be sung in either two or three parts. An ideal vehicle for improving vocal production and building musicianship.
About Alfred Choral Designs
Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.49676
UPC: 038081567631. Lat.
SKU: AP.43255
UPC: 038081487977. English.
An achievable masterwork in the Viennese Classical style, Dr. Liebergen's edition presents the option of featuring a vocal quartet on selected passages. One Latin phrase and welcome repetition minimize woodshedding and allow musicianship to be the focus in concert or adjudication.
SKU: GI.G-10049
ISBN 9781622774333.
Musi c teachers know their students don’t just learn to play music, they are also exposed to universal life skills along the way. But that’s just part of the story. Currently, most students are largely left to learn these universal skills—like problem-solving, patience, focus, collaboration, critical thinking, creativity, and communication—on their own and often not very effectively. The Transposed Musician is a practical guide to teaching these universal skills within the context of a traditional music lesson. The results not only empower students to better confront the challenges of the twenty-first century, they significantly improve musicianship—a double benefit. Author Dylan Savage spent two decades refining his approach to teaching universal skills through music, and he shares them in this book. Each of the eight chapters of The Transposed Musician focuses on a specific universal skill (problem-solving, focus, patience, critical thinking, communication, collaboration, improvisation, and creativity) and shows how students can apply that skill to music. He then shows how teachers can guide those students to “transpose†that skill to life and back again to music with far deeper understanding and musicianship. With practical examples and clear writing, this book is for music educators wishing to help their students become both better musicians and also better-equipped citizens of the world. Students truly become “transposed musicians†for life and for music. Dylan Savage is Associate Professor of Piano at the University of North Carolina–Charlotte . He is also a Bösendorfer Concert Artist, a Capstone Records Recording Artist, and a winner of the Rome Festival Orchestra Competition. https://thetransposedmusi cian.com/ This book is priceless and contains a wealth of music teaching information that every teacher should apply to their studio. Dylan Savage’s use of universal skills transforms music teaching into a viable and essential part of education in the twenty-first-century. This teaching approach of using universal skills can revolutionize teaching music in both the private studio and college level and will give teachers a greater sense of purpose and satisfaction in their work. This book challenges many preconceived ideas about teaching music and mastering performance. Bravo for shaking up the status quo. —Randall Hartsell   Composer, Clinician, Teacher This book asks and explores fascinating questions about what it means to study music in a changing world. Are there skills we can learn in our music lessons which can enrich our lives in other non-musical areas, and then can we bring those expanded skills back into our study of music itself? Too often our conservatories are dead-ends, stuck with outdated, one-dimensional approaches which can lead to stunted personal development. This book suggests ways in which we can break down doors, for students and teachers alike, and celebrate music as something life-affirming, in and out of the studio. —Stephen Hough   Pianist, Composer, Writer Dylan Savage has given us a fresh and creative pedagogy to guide our music students toward life as twenty-first-century musicians. His career as pianist and teacher, and his firsthand experience in the marketplace of business and industry, allow him to forge a systematic approach to teaching universal skills in the music lesson. In each of the eight chapters, skills such as problem-solving, focus, critical thinking, collaboration, and improvisation are defined and applied to musical skills. These in turn are “transposed†to non-musical applications. We observe the music lessons and the active “transposition†or transfer of universal skills exemplified through descriptions of particular lessons. The anxieties, confusions, and ultimate comfort and understanding of students are guided by the questions of the teacher. The book is beautifully organized and is enriched by quotations of artists, musicians and philosophers, and suggested readings and references. I really think this is an important and helpful book with a point of view that is much needed. The empathy and knowledge of the author steer the reader toward the realities of today’s musical world, a world that requires skilled musicians to have universal skills that benefit their lives, regardless of their ultimate career paths. —Phyllis Alpert Lehrer   Professor Emerita, Westminster Choir College of Rider University   Artist Faculty, Westminster Conservatory In The Transposed Musician, Dylan Savage combines a visionary’s deep understanding of the challenges music students and teachers face with an eminently practical way to meet those challenges. Using a master teacher’s insight, Savage “transposes†eight potential stumbling blocks into eight universal skills that can be acquired through a beautifully organized, step-by-step approach. In turn, he shows how these skills can be applied to other areas in our rapidly changing world, helping us lead more satisfying, meaningful, and fulfilling lives, not only as musicians, but as human beings. For students and teachers alike, an inspired and inspiring book. —Barbara Lister-Sink, Ed.D.   Producer, Freeing the Caged Bird The Transposed Musician is an important contribution to our literature on teaching essential life skills including problem-solving, patience, focus, critical thinking, and creativity within the traditional music lesson. Teachers and students both can benefit from the study and application of these skills. Applications are made both to the traditional lesson as well as to non-music applications. —Jane Magrath   Pianist, Author, Teacher   University of Oklahoma Twenty-five hundred years ago Plato recommended music first in his ideal curriculum for potential leaders of Athens—before sport, mathematics, and moral philosophy. None of his candidates, one may assume, aspired to become a professional musician. Nevertheless, throughout centuries, otherwise people have acknowledged that the study and practice of music generates collateral benefits essential to human fulfillment. In his new book The Transposed Musician, Professor Dylan Savage of the University of North Carolina at Charlotte identifies eight of these benefits—Problem Solving, Focus, Patience, Critical Thinking, Communication, Collaboration, Improvisation, and Creativity—and calls them “universal skills†which may be developed consciously and systematically within the context of traditional music lessons. Doing so takes what has been implicit all along and makes it explicit. Music is good for us! Music teachers, even at the highest conservatory level, learn from Professor Savage that they are not so much professional trainers as guides to a happier, more successful life. —Dr. Joseph Robinson   Principal Oboe, New York Philharmonic (1978–2005)   Successful author, teacher, producer, and arts advocate Savage's excellent book couldn't be more timely, unique, clear, full of wisdom, and exactly what we need. As he points out, music teachers have known for generations—in a rather generalized way—that musical skills can strengthen life skills in many ways. Dylan Savage is the first to address this 'transposition' intentionally, with specific exercises in the transferrable skills. What better gift could there be for music students facing an ever-changing world? —William Westney   Award-winning concert pianist (Geneva Competition) and teacher   Author of The Perfect Wrong Note: Learning to Trust Your Musical Self.
SKU: GI.G-CD-952
UPC: 785147095224.
Welco me to the revival! Come on in and leave your troubles at the door. “Worthy God†is a moving declaration of faith and devotion by a true emerging voice on the contemporary gospel scene. Part of the full-length CD Building Up the Kingdom, “Worthy God†is sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and our raised voices will set the rafters ablaze. About M. Roger Holland II: What do you get when you mix a musician who is a pianist, organist, singer, composer, arranger and symphony maestro together? M. Roger Holland, II!! A man who knows Jesus and thanks him with every note he sings, plays, or writes. When you listen to Roger, you will know that God has touched His servant and in that touch, there will be a blessing for you! Roger has always had a passion for music. It started with him tinkering on his toy piano as a child and grew to him being accepted to the High School of Performing Arts in New York City. Roger's falsetto has opened many doors for him. He was a member of the All City High School Choir. Hearing his vocal abilities, he was recruited by the internationally known Boys Choir of Harlem. His musical talents garnered him a position playing keys on two Broadway plays in New York, The Color Purple and Memphis. When you witness the musicianship of M. Roger Holland II you will recognize the influences of some of the people he has worked with like Walter J. Turnbull, James Williams, Joseph Joubert, and Bettye Forbes. When you hear his writing, you may notice the stylings of Stevie Wonder. There is no denying the influences of Marvin Gaye, Peabo Bryson, and Luther Vandross when it comes to his vocals. The gospel inflections are representative of Richard Smallwood, Thomas Whitfield, and Kirk Franklin. The compositional techniques of classical composers such as Wolfgang Amadeus Mozart and the arranging styles of Negro Spirituals by Roland Carter, Jester Hairston, and Moses Hogan are prominent as well. Leading the Gospel Choir of Union Theological Seminary fueled Roger's fire and drew him into seminary. His passion for music led him on a spiritual journey from Westminster Choir College to Manhattan School of Music where he received his graduate degree and ultimately the very same Union Theological Seminary where he received a Master of Divinity degree. Roger is the Minister of Worship & Christian Arts at Calvary Baptist Church in Jamaica, NY, where weekly he ushers in the Holy Spirit through praise and worship. He also serves as Liturgical Consultant for the Office of Black Ministry in the Archdiocese of New York. God is truly using Roger as an instrument to share His message!  For Bookings Contact: Cortney Wright Thomas 646-269-4055 cwthomas406@gmail.com.
SKU: ST.W182
ISBN 9790220207617.
Anto ny Herschel Hill's Ave Verum Corpus for unaccompanied SATB is one of a number of liturgical works by this gifted composer. Written for Prebendary John Pearce and the choir of St Simon Zelotes, Chelsea, London, Hill's setting projects the awe and mystery of the text through a rich variety of harmony that particularly exploits the lower registers of the individual voices to great effect. If you have a really good choir, take advantage of this and buy it. For pure musicianship little else has equalled it recently; the sense of architecture is superb, the climaxes are clean, controlled and never contrived, and the final section, 'miserere mei', uses a wonderfully restrained sense of chromaticism. What a magic piece.
ORGANISTS REVIEW
SKU: AP.51130
UPC: 038081581675. English.
Ruth Morris Gray presents an exquisite minor-key setting that elevates choral musicianship. A rich melody ebbs and flows over the colorful harmonic palette, while a captivating piano theme winds its way throughout. Various textures, expressive dynamics, and rubato tempos encourage artistry. For added flexibility, a few optional notes in the 2-Part voicing offer moments of SSA harmony.
SKU: FG.55011-418-0
ISBN 9790550114180.
The main ingredients of Lars Karlsson's musical expression are free-tonality, traditional forms and natural musicianship that builds on the two. According to the composer: there is no such thing as atonality -- as long as you work with fixed tone pitch. I would rather be inclined to think that tonality is inherent in the structure of tones, whether we want it or not. In other words, we are dealing with a law of nature. Karlsson's setting of Bergman's poem Mina kallor (My springs) dates from 1974. It is dedicated to the Nordic Choir and its master Hans-Erik Dahlgren.
