SKU: GI.G-9224
ISBN 9781622772049. English.
The basic purpose of Sing with Understanding is to contribute to more meaningful congregational singing of hymns. It seeks to address the needs of those who lead in corporate worship -- clergy and musicians -- and also attempts to bring others, including lay persons, to a greater appreciation of their hymnals and the fascinating heritage of church song. Its primary use, however, is as a textbook for college and seminary classes in hymnology and related areas. This revised edition has provided the opportunity to update the bibliography. Because of the large number of new publications in hymnology, the bibliography is selective rather than comprehensive. In addition to updating each of the original chapters, this edition concludes with an epilogue that focuses on trends and issues in hymnody in the 1980's and 1990's, especially in Britain and America. Another significant change is the expansion to referencing hymns from five major recent hymnals. This provides a broader coverage of song available to American congregations in the closing decade of this century. Hymnology is a rewarding field of investigation. Along with increased understanding, it is hoped that this book will contribute to helping persons sing with the spirit: with true inspiration and enthusiasm, whether they may worship and serve.
SKU: HL.1122017
ISBN 9781705181744. UPC: 196288108986.
A Good Understanding (2005) was written for Tim Brown and the choir of Clare College, Cambridge with the generous cooperation of John Scott and the Boys of Saint Thomas Church Fifth Avenue. A Good Understanding, with texts culled from two psalms, is designed to share a program with Rutter's expansive and expressive Mass of the Children. The piece unfolds episodically short choral phrases alternating with longer instrumental interludes. The first half of the text is typical psaltry praise-making: outlining agreements, explaining the rules; the music is, accordingly, severe but practical. The second half of the text begins, The fear of the Lord is the beginning of wisdom/a good understanding have all they that do his commandments.?I find the idea of a good understanding?to be an especially exciting reward for following the rules; the boys sing pulsed syllables and long descants to celebrate the covenant while the choir sings a lilting, repetitive refrain. (Psalm 111, 10). - Nico Muhly.
SKU: KJ.W75TC
ISBN 9780849771156.
Firs t Place for Jazz is a comprehensive jazz curriculum built from the ground up - essential for implementing the jazz ensemble curriculum. The book is divided into three sections by key: Concert Bb, F, and Eb. Within each section the major, Mixolydian, Dorian, and blues scales and correlated chords of that key are introduced through Jazz Starters, Rhythm Section Spotlights, and Rhythm Sectionals. These enrichments prepare students to play each of the 12 original grade 1-2 Jazz Ensemble Charts and Lead Sheets. Suitable for group or individual instruction, this unique organization, combined with a host of innovative features including Kjos Interactive Practice Studio and availability in SmartMusic, will provide bands with the tools it will need.
About First Place for Jazz
All First Place for Jazz selections feature moderate ranges, notated rhythm section parts, and open solo sections.
SKU: CF.YAS137
ISBN 9780825894732. UPC: 798408094737. 9 x 12 inches. Key: G major.
A high quality setting of the Thomas Morley hymn, Sing We and Chant It, by popular writer Deborah Baker Monday. Deborah understands the idiomatic nature of the string orchestra and always provides teachers with music that can be used to teach as well as inspire musicality.Thomas Morley (ca. 1557-1602) lived in England during the Elizabethan period. It was a time during the reign of Queen Elizabeth when the arts, and especially music, flourished.Morley studied serious music with William Byrd and attempted to compose in his style while holding an organ post at St. Paul's Cathedral. He was inspired by a new vocal publication brought to England from Italy. These madrigals were where Morley finally found his compositional direction. He took aspects of the Italian style, which suited his personality and anglicized them by applying the English language and musical tradition. His works are considered to show a wider variety of emotional color, form and technique than other English composers of this period.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry†s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: FH.WS8
ISBN 978-1-55440-557-2.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sonata , BWV 1035 - Johann Sebastian Bach, arr. Kathleen Wood- First Movement- Third Movement: Siciliano- Fourth MovementSonata, TWV 41:F2 - Georg Philipp Telemann, arr. Christine Donkin- First Movement- Second Movement- Third MovementMainly Original Repertoire for Saxophone:Sonata - Anton Bilotti- First MovementSonata - Alec Wilder- First Movement- Third MovementAllegro - Vaclav NelhybelBb Saxophone:Mainly Transcriptions:Sonata - Johann Friedrich Fasch, arr. Jason Noble- First Movement- Third MovementSonata Prima - Francesco Maria Veracini, arr. Harold Birston- First Movement- Third Movement- Fourth MovementMainly Original Repertoire for Saxophone:Sonata - James di Pasquale- Second Movement- Third MovementThree Songs Without Words - Paul Ben-Haim- 1. Arioso- 3. Sephardic MelodyEb Saxophone or Bb Saxophone:Unaccom panied Repertoire:Introducti on, Dance, and Furioso - Herbert Couf- [Complete]Improvisati on (Romani) - Ronald L. CaravanImprovisations on Lines Where Beauty Lingers - M. William Karlins.
SKU: FH.WS5
ISBN 978-1-55440-554-1.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sonata , HWV 373 - attr. George Frideric Handel, arr. Su Jeon- First Movement- Second MovementSonata in G minor - Henri Eccles, arr. Sigurd Rascher- First Movement- Second MovementSonata, TWV 41:G9 - Georg Philipp Telemann- First Movement- Second MovementMainly Original Repertoire for Saxophone:Nine Arias - Timothy Broege- 3. Aria senza accompagamento- 9. Aria fugataNigun - Srul Irving Glick Take Five - Paul Desmond, arr. Gary KellerBb Saxophone:Mainly Transcriptions:Sonata in D Major, op. 2, no. 5 (La chauvet) - Michel Blavet, arr. Jason Noble - First Movement- Second MovementSinfonia - Nicolo Porpora, arr. Paul Maynard- First Movement- Second MovementMainly Original Repertoire for Saxophone:Sicilienne, op. 78 - Gabriel FaureMarch - William SchmidtEb Saxophone or Bb Saxophone:Unaccom panied Repertoire:Petite Suite - Walter S. Hartley- Second Movement: Tango- Third Movement: ScherzoSix Exchanges - Lothar Klein- Third Movement- Fifth MovementFantasia no. 8 in E Minor, TWV 40:9 - Georg Philipp Telemann- Second Movement- Third MovementFantasia no. 4 in B flat Major, TWV 40:5 - Georg Philipp Telemann- Third Movement.
SKU: FH.WS4
ISBN 978-1-55440-553-4.
Unparalleled in scope, this groundbreaking series for E_Alto and B_Tenor offers a single collection of Repertoire and supporting materials written or arranged specifically for saxophone. With Repertoire spanning from the Baroque to contemporary eras, Recordings, Etudes, Technique, and Orchestral Excerpts, this comprehensive series serves as a balanced and organized pedagogical resource from the beginner to advanced levels of study. Nine progressive volumes of Repertoire expose students to original works and arrangements of diverse styles from W.A. Mozart to Violet Archer, with selected works by notable jazz artist Paul Desmon (Take Five), and living composer Phil Woods. Each level provides opportunities to explore Baroque, Classical, Romantic, and contemporary works, with original, unaccompanied selections from Levels 5 through 8 that use extended techniques such as multiphonics, key clicks, and bisbigliando. Earlier works pre-dating the origin of the saxophone have been carefully arranged with consideration of the unique quality of the instrument. Exposure to these works help to develop musicianship and an understanding of tonality, creating well-rounded and versatile performers. Selections written for both E_Alto and B_Tenor include piano accompaniments that function with both instruments.Eb Saxophone:Mainly Transcriptions:Sicili ana - attr. Johann Sebastian Bach, arr. Stephen ChatmanSonata, op. 1, no. 1 - Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood- First Movement- Second MovementHabanera (from Carmen, act 1) - Georges Bizet, arr. Stephen ChatmanTwo Airs - Henry Purcell Mainly Original Repertoire for Saxophone:Romance - Elizabeth RaumA Knight in Shining Armor - Phil WoodsIdyl - Nova PonBb Saxophone:Mainly Transcriptions:Sonata , op. 1, no. 1 - Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood- First Movement- Second MovementHabanera (from Carmen, act 1) - Georges Bizet, arr. Stephen ChatmanAllegro in G Minor, op. 6, no. 8 - Arcangelo CorelliMainly Original Repertoire for Saxophone:Romance - Elizabeth RaumDancing Silhouettes - Floyd Olin HarrisWillow, Willow - Percy Aldridge Grainger, arr. Carl Simpson.
SKU: HL.48188417
UPC: 888680866266. 9.0x12.0x0.53 inches.
“Ital ian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this second volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The second volume, comprising Sonatas 53-103, includes the popular and recognised Sonatas in F minor (K. 69) and B minor (K. 87). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. â€.