Vocal Percussion 2 - Latin Mit Cd

Benedictus-For mixed choir or septet of soloists (SSATTBB) a cappella with percussion ad libitum. Latin.In 1955 while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman Leonard Bernstein composed French and Latin choruses as incidental music to the play The Lark adapted by Miss Hellman from the original French version by Jean Anouilh. Since the drama was about the of Joan of Arc Bernstein’s music was deliberately evocative of that Saint’s medieval era.

French Choruses-In 1955 while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman Leonard Bernstein composed French and Latin choruses as incidental music to the play The Lark adapted by Miss Hellman from the original French version by Jean Anouilh. Since the drama was about the of Joan of Arc Bernstein’s music was deliberately evocative of that Saint’s medieval era.For men's choir or quartet of soloists (TTBarB) a cappella percussion ad libitum. French.

Cris de percussions sounds, des rythmes latins Vocalising comme samba, bossa nova, cha cha, mambo et calypso, brésilien et cubain ' corps ' ne voix ' workshopSing mécaniques - comme accompagnement aux pièces a cappella-comme accompagnement pour ensembles instrumentaux-pour percussions / enseignement-rythmique instrumental de formation pour tous les musiciens-pour les chanteurs, les ensembles vocaux, les chorales (école) / Divers

Major - Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion

Based on Jingle Bells-You've NEVER heard “Jingle Bells” like this before! Eric's humor explodes in a medley of variations that include a quick history lesson on the original tune sections of Pig Latin bolero-styled jingles Russian-enhanced vocals a presto section that leads into a jazz-styled vocal moment and finally ending with a big rousing finale. Available: SATB with percussion.

Jazz Play-Along Vol.69-The popularity of Latin Jazz has been tremendous in recent years and now this innovative play-a-long offers you these Charlie Parker originals in the Salsa/Latin Jazz style. This rhythmically unique treatment of Bird’s beboop classics inspires whole new directions in your playing! A whole new way to think about the music of Bird! Mark Levine-piano; David Belove-bass; John Santos-Timbales and miscellaneous percussion; Harold Muniz-Congas and miscellaneous percussion.

From Barry Manilow's 1987 album Swing Street this hot Latin classic drew on the talents of Kid Creole and the Coconuts and makes a superb feature for vocal jazz and show choirs! Super feature for Latin percussion and choreography! Available separately: SATB SAB SSA ShowTrax CD. Combo parts available as a digital download (tpt 1-2 tsx tbn gtr b dm). Duration: 2:45.

Par RUTTER JOHN. Le texte latin de l'Ordinaire de la Messe pour voix mixtes, en laiton (4 trompettes, 2 trombones ténor, trombone basse, tuba), percussions et orgue. Un accompagnement pour orchestre symphonique, sans organe est également disponible Scores complet, partitions vocales et parties instrumentales sont disponibles en location. Le premier mouvement de Gloria est disponible séparément sous le titre Gloria 1. John Rutter est né à Londres en 1945 et a étudié la musique au Clare College, Cambridge. Ses compositions embrassent la musique chorale, orchestrale et instrumentale, et il a édité ou co-édité plusieurs anthologies chorale dont quatre pour des volumes de Carols chorales avec Sir David Willcocks et l'Oxford Choral Classics série. De 1975 à 1979, il a été directeur de la musique au Clare College, et en 1981 il a formé son propre choeur, les Cambridge Singers. Il partage maintenant son temps entre la composition et la conduite et est recherché comme un chef d'orchestre invité pour le leader mondial des chorales et orchestres. / Niveau : Assez Difficile / Répertoire / Chant

Recital Music has developed a large exciting and eclectic catalogue of Christmas music for choirs in recent years. Some works are published for the first time others are in new editions and we aim to provide accessible and enjoyable choral music for choirs of all ages and abilities. Enjoy!Shout for the King! is a joyous and vibrant carol for junior choir and piano. It's Latin-American influence has proved popular with choirs and audiences alike and a double bass and percussion can easily be added for extra energy and atmosphere.Chord symbols are included for optional double bass or guitar accompaniment.The composer writes: 'Shout forthe King! was composed one evening in December 2004. At the time I was training as a Primary School teaching assistant and involved in playing the piano for the school's various Christmas musical events and concerts. It was the first time I had written both lyrics and music which both came to me at the same time. I subsequently taught the song to the children in the days which followed which they loved and it was the first time a 'real' composer had written anything for them. A week later it was premiered at the school carol concert with me playing the piano.I have always wanted to write a new and catchy Christmas carol drawing influences from all the familiar ones we know and love every Christmas. I also wanted the melody of the verses and chorus to be catchy and repetitive and would be easy and enjoyable for junior choirs to learn. I have always had a fondness for Latin-American rhythms hence the happy groove which I think add to the appeal!'Born in Cardiff in 1975 and trained in piano and flute at school Jay Mackie studied composition as an undergraduate at Royal Welsh College of Music and Drama from 1997-2000 and completed an MMus gaining a distinction in Composition in 2004.At college Jayson received three scholarship prizes for composing where his Wind Quintet was a featured work at the ISCM's World Music Days