SKU: AP.48636
ISBN 9781470643461. UPC: 038081556802. English.
Does this sound familiar? I'm bored with the warm-ups. We always sing the same exercises. Yes, many singers regard warm-ups as a monotonous requirement, a trivial exercise, or an unnecessary delay before the actual rehearsal starts. But it doesn't have to be this way! Reinvent your routine with this innovative approach that leads the way to more meaningful and diversified warm-ups. This book is filled with uncomplicated melodies that are quickly learned, and then turned into multiple-part exercises by singing in canon or stacked parallels. An exemplary practice that invites developed groups to focus on higher listening and ensemble skills. Online access to MP3 demos of every exercise is included.
SKU: KN.GJK2307FS
12 x 9 inches.
This unique set of 17 warm-up pieces for the young Jazz Ensemble covers the essential rhythmic and harmonic elements found in two styles of Jazz: even eighth note (such as Latin Rock) and Swing music. After the initial two legato warm-ups, the music is divided into four sections: Even eighth note examples in B flat, Swing examples in B flat, even eighth note examples in F and Swing examples in F. Each exercise builds on the previous example so younger jazz students will be introduced to essential rhythms and phrases in a well-sequenced method. The rhythm section parts are carefully crafted to allow maximum flexibility for each player. All the Warm-ups are designed to work at a variety of tempos and with various dynamic shadings, so each one can be used in a multitude of ways.
SKU: KN.GJK2307
SKU: GI.G-9543
ISBN 9781622772568.
The Complete Choral Warm-Up Sequences represents the first truly pedagogically sequenced collection of choral warm-ups in print and the culmination of work begun three decades ago by Frauke Haaseman and James Jordan. The goal of these twenty sequenced choral warm-ups is to build vocal technique and enduring musical skill in ensembles, regardless of age or experience. By synthesizing the most essential elements of the best-selling book The Choral Warm-Up, authors James Jordan and Jesse Borower assemble a practical and easy-to-use resource for conductors and teachers. The warm-up sequences provide a daily “diet†of vocal technique development based onthe latest research in voice science coupled with exercises to develop intonation and audiation according to the principles of Edwin E. Gordon’s Music Learning Theory. This package includes a book for conductors, a book for accompanists, and links to important online audio and video downloads. Written in an easy-to-use format for choral conductors, this valuable resource is a rich collection of cutting-edge pedagogy and the latest in voice science. Features include: An introduction and concise overview of choral and vocal pedagogy Vocal exercises composed within a harmonic context, designed to strengthen each singer’s audiational skill while training legato, register consistency, range extension, and more Concise descriptions of what to listen for in each exercise and solutions to remedy common vocal issues Aural Immersion Exercises that will quickly attune an ensemble to the modality needed for any repertoire Chants that will heighten both the essential musicianship of each singer and the sensitivity of the ensemble as a whole Entire warm-up sequences designed to prepare a stylistically appropriate sound for multiple genres while developing real and enduring vocal and musical skill.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: GI.G-9421
ISBN 9781622772414.
View free introductory videos here: https://www.youtube.com/playlist?list=PLI8XD78pv6CO0qiH0EhkouNkn_jgyIzVf  This important volume brings together the latest knowledge of voice science, voice pedagogy, conducting, and accompanying into a single volume. It is a valuable resource for choral conductors, no matter the age or experience of their ensembles. The Anatomy of Tone explores essential aspects of anatomy, physiology, and acoustics, and describes their impact on choral teaching and rehearsal. In addition, this book reviews groundbreaking scientific information on spacing of singers and its effect upon intonation and vocal health. This volume contains pedagogical information pertaining to: Breathing Resonance Formants in the Choral Rehearsal Structuring the Choral Warm-Up The Use of Breath as a Foundation of Expressive Choral Singing The Use of Legato as a Primary Tool in the Choral Rehearsal Choral Spacing for Balanced Resonance Teaching of Specific Vowels and Their Internal Architectures Use of Harmonically Based Warm-Ups Piano Accompanying to Support Good Vocalism and Building Listening Skills  Though knowledge of vocal anatomy/physiology and acoustical theories have existed for centuries, technology now enables singers to see their voices in action, to measure sound pressure levels in performance/rehearsal spaces, and to understand resonance frequencies within the human instrument in ways we never have before. Take advantage of this information! Put it into action to create choirs whose singers do not have to pay the price of over-singing. Enable singers to sing throughout their lifespans with joy and freedom, thereby producing the most exquisite music of which they—and you—are capable. —Kathy Kessler Price, from the Foreword GRAMMY-nominated conductor James Jordan is Professor and Senior Conductor at Westminster Choir College, where he conducts the Westminster Schola Cantorum and the internationally acclaimed Westminster Williamson Voices. Baritone Sean McCarther serves as Assistant Professor of Voice at Westminster Choir College, where he teaches studio voice and voice science. Soprano Kathy Kessler Price is Associate Professor of Voice at Westminster Choir College, where she teaches graduate voice pedagogy courses and applied voice, and directs the Westminster Presser Voice Laboratory.
SKU: HL.776595
UPC: 736021348400. 7.0x26.5x16.25 inches.
• 32-note extended range bells • Bell bars with stamped pitch letter names including enharmonic sharps/flats • Neoprene bar mounting optimizes resonance and is maintenance free • Impact-resistant ABS side frames and metal support plate enhance bell frame durability • Dual-purpose bell/pad stand features basket-style bell mount and non-slip nylon bushing • Tunable practice pad, birch shaft mallets, drumsticks, and detachable music rack are included • Serial numbers for easy record keeping •Printed warm-ups and technical exercises for bells and snare drum • Fully padded deluxe nylon bag with ABS perimeter reinforcements, heavy-duty zipper, interior accessory compartments, padded bell divider, large exterior compartment for sheet music, padded handles and detachable backpack straps.
SKU: HL.776597
UPC: 736021710702. 8.25x28.75x16.25 inches.
•32-note extended range bells with stamped pitch letter names including enharmonic sharps/flats • Maintenance-free neoprene bar mounting for increased resonance • Impact-resistant ABS side frames and metal support plate • Dual-purpose bell/pad stand with basket-style bell mount and non-slip nylon bushing • Includes tunable practice pad, birch shaft mallets, drumsticks, detachable music rack • Serial numbers for easy record keeping • Printed warm-ups and technical exercises for bells and snare drum • Fully padded deluxe nylon traveler bag with ABS reinforcements, heavy-duty zipper, interior accessory compartments, padded bell divider, exterior compartment for sheet music, padded handles • Wheels, feet and retractable handle assembly bolted to ABS plate inside bag.
SKU: HL.1341918
UPC: 809164027959. 15.75x42.0x3.75 inches.
Thin design, big sound! The Patriot Instinct SB Mod Shop Duncan combines tons of tonal possibilities and eye-catching looks in a thin, lightweight body design. The solid mahogany body produces a full, clear tone, but with a new 1.25″ (31.75mm) slim body design, the weight is reduced, making it easier on your back to rock out all night. The high-gloss AAA quilted maple top, cream binding, and pearl/abalone inlays adorning the rosewood fretboard make this guitar a standout on any stage. The Patriot Instinct SB features a pair of Seymour Duncan® JB Model™ humbuckers with dual mini toggle coil-split switches for extra sonic versatility. These high-output pickups have plenty of low-end punch while maintaining crips, detailed highs, and an upper-mid bump that delivers just the right amount of harmonics and sustain. The mahogany neck with modern “C†profile and contoured heel make the guitar both comfortable and easy to play all the way up the fretboard. Grover® tuners with a string-thru body design and a Tune-O-Matic bridge provide excellent intonation and plenty of sustain. Features: • Single-cutaway electric guitar with lightweight slim body design • Mahogany body provides warmth and punch accentuating the mids and highs • Mahogany neck with rosewood fretboard and cream binding • Two Seymour Duncan® JB Model™ humbucker pickups • Great 8 Mod with 3-way pickup selector and two mini toggle coil-split switches • 22 medium jumbo frets • Grover® tuners, string-thru body with Tune-O-Matic bridge.
SKU: HL.1341917
UPC: 809164027966. 15.75x42.25x3.75 inches.
SKU: HL.1341919
UPC: 809164027973. 15.75x42.0x3.75 inches.
