Joyful Music Set 1: Organ: Instrumental Album

6 worshipful anthems from top organ arrangers: Christ the Lord Is Risen Today (Diane Bish) • Hark! The Herald Angels Sing (Steve Sturz) • Joyful Joyful We Adore Thee (Mark Thallander) • Now Thank We All Our God(Fred Bock) • Oh God Our Help in Ages Past (Frederick Swann) • Praise to the Lord the Almighty (Craig Phillips).

This organ piece has become one of Rhonda Furr's most requested. An exciting arrangement of this well-known Beethoven hymn the pedals carry the melody on the first verse. The hymntune goes to manuals and back to the feet as she entertains us with her setting. Medium in difficulty this is great concert piece as well as a great worship service selection.

Prelude and Finale for solo Organ was published posthumously in 1943 making it the last of Hollins' considerable oeuvre to become available to the public. Like most of his music it is relatively simple in structure but joyful and highly entertaining.Alfred Hollins (1865-1942) was an inspirational British organist composer and teacher. Blind from birth he travelled all over the UK the United States and the British Empire giving concerts and designing Organs. He eventually settled in Scotland where he was an organist in Edinburgh for over forty years.

Joyous pieces for organ-There is always an urgent need for joyful organ music works which ensure that a congregation leaves the church with a broad smile and a sense of warmth and happiness. This superb publication fulfils this need and its evocativetitle aptly describes both contents and purpose. The music is ideal for great and festive occasions: it is vibrant and exciting and will leave listeners with an overwhelming feeling of excitement and pleasure. This easy-to-playcollection is unique and comprehensive.

Joyous pieces for manuals-There is always an urgent need for joyful organ music; works which ensure that a congregation leaves the church with a broad smile and a sense of warmth and happiness. This superb publication fulfils this need and its evocativetitle aptly describes both contents and purpose. The music is ideal for great and festive occasions: it is vibrant and exciting and will leave listeners with an overwhelming feeling of excitement and pleasure.

Par DRUEL GUILLAUME. Animaux minute, ce sont 60 pièces très courtes (1 à 2 minutes) pour flûte seule, initialement composées pour la clarinette, et pensées pour accompagner un élève dès le début de son apprentissage, et tout au long de sa progression jusqu'aux niveaux les plus avancés. Ce n'est pas une méthode d'apprentissage, mais une série de 'vignettes', dans lesquelles on pourra choisir un morceau pour une audition, un examen... ou juste pour le plaisir. Au fil des morceaux apparaissent çà et là des éléments particuliers du langage musical. Par exemple, et dès la première page, on trouvera des appoggiatures brèves, et aussi une portée sans indication de mesure... Plus loin une note piquée, une syncope, puis deux... Tiens, un quintolet, tiens, un trille... Là, une cadence, un do bémol... donc ça existe ? Il faut croire ! Et plus loin, un Flatter... quoi ? Ah ? Ici on joue à la croche, plus tard on jouera à la blanche, à la blanche pointée... Ces petites découvertes sont distillées une par une, 'tranquillamente', couche après couche, et elles sont là non pas comme un simple prétexte d'exercice, mais parce qu'elles sont nécessaires à la musique. Les animaux proposent souvent leur rythme, leur chant, leur activité frénétique ou lente ; il y a leur milieu (l'eau, l'air qui ondulent...), leur localisation (l'Orient, l'Afrique et leurs parfums...); autant de pistes que j'ai pu suivre comme sources d'inspiration. Tout ce petit monde, tous ces petits mondes organisent le temps, le remplissent et le vident. Et organiser le temps, ne serait-ce pas ça, la musique ? Nous sommes principalement des tubes où passent des aliments, avec quelques appendices autour pour organiser la collecte desdits aliments. Chez les humains, ces appendices permettent aussi de jouer des instruments de musique. Guillaume Druel/ Recueil / Flûte Traversière

In this psalm of praise the solo soprano and flute begin in a recitative finally joined by choir and instruments in a joyful modulation from C to E major. The organ plays a major role with soprano and flute as running sixteenth notes in the left hand describe God's many and continued blessings. The middle section is a retreat from the driving rhythm reminded by both soprano and flute of the peace of God's healing of sin and disease for all who ask. Once again the music breaks forth into praise as it builds to a final sforzando of exultation in praise of God.

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