Format : Sheet music
/ Ensemble De Voix / 64 pages / Partition
SKU: GI.G-10833
ISBN 9781574635614.
From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan   Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson   Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman   Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse   Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller   Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid   University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II   Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos   Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams   Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson   Grass Valley Elementary School, Camas, WA.
SKU: GI.G-10449
ISBN 9781622775613.
Creating excellence is not magic, the process known only to a few people with supernatural insights and abilities. . . . Vision, persistence, and strategy are the foremost reasons for the creation of excellence in musical performance and they are characteristics of all notably successful choral and orchestral conductors and their ensembles. — from the Introduction In Creating Excellence in Choirs and Orchestras, noted scholar and conductor Dennis Shrock uncovers the key factors and proven strategies that lead to the achievement of excellence in music ensembles at any level, from youth and volunteer groups to professional ensembles. With the use of numerous historical references and examples, primary source quotations, and music excerpts, Shrock lays out fourteen elements that contribute to an ensemble’s success. The first seven are foundational theoretical concepts: goals, focus, attitudes, structures, procedures, responsibility, and ontology. The subsequent seven elements address practical techniques: study, warm-ups, sound, cohesion, expression, conducting, and repertoire. While the book highlights the choral and orchestral mediums specifically, all concepts can be applied to any type of ensemble, from marching bands and wind ensembles to string quartets and vocal chamber groups. Further, the recommendations herein are not exclusively for the benefit of conductors. Music teachers, church musicians, ensemble members, and administrative staff will glean from these pages as well. According to Shrock, excellence is an attainable goal for anyone with a vision, a persistent commitment to that vision, and creative strategies to facilitate that vision’s realization. With this inspiring premise at its core, this insightful text guides readers as they embark on their own quest for musical excellence. Dennis Shrock is considered one of the top choral scholars in the United States and has received a number of awards for his work. He has conducted numerous choral and orchestral ensembles throughout his career, including the Chorale and Accademia Filarmonica at the University of Oklahoma, the Canterbury Choral Society, the Santa Fe Desert Chorale, the Oklahoma Symphony Orchestra, and Oklahoma City Philharmonic. He is also a noted author, having written three books for Oxford University Press as well as six books for GIA Publications.
SKU: BA.BA11310-90
ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin.
This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.â?¢ Scholarly-critical edition of the â??Requiemâ? fragmentâ?¢ With performance material for presentation of1) the fragment,2) a version with completions of the authentic Mozart sections or3) a full completion consistent with Mozartâ??s musical idiomâ?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozartâ?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragmentâ?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ?â?¢ Easy-to-play piano reductionâ?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critiqueâ?¢ Detailed Critical Commentary (Eng), partly available on the Bärenreiter websiteâ?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)You will find a detailed brochure on the new completion of Mozart's Requiem here.
SKU: GI.G-295712
ISBN 9781574635010. UPC: 888680948740.
If we could sit down with some of the best choral conductors of our time, what might we learn? In this book, directors at Iowa State University, University of Kentucky, University of Louisville, University of Michigan, Michigan State University, Penn State University, St. Olaf College, and University of Southern California are interviewed. The book shares these directors approaches to: recruitment, auditions, and singer placement in ensembles, selection auditions, and singer placement in ensembles, rehearsal planning, choral timbres and vocal pedagogy, intonation, kinesthetic learning and choreography, traditions and choral culture. Interviews with students and observations of live rehearsals complement these director interviews to provide readers with a comprehensive look at how these choral programs consistently achieve success.
