SKU: UM.10051
ISBN 9790224410051.
SKU: PR.16500077F
UPC: 680160039272. Key: Bb major. English.
ABOUT THE MUSIC: From the moment that the woodwinds introduce the spritely theme to the concluding statement, the theme undergoes a variety of treatments with constantly changing instrumental textures. This work was written for Kenneth Snapp and the Arizona State University Symphonic Winds. ABOUT THE COMPOSER: David Cohen was born in Pulaski, Tennessee, in 1927. He was educated at the Philadelphia Conservatory of Music and The Julliard School where he received the Bachelor of Science and Master of Science degrees. He continued his education at the Paris Conservatory and the University of Southern California where he received the Doctor of Musical Arts degree in composition in 1966. Cohen has taught at the University of Alabama and Arizona State University and is presently Director of the Arizona State University Electronic Music Studio. He has been the recipient of the Coolidge Chamber Music Prize, a Fulbright Scholarship, University of Alabama Research Grant and a Research Grand from the IBM Corporation.ABOUT THE MUSIC: From the moment that the woodwinds introduce the spritely theme to the concluding statement, the theme undergoes a variety of treatments with constantly changing instrumental textures.This work was written for Kenneth Snapp and the Arizona State University Symphonic Winds.ABOUT THE COMPOSER: David Cohen was born in Pulaski, Tennessee, in 1927. He was educated at the Philadelphia Conservatory of Music and The Julliard School where he received the Bachelor of Science and Master of Science degrees. He continued his education at the Paris Conservatory and the University of Southern California where he received the Doctor of Musical Arts degree in composition in 1966.Cohen has taught at the University of Alabama and Arizona State University and is presently Director of the Arizona State University Electronic Music Studio.He has been the recipient of the Coolidge Chamber Music Prize, a Fulbright Scholarship, University of Alabama Research Grant and a Research Grand from the IBM Corporation.
SKU: CF.CM9576
ISBN 9781491153987. UPC: 680160912483. 6.875 x 10.5 inches. Key: G minor. English. Emily Dickinson (1830-1886) , Walt Whitman (1819-1892).
The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsons poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees behalf, who would do such a thing? Whitman ponders a trees silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 712. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 3953). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modes lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 910, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, aWho Robbed the Woods?a and aO Cool is the Valley Now,a combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinsonas poem considers the ways in which people use and exploit trees for their own purposes and asks, on the treesa behalf, who would do such a thing? Whitman ponders a treeas silent majesty and power and its ability to be ayet say nothing at all.a The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7a12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39a53). O Cool is the Valley NowA also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this modeas lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9a10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, Who Robbed the Woods? and O Cool is the Valley Now, combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us. The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson's poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees' behalf, who would do such a thing? Whitman ponders a tree's silent majesty and power and its ability to be yet say nothing at all. The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7-12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39-53). O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode's lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9-10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.The two pieces, “Who Robbed the Woods?†and “O Cool is the Valley Now,†combine to create a set that both explores the subtle beauty, serenity, fragility, and resiliency of nature and examines our relationship to the natural world around us.The first song combines a short poem by Emily Dickinson with a journal entry excerpt by Walt Whitman entitled The Lesson of the Tree. Only two stanzas in length, Dickinson’s poem considers the ways in which people use and exploit trees for their own purposes and asks, on the trees’ behalf, who would do such a thing? Whitman ponders a tree’s silent majesty and power and its ability to be “yet say nothing at all.â€The musical setting begins and ends in the mode of G-Dorian while moving briefly in the middle section to Bb major. The Dorian mode, similar to the natural minor but with a raised sixth scale degree, possesses a mysterious and whimsical sound, fitting for a poem that considers the possibility of talking trees. The accents and syncopation of the piano accompaniment should be carefully observed, with particular attention paid to the syncopation found in gestures occurring in mm. 7–12. The beginning a cappella section should be hushed yet intense; a richer, fuller sound may be brought out in the middle section where the key shifts to Bb major and the choir sings of the many noble qualities of trees (mm. 39–53).O Cool is the Valley Now also makes use of a modal scale. Set primarily in D Mixolydian, similar to D major but with a lowered seventh scale degree, this mode’s lack of a leading tone gives the melody a folk-tune quality. The piano should at all times remain legato and flowing, its ascending and descending gestures, found in mm. 9–10, imitating the rolling hills and valleys evoked in the text. The phrases of the vocal lines should also be flowing and carefully shaped. Additional rubato and dynamic subtleties may be added to accentuate any number of the suspensions and dissonances that occur, especially on p. 14.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: M7.AHW-3021
English.
Most people consider improvisation to be an essential element of Jazz, and musicians occasionally use the word 'Jazz' as a synonym for improvisation. To improvise is to compose and perform simultaneously. A great deal of improvised music is spontaneous, unrehearsed, not written down beforehand. This particular book will contain exercises that have been written and formalized to determine the degrees of the scales, 1. 2, 3, 4, 5, 6, 7. We will study carefully the subdivision of every scale according to two tetrachords. The first one is 1, 2, 3, 4, 5 and the second is 3, 4, 5, 6, 7. We will also play arpeggios of all kinds to extend the scale to its maximum degree. This book will explain to the student how to start a phrase of improvisation from any starting point of the scale (major, dominant, minor, diminished, etc.) Any individual or class using this book should listen to as much jazz, recorded and live, as possible. Good luck, and remember, 'JAZZ. IS ALIVE!'.
SKU: GI.G-8618
UPC: 785147861805. English. Text Source: Revelation 19:6, 11:15, 19:16. Scripture: Revelation 11:15, Revelation 19:6, 16.
The “Hallelujah†chorus is the final movement of part two of Handel’s Messiah, the part that comments on Christ’s crucifixion, resurrection, and ascension. The text of the chorus, assembled from Biblical passages by the oratorio’s librettist, Charles Jennens, is from Revelation 19:6, 11:15, and 19:16: “Hallelujah, for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord and of his Christ, and he shall reign for ever and ever. KING OF KINGS, AND LORD OF LORDS.†This edition has been prepared from the first published score in 1767, with comparisons to Handel’s autograph manuscript now housed in the British Museum. The text has been reproduced here without alterations. However, the beamings of the vocal parts have been modernized for ease of reading (the original material has flags instead of beams for every separate syllable). The piano accompaniment is a reduction of the orchestral material: the first and second violin parts are represented in the upper staff, with only occasional inclusion of the viola, trumpet, and timpani parts, the basso continuo, in its original form, is in the bottom staff. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University.
SKU: GI.G-8360
UPC: 785147836001. Italian.
Giovanni Gabrieli's Se cantano gl'augelli comes from a collection of madrigals entitled Il trionfo di Dori. Each madrigal is scored for six voices and each ends with the text Viva la bella Dori (Long live fair Dori). This late sixteenth-century collection of madrigals enjoyed great success and was the model of the famous English collection of madrigals entitled, The Triumphes of Oriana. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University. .
SKU: GI.G-8358
UPC: 785147835806. Italian.
Palestrina's Guando dal terzo cielois the final composition in a collection of madrigals entitled Il trionfo di Dori. Each madrigal is scored for six voices and each ends with the text Viva la bella Dori (Long live fair Dori). This late sixteenth-century collection of madrigals enjoyed great success and was the model of the famous English collection of madrigals entitled, The Triumphes of Oriana. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University. .
SKU: GI.G-9739
ISBN 9781622773398. English.
The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,†Westminster Choir College granted him an “Alumni Merit Award,†the state of Oklahoma conferred on him a citation for “Contributions of Excellence,†and the University of Oklahoma granted him two “Distinguished Lectureships†and named him a “Presidential Professor.†Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines.
SKU: GI.G-10350
ISBN 9781622775965.
Every student deserves an excellent teacher, a fair chance at success, and the opportunity to participate in a school music program. With considerable depth and care—and wonderful practical suggestions—High Needs, Monumental Successes addresses the nuanced but critically important topic of teaching music to low-income and high-needs students. Drawing from the latest scholarship, his own life experience, and years as a music educator, author Don Stinson presents clear strategies and ideas for teaching, supporting, and advocating for these students. This book covers a range of relevant topics: attendance, classroom expectations, grading policies, mental health, motivation, programming, securing funds, time management, and locating financial resources for students, among many others. Especially helpful are the example scenarios and questions for teachers scattered throughout the book, as well as sample responses for each. While teaching music in a low-income and high-needs area has its challenges, the rewards and impact for students, teachers, and the community are life-giving and everlasting. High Needs, Monumental Successes keeps the best interest of the students at its core, equipping teachers with the tools they need to better understand and serve all members of their band, orchestra, choir, and general music programs. Don Stinson is the director of bands at Joliet Central High School in Illinois, only the fifth director in the band’s 110-year history. He holds degrees in music education from Joliet Junior College, VanderCook College of Music, Northern Illinois University, and a master’s degree in education administration from the University of St. Francis.
SKU: GI.G-8359
UPC: 785147835905. Italian.
Luca Marenzio’s Leggiadre ninfe comes from a collection of madrigals entitled Il trionfo di Dori. Each madrigal is scored for six voices and each ends with the text Viva la bella Dori (Long live fair Dori). This late sixteenth-century collection of madrigals enjoyed great success and was the model of the famous English collection of madrigals entitled, The Triumphes of Oriana. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University. .
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: HL.134549
Author: Lutoslawski.
The music form of ''Les Espaces du Sommeil'' is determined to a high degree by the form of Robert Desnos' poem which imposed its division on phrases and a one-piece structure. ''I think that I owe the unusually clear form of music to the splendid composition ofthe text.'' [Witold Lutoslawski, RM no. 8, 1980]. The music fully respects the surrealistic and symbolist integrity of Desnos' poem.Lutoslawski was always behaving this way, but never before had he given precedence to a poet to such a degree. Such an impression isgiven by considerable parts of the text sung on one or a few neighbouring sounds and therefore resembling an ordinary recitation. [Tadeusz Kaczynski].
SKU: PR.114418600
ISBN 9781491111543. UPC: 680160642656.
Telemann for Two Volume I, Fantasias 1-6 arranged for Two FlutesWhat could be more delightful than playing Telemann duets, or playing the Telemann Fantasias? Sharon Sparrow and Jeffery Zook have created a remarkable set of duet adaptations of the Fantasias,sounding as if Telemann himself had composed them as two-part inventions. The original Telemann works are shared between the two players, mixed with counterpoint to enhance the authentic solo works. The result is equally suitable for formal recitals and recreational duet playing! The present publication includes two performance scores of their settings of Fantasias 1-6, with a Volume II to include Fantasias 7-12.______________________________________Text from the scanned back cover:SHARON SPARROW is Assistant Principal Flute of the Detroit Symphony Orchestra. She began musical studies on piano at age four, but it was the flute that led her to the Juilliard School for a Bachelor degree with Julius Baker. She received her Master’s degree with Thomas Nyfenger at the Mannes College of Music. Sharon’s professional career began in the Memphis Symphony, followed by tenured positions in the Fort Wayne Philharmonic and Detroit Symphony, and guest positions in the Hong Kong Philharmonic, Baltimore, Chicago, and Pittsburgh Symphonies. In 2016, Presser published her successful audition training book, 6 Weeks to Finals, and she is a much sought after coach for audition candidates across the country, as well as a frequent Master Class clinician at major schools including Boston University and Peabody Conservatory.JEFFERY ZOOK has been a member of the Detroit Symphony since1992. His formal musical studies began at Interlochen and continued at University of Michigan and the Royal Academy of Music in London. His teachers have included William Bennett and Trevor Wye. A prize winner in the NFA Young Artists Competition, Mr. Zook made his solo debut with the Detroit Symphony as a senior in high school, and has since performed all the Vivaldi concerti with them. He has recorded extensively for MusicMinus One and performed frequently at NFA conventions, including the concerto gala in 2017. Mr. Zook has served on the faculty at University of Michigan and Oakland University. In 2002 Zook and Sharon Sparrow founded the Detroit Flute Connection, a series of masterclasses for flutists.
SKU: HL.50511754
ISBN 9790080143582. B/4 quer inches. Hungarian, English. Laszlo Tihanyi.
Greek mythology seems spontaneously to have offered the figure of linos as the central character in a work for solo harp. (Linos was a poet, believed to be the brother of Orpheus, and according to Greek tradition no greater musician ever appeared among mankind.) The musical material, conforming to the characteristics of the harp, consits of two interesting seven-degree note rows incorporating all the possible pedal combinations, their mirror inversions and the five-degree noterows that fit between them. The nine-section composition is made up of scenes from the imagined life of Linos, an imagined 'Linos's hymn', and laments played in his honour.
SKU: CF.YPS244
ISBN 9781491159859. UPC: 680160918447.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse’yi (“New Green Placeâ€) or (“Place of Fresh Greenâ€) referring to its grassy, instead of timbered summit. The term “Brasstown†came from a confusion of Itse’yi with Untsaiyi (“brassâ€). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald†is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
SKU: BT.EMBZ14887
English-Hungarian.
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ãgnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures(imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. Aulos to a certain degree continues Orbáns easy piano pieces for children, which he composed for Ãgnes Lakoss piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on thisoccasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least threeyears. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution,double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbáns explanations are not text-book-like atall, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purposethey are equally individual, witty and inspired pieces of music that are a joy to play.
SKU: OT.37019SET
8.27 x 11.69 inches.
Lev KoganKlezmer Dance Suite for clarinet, strings, percussion, and tubaarranged by Alan Kaufman, with cadenzas by Gene KavadloScore and one copy each partI have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.Gene KavadloLev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.
SKU: CF.YPS244F
ISBN 9781491159866. UPC: 680160918454.
SKU: CF.YPS245
ISBN 9781491159910. UPC: 680160918508.
In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors. This piece is very personal to me, and I appreciate you playing the composition.In December of 2020, after almost a year of living socially distanced, isolated, and not knowing when we would return to life as we knew it, I began to think about what life used to look like. I realized that I sometimes might have taken all the beautiful things in my life for granted. Personally, the year 2020 was a time of loss where someone close to me left, and at the same time, I was also able to have other successes. This dichotomy inspired me to realize that there is hope in all that we do; it is how we perceive life. Boundless Hope represents my thoughts, feelings, and emotions during this time. The piece is roughly based on the Lydian mode, introducing the raised fourth degree in m. 2 of the mallet percussion and then at m. 15 in the main melody. The Lydian mode naturally gives a sense of positivity, hopefulness, inspiration, and heavenly colors. That was my exact intention with this piece: using the mode to define the mood showing gratitude for all that we have, and yearning to return to normalcy with a new and fresh perspective. Measure 30 should be slightly faster, followed by a rit. into the grandiose recapitulation of the theme in m. 38. At m. 45, the wind chimes should start before the clarinet entrance, with the subsequent measures representing dark and warm colors.This piece is very personal to me, and I appreciate you playing the composition.
