Choral music Books

Book SynopsisUpper-voice choirs were delighted with the award-winning first volume of Reine Frauensache! (BEST EDITION 2017), and Edition Peters are now proud to release Volume 2 in the series. Containing 25 choral settings graded easy to intermediate in three or four parts, Reine Frauensache 2 is sure to become a standard resource for choirs of all abilities. The repertoire ranges from Pergolesi to ABBA and from Beethoven to Beyonce in original settings and arrangements, edited by four of the most respected choral specialists of our time.Oberstimmenchöre waren begeistert vom preisgekrönten ersten Band von Reine Frauensache! (BEST EDITION 2017) und Edition Peters ist stolz darauf, nun Band 2 der Reihe zu präsentieren. Mit 25 drei- bis vierstimmigen Chorsätzen in den Schwierigkeitsgraden leicht bis mittelschwer ist Reine Frauensache 2, herausgegeben von vier der angesehensten Chorspezialisten unserer Zeit, das Standardwerk für Chöre aller Leistungsstufen. Das Repertoire enthält Originalsätze sowie Arrangements und reicht von Pergolesi bis ABBA und von Beethoven bis Beyoncé.

Read more less

Book SynopsisComprises what remains of a gigantic cathedral codex commissioned in Bruges about 1463 and containing English, Franco-Flemish, and Italian sacred music of the fifteenth century - including works by the celebrated composers Guillaume Du Fay and Henricus Isaac.

Read more less

Book SynopsisComprises Giuseppe Verdi's two surviving secular choral works: "Inno popolare", or "Hymn of the People", for unaccompanied male chorus, and "Inno delle nazioni", or "Hymn of the Nations", for tenor solo, chorus, and orchestra.

Read more less

Book SynopsisA first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped America''s choir. Here is the miraculous story behind the Tabernacle''s world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir''s aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism''s crossover triumph. Yet, as Hicks shows, such success raised Trade ReviewFinalist, Utah Book Award for Nonfiction, Utah Center for the Book, 2016. Honorable Mention, Best Biography, Mormon History Association, 2016. “Mormon history written by Mormons can be pretty dry, but Mr. Hicks, a professor of music at Brigham Young University, is funkier than your average saint. . . .the anecdotes alone are worth the price of the book.”--The Wall Street Journal "Tracking the choir from its humble beginnings in 1836 to moves into radio, international touring, and TV and film appearances, the material is as expansive in scope as the choir's reach has become. . . . Intriguing."--Library Journal "A well-done biography that best highlights the historical aspects of the growth of the choir and the vision of its several directors."--Association for Mormon Letters "While the historical information is well presented and highly engaging, it is the story of the choir's intersection with American society and culture, and Hicks' ability to bring out these nuances, that make this book a brilliant read."--The Journal of the Association of Anglican Musicians“Hicks documents plenty of intrigue in the leadership, mission and repertoire of ‘America's choir,’ . . . . this history is more provocative than readers may suspect.”--Kirkus Reviews "The Mormon Tabernacle Choir: A Biography is the most accessible and authoritative history of this unique musical ensemble yet published. . . . Required reading not only for Mormons and musicians, but for anyone who wants to learn about the realities of world-class music making in a hierarchal religious community."--Mormon Studies Review "This fascinating, honest account should find many eager readers among the Mormon Tabernacle Choir's millions of fans. Michael Hicks combines the accuracy of a fine historian with the sensitivity of a judicious music critic." --Daniel Walker Howe, Pulitzer-Prize-winning author of What Hath God Wrought: The Transformation of America, 1815–1848 "An invaluable retelling of one of America's most vibrant and important musical institutions." --Eric Whitacre "A fascinating history of the wonderful Mormon Tabernacle Choir. Michael Hicks traces the story of this great ensemble from its early days to its current status as one of the world's great choirs. He highlights the remarkable dedication and musicianship of the choir members through the years, and the leadership and vision of the conductors." --David Hurley, member of The King's Singers

Read more less

Book SynopsisCan you change the world through song? This appealing idea has long been the aim of singers who are part of the Gay and Lesbian Association of Choruses. By taking a close look at these choruses and their mission, Heather MacLachlan unpacks the fascinating historical and cultural dynamics behind groups that seek to change society for the better.

Read more less

Book SynopsisA Queerly Joyful Noise investigates why so many LGBTIQ people are drawn to choral music and how queer chorus members create an experience that is beautiful and politically impactful. Julia “Jules” Balén vividly conveys how queer choruses can collectively empower their singers and serve as progressive rallying calls for their listeners. Trade Review"I have spent many hours pondering how it is that our work as LGBTQ choruses impacts social change. Julia's book made me laugh and cry but most importantly informs our ongoing efforts to enhance our effectiveness at creating social change through the power of music." -- Robin L. Godfrey * executive director, GALA Choruses *“Balén’s book sweeps you into the life of LGBTQ choral music. As a conductor in the GALA network for 30 years, it is a joy to see it so beautifully described in this important book. Balén is able to take the reader on a beautiful journey and educate us all along the path. Every person – gay or straight – who loves music should read this book.” -- Dr. Timothy Seelig * Artistic Director, San Francisco Gay Men’s Chorus *"Balén accurately unwraps our shared queer choral musiking with vision and depth while also tracing our connections to other contemporary movements for social justice and equality. In addition, she is able to capture familiar choral issues, events, rehearsals, and performance experiences with humor and aha moments. Wonderfully readable and well researched. Enthusiastically recommended." -- Dr. Catherine Roma * founder of Anna Crusis Women’s Choir and current conductor of Hope Thru Harmony Women’s Choir *“A unique and seminal study, A Queerly Joyful Noise: Choral Musicking for Social Justice is exceptionally informative and extraordinarily well written. An important and primary work of original scholarship.” * Midwest Book Review *"Balén give[s] special weight to women’s and mixed choruses, which have often been neglected in this discussion....If you happen to be thinking about forming an LGBT chorus in your town, it might serve you well to study Balén’s treatise for useful direction." * People's World *"Cultural Singing as Personal and Political," by Julia 'Jules' Balen * Gay & Lesbian Review *A Queerly Joyful Noise chosen as Choice "Outstanding Academic Title 2018" * Choice Outstanding Academic Title 2018 *"Balén effectively establishes and substantiates a theoretical framework that illustrates 'a larger picture of queer choral musicking as a social practice with a purpose.' Because the movement centers LGBTQ stories in music designed for social change, Balén centers the stories of her interviewees for discussion here. She explores questions pertaining to why LGBTQ singers join gay and lesbian choruses working toward social change, as well as how those choruses both measure and achieve lasting social change." * Ethnomusicology *Table of ContentsContents Introduction: Why Choruses? Part I: Finding our Voices Chapter 1: Singing as Counterstorying Practice Chapter 2: Choral Musicking for Change Part II: Queer Organizing for Social Change Chapter 3: Practices of Identity: Queering Social Institutions Chapter 4: Queer Choral Musicking: Cultural Contexts Chapter 5: Choral Technologies for Queering Part III: Communal Erotics and Social Justice Chapter 6: Emotions, Identities, and Choral Musicking Chapter 7: Communal Erotics: Choral Musicking and Our Capacity for Joy Acknowledgments Bibliography

Read more less

Book SynopsisThe first thorough examination of the most renowned and influential organist in early twentieth-century Germany and of his complex relationship to his country's tumultuous and shifting sociopolitical landscape. In the course of a multifaceted career, Karl Straube (1873-1950) rose to positions of immense cultural authority in a German musical world caught in unprecedented artistic and sociopolitical upheaval. Son of a German harmonium-builder and an intellectually inclined English mother, Straube established himself as Germany's iconic organ virtuoso by the turn of the century. His upbringing in Bismarck's Berlin encouraged him to develop intensive interests in world history and politics. He quickly became a sought-after teacher, editor, and confidante to composers and intellectuals, whose work he often significantly influenced. As the eleventh successor to J. S. Bach in the cantorate of St. Thomas School, Leipzig, he focused the choir's mission as curator of Bach's works and, in the unstable political climate of the interwar years, as international emissary for German art. His fraught exit from the cantorate in 1939 bore the scars of his Nazi affiliations and issued in a final decade of struggle and disillusionment as German society collapsed. Christopher Anderson's book presents the first richly detailed examination of Karl Straube's remarkable life, situated against the background of the dynamic and sometimes sinister nationalism that informed it. Through extensive examination of primary sources, Anderson reveals a brilliant yet deeply conflicted musician whose influence until now has been recognized, even hailed, but little understood.Trade ReviewThe definitive work in any language. The research is impeccable. More than just a biography of an organist, this book puts the reader in the world of German culture and church music from the 1880s to the middle of the 20th century. Highest recommendation. * AMERICAN ORGANIST *Written with sensitivity, [Anderson's book] goes into factual matters in fine detail but also gives a satisfying sense of [Straube as a] person. Straube's activities during the Third Reich are laid out with care, avoiding both hagiography and [negative] polemics. * MUSIC UND KIRCHE *[This book's] utterly stunning quantity of information from primary sources... makes it an outstanding reference point not merely in debates around [Straube's] life and work ..., but also for interpreting Reger or for understanding Leipzig's musical history. * ARS ORGANI *A thorough exploration of the life and work of Karl Straube,...a musician of the highest order [whose] solo organ playing was considered revolutionary. If you want to know a lot more about the life of this extraordinary musician...I would wholeheartedly recommend this book. * ORGANISTS' REVIEW *Table of ContentsAcknowledgements List of Abbreviations Introduction Part I. Berlin 1873-1897 1. Headwaters 2. Mentors 3. Liftoff Part II. Wesel 1897-1902 4. New beginnings 5. Reger 6. "I'd like finally to get on with it!" Part III. Leipzig 1903-1918 7. A Berliner in (little) Paris 8. Off the organ bench 9. Trouble in paradise 10. "In my naïveté" 11. Emmi Leisner 12. Deaths and transfigurations Part IV. Intermezzo: Leipzig 1918-1920 13. Decision point 14. Portraits in ambivalence Part V. Leipzig 1920-1929 15. On the road and at the negotiating table 16. Politics I 17. "When the days of darkness come" 18. Colleagues 19. The treadmill 20. Movements in time 21. "God preserve Karl Straube" Part VI. Leipzig 1930-1939 22. Bach on air 23. Politics II 24. Praeceptor Germaniae 25. The spring of our discontent 26. Beyond the Rhine 27. Deceptive cadence 28. Tempelreinigung Part VII. Leipzig 1940-1950 29. The Franciscan way 30. Perils 31. Götterdämmerung 1943 32. Gone with the wind 33. Reckonings 34. "Like sand through the fingers" Epilogue: Musical Offering Bibliography Index

Read more less

Book SynopsisThe U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe. The book’s synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls. Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.Trade Review“Music-Making in U.S. Prisons is an important work that demonstrates the power of collaborative musical art-making within prisons with an illustrative collection of examples from many locations and across timespans. This book is grounded in humanity, both an incarcerated individual’s understanding of their own humanity, and society’s perception of it within incarcerated people. I believe it will spark the imagination of many practitioners and could encourage more dramatic change in the prison-industrial complex through the mechanisms described: connecting people inside to the community outside and reinforcing the humanity and dignity of everyone involved.” —Robert Pollock, Prison Writing Program Manager, PEN America “At just the right moment—as art is increasingly recognized as a potent weapon in the ongoing fight against mass incarceration—this thoughtful, artful, humanizing analysis of music’s role as an agent of healing and collective action is critical reading.” —Dr. Baz Dreisinger, author of Incarceration Nations: A Journey to Justice in Prisons Around the WorldTable of Contents 1: Why Music-Making in Prisons? 2: “Might Is Not Always Right”: Historical Reflections of Music-Making in U.S. Prisons 3: “In Encourage Everyone to Step Out of Their Comfort Zone”: Developing Agency in Instrumental Music Education in Prisons 4: “Their Singing Saved Me”: Social Awareness through Choral Singing 5: Dynamic Nature of Songwriting in Prisons: Interactions among Singers, Prison Staff, and Audience Members 6: “So Much More”: Pedagogies that Support Human Dignity and Social Responsibility for Musical Communities Working toward Abolition of the Prison Industrial Complex

Read more less

Book SynopsisStudy of musical manuscripts from the fifteenth and sixteenth centuries, opening a window on piety, liturgy and musical life in late medieval society. The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches. Unfortunately, very few manuscripts containing the music have survived from the period, and what we know rests to a huge extent on six music books preserved from St Peter's Church, Leiden. This book describes the manuscripts, their provenance, history and repertory, and the zeven-getijdencollege, the ecclesiastical organisations which ordered the music books, in detail. These organisations have their roots in fifteenth-century piety, founded on the initiative of individuals and townadministrators throughout Holland, principally to ensure that prayers and Masses were said for those in the afterlife. Music, both chant and polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht.Trade ReviewThis fascinating account of the contents and function of the choirbooks of St Peter's church in Leiden has resonance far beyond the usual somewhat narrow focus of musicological studies of this period...this volume provides an important glimpse into some of the many treasures of music (as well as art) that fell victim to the religious zeal and, on occasion, the filching fingers of the Reformers of sixteenth-century Europe. As a study of the vibrancy and richness of the spiritual and musical life of the Catholic Netherlands at the time of the Reformation it is of great value. * THE CONSORT *Piety and polyphony in Sixteenth-Century Holland is a work that should appeal to anyone working in Renaissance history. . . . [A]n overall magnificent book. . . .As Jas states in his introduction, the musical life of Leiden almost certainly has many more secrets to yield to scholarly investigation, and musicologists and historians could do nothing better to prepare themselves for that journey than spending time with this admirable and impressive study. -- Graham Freeman * CANADIAN JOURNAL OF NETHERLANDIC STUDIES *Engaging reading for all who work on singing in the late medieval and early modern Low Countries and beyond. * EARLY MUSIC HISTORY *Extremely detailed and informative. * EARLY MUSIC *Table of ContentsIntroduction The zeven-getijdencolleges The seven hours in St Peter's Church at Leiden The choirbooks of St Peter's Church The repertoire of the choirbooks Epilogue Appendix: Archival Documents Appendix: Descriptions and Inventories of hte choirbooks Bibliography

Read more less

Book SynopsisThe first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.Table of ContentsIntroduction 1. Precedents, Polity and Politics 2. Clergy 3. Churchmanship, Furnishings and Functions 4. The Musical Foundation 5. The Chapel Royal Music Collection 6. Singing the Liturgy 7. Organs 8. Boy Choristers 9. Gentleman Singers 10. Organists and Composers 11. The Chapel Royal's Legacy Conclusion Appendix A: Lords Lieutenant, 1801-1922 Appendix B: Clergy of the Chapel Royal Appendix C: Extant Chapel Royal Music Volumes (Rcb Ms 1113) Appendix D: Boy Choristers of the Chapel Royal Appendix E: Gentlemen Singers of the Chapel Royal Appendix F: Organists of the Chapel Royal Appendix G: Fragment of a Juvenile Chant by C. V. Stanford Bibliography Index

Read more less

Book SynopsisProtests against racial injustice and anti-Blackness have swept across elite colleges and universities in recent years, exposing systemic racism and raising questions about what it means for Black students to belong at these institutions. In Black Space, Sherry L. Deckman takes us into the lives of the members of the Kuumba Singers, a Black student organization at Harvard with racially diverse members, and a self-proclaimed safe space for anyone but particularly Black students. Uniquely focusing on Black students in an elite space where they are the majority, Deckman provides a case study in how colleges and universities might reimagine safe spaces. Through rich description and sharing moments in students’ everyday lives, Deckman demonstrates the possibilities and challenges Black students face as they navigate campus culture and the refuge they find in this organization. This work illuminates ways administrators, faculty, student affairs staff, and indeed, students themselves, might productively address issues of difference and anti-Blackness for the purpose of fostering critically inclusive campus environments. Trade Review“Sherry Deckman has written an important volume about how space, place, and identity are racialized through campus life that is truly a gift. People should read, reflect, and hopefully struggle with the complexity presented in this study because of its implications for how we work towards diversity, equity, and inclusion in higher education.” -- W. Carson Byrd * Faculty Director of Research Initiatives, National Center for Institutional Diversity, University of Michigan *"Deckman’s treatment of cultivating safe Black space in an elite, predominately white university context is masterful and instructive. As it turns out, mission, commitment, transparency, respect, care, and most importantly, love comprise the necessary chords to maintain a racially safe space for Black students that centers blackness and where non-Black students may also choose to participate. How much better off our schools and universities would become if only they embodied the lessons that Deckman beautifully conveys." -- Keffrelyn D. Brown * Suzanne B. and John L. Adams Endowed Professor of Education *“Sherry Deckman has written an important volume about how space, place, and identity are racialized through campus life that is truly a gift. People should read, reflect, and hopefully struggle with the complexity presented in this study because of its implications for how we work towards diversity, equity, and inclusion in higher education.” -- W. Carson Byrd * Faculty Director of Research Initiatives, National Center for Institutional Diversity, University of *"Deckman’s treatment of cultivating safe Black space in an elite, predominately white university context is masterful and instructive. As it turns out, mission, commitment, transparency, respect, care, and most importantly, love comprise the necessary chords to maintain a racially safe space for Black students that centers blackness and where non-Black students may also choose to participate. How much better off our schools and universities would become if only they embodied the lessons that Deckman beautifully conveys." -- Keffrelyn D. Brown * Suzanne B. and John L. Adams Endowed Professor of Education *Table of ContentsForeword by Richard J. Reddick Introduction: How Do You Lift Every Voice? Prelude: (Un)Safe Space and Racial Diversity in the Ivory Tower Verse I: Being Black Verse II: Staying Black Bridge: Non-Black Members in the Black Choir Chorus: Learning to Care Coda: Lessons from the Safe Black Space Appendix A: Interview Participants Appendix B: Note on Methods Acknowledgments Notes Selected Bibliography Index

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisDesigned for students who enter the music theory sequence with very little formal training master essential sight-singing, ear-training, and rhythm skills, Progressive Sight Singing provides a step-by-step introduction to the underlying grammar and syntax of musical structure and prepares students to perceive that structure with both the ear and the eye. Working from the premise that students learn musical skills in much the same order as they do language skills, the book trains the ear first--through hearing and imitating patterns--before teaching students to read and write. Its rich variety of well-paced, graduated exercises provide ample opportunity for practice.Get the most from Progressive Sight Singing. Visit www.oup.com/he/krueger4e to access the full suite of student and instructor resources.Trade ReviewProgressive Sight Singing is thorough and comprehensive and gives equal importance to rhythm and melody. It is the best ear training text I have come across that helps students build fundamental skills and also tackle complex exercises. * Jennifer Bratz, Rocky Mountain College *Logical, clear, and accompanied by copious examples, Progressive Sight Singing progresses in difficulty, contains an excellent rhythm reading section, and is the most pedagogically strong and practical offering for aural skills courses today. * Stephen Emmons, Angelo State University *Table of ContentsPreface for the Instructor Preface for the Student An Introduction to the Musical Literacy Process Strategies for Successful Sight Singing Building Musicianship and Independence Part I Rhythmic Reading 1. Simple Meter: Quarter Note 5 Beat Unit; Undivided Beat 1.1 Building Aural/Oral Skills 1.2 Symbolic Association 1.3 Rhythm Patterns 1.4 Exercises 1.5 Dictation and Improvisation Skills 2. Simple Meter: Quarter Note 5 Beat Unit; Divided Beat 2.1 Building Aural/Oral Skills 2.2 Symbolic Association 2.3 Rhythm Patterns 2.4 Exercises 2.5 Dictation and Improvisation Skills 3. Simple Meter: Quarter Note 5 Beat Unit; Slur, Tie, and Extension Dot 3.1 Building Aural/Oral Skills 3.2 Symbolic Association 3.3 Rhythm Patterns 3.4 Exercises 3.5 Dictation and Improvisation Skills 4. Terms and Symbols 4.1 Symbolic Association: Performance Markings 4.2 Exercises 4.3 Dictation and Improvisation Skills 5. Compound Meter: Dotted Quarter Note 5 Beat Unit; Divided Beats 5.1 Building Aural/Oral Skills 5.2 Symbolic Association 5.3 Rhythm Patterns 5.4 Exercises 5.5 Dictation and Improvisation Skills 6. Simple Meter: Half Note 5 Beat Unit; Divided Beat 6.1 Building Aural/Oral Skills 6.2 Symbolic Association 6.3 Rhythm Patterns 6.4 Exercises 6.5 Dictation and Improvisation Skills 7. Simple Meter: Eighth Note 5 Beat Unit; Divided Beat 7.1 Building Aural/Oral Skills 7.2 Symbolic Association 7.3 Rhythm Patterns 7.4 Exercises 7.5 Dictation and Improvisation Skills 8. Compound Meter: Dotted Half Note 5 Beat Unit; Divided Beat 8.1 Building Aural/Oral Skills 8.2 Symbolic Association 8.3 Rhythm Patterns 8.4 Exercises 8.5 Dictation and Improvisation Skills 9. Compound Meter: Dotted Eighth Note 5 Beat Unit; Divided Beat 9.1 Building Aural/Oral Skills 9.2 Symbolic Association 9.3 Rhythm Patterns 9.4 Exercises 8.5 Dictation and Improvisation Skills 10. Simple Meter: Quarter Note 5 Beat Unit; Borrowed Beat Division 10.1 Building Aural/Oral Skills 10.2 Symbolic Association 10.3 Rhythm Patterns 10.4 Exercises 10.5 Dictation and Improvisation Skills 11. Simple Meter: Quarter Note 5 Beat Unit; Syncopation 11.1 Building Aural/Oral Skills 11.2 Symbolic Association 11.3 Rhythm Patterns 11.4 Exercises 11.5 Dictation and Improvisation Skills 12. Simple Meter: Quarter Note 5 Beat Unit; Subdivided Beats 12.1 Building Aural/Oral Skills 12.2 Symbolic Association 12.3 Rhythm Patterns 12.4 Exercises 12.5 Dictation and Improvisation Skills 13. More Terms and Symbols 13.1 Symbolic Association: Performance Markings 13.2 Exercises 13.3 Dictation and Improvisation Skills 14. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Borrowed Beat Division 14.1 Building Aural/Oral Skills 14.2 Symbolic Association 14.3 Rhythm Patterns 14.4 Exercises 14.5 Dictation and Improvisation Skills 15. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Syncopations 15.1 Building Aural/Oral Skills 15.2 Symbolic Association 15.3 Rhythm Patterns 15.4 Exercises 15.5 Dictation and Improvisation Skills 16. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Subdivided Beats 16.1 Building Aural/Oral Skills 16.2 Symbolic Association 16.3 Rhythm Patterns 16.4 Exercises 16.5 Dictation and Improvisation Skills 17. Simple Meter: Half Note 5 Beat Unit; More Rhythms 17.1 Building Aural/Oral Skills 17.2 Symbolic Association 17.3 Rhythm Patterns 17.4 Exercises 17.5 Dictation and Improvisation Skills 18. Simple Meter: Eighth Note 5 Beat Unit; More Rhythms 18.1 Building Aural/Oral Skills 18.2 Symbolic Association 18.3 Rhythm Patterns 18.4 Exercises 18.5 Dictation and Improvisation Skills 19. Compound Meter: Dotted Quarter Note 5 Beat Unit; More Rhythms 19.1 Building Aural/Oral Skills 19.2 Symbolic Association 19.3 Rhythm Patterns 19.4 Exercises 19.5 Dictation and Improvisation Skills 20. Compound Meter: Dotted Half Note 5 Beat Unit; More Rhythms 20.1 Building Aural/Oral Skills 20.2 Symbolic Association 20.3 Rhythm Patterns 20.4 Exercises 20.5 Dictation and Improvisation Skills 21. Compound Meter: Dotted Eighth Note 5 Beat Unit; More Rhythms 21.1 Building Aural/Oral Skills 21.2 Symbolic Association 21.3 Rhythm Patterns 21.4 Exercises 21.5 Dictation and Improvisation Skills 22. Simple Meter: Irregular Division of Beat 22.1 Building Aural/Oral Skills 22.2 Symbolic Association 22.3 Rhythm Patterns and Exercises: Quarter Note 5 Beat Unit 22.4 Exercises: Other Simple Meters 22.5 Dictation and Improvisation Skills 23. Compound Meter: Irregular Division of Beat 23.1 Building Aural/Oral Skills 23.2 Symbolic Association 23.3 Rhythm Patterns and Exercises: Dotted Quarter Note 5 Beat Unit 23.4 Exercises: Other Compound Meters 23.5 Dictation and Improvisation Skills 24. Hemiola and Cross-Rhythms 24.1 Symbolic Association: Hemiola, 2:3, 3:2 24.2 Exercises: Hemiola, 2:3, 3:2 24.3 Symbolic Association: 3:4, 4:3, 2:5 24.4 Exercises: 5:4, 4:5, 2:5 24.5 Dictation and Improvisation Skills 25. Asymmetrical Meters 25.1 Symbolic Association 25.2 Rhythm Patterns and Exercises: Beat Constant 25.3 Rhythm Patterns and Exercises: Beat Division Constant 25.4 Dictation and Improvisation Skills 26. Mixed Meters 26.1 Symbolic Association 26.2 Exercises 26.3 Dictation and Improvisation Skills Part II Melodic Reading 1. Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat 1.1 Building Aural/Oral Skills: Diatonic Steps 1.2 Symbolic Association: Diatonic Steps 1.3 Tonal and Melodic Patterns: Diatonic Steps 1.4 Exercises: Diatonic Steps 1.5 Building Aural/Oral Skills: Tonic Triad 1.6 Symbolic Association: Tonic Triad 1.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 1.8 Exercises: Diatonic Steps, Tonic Triad 1.9 Dictation and Improvisation Skills 2. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat 2.1 Building Aural/Oral Skills: Diatonic Steps 2.2 Symbolic Association: Diatonic Steps 2.3 Tonal and Melodic Patterns: Diatonic Steps 2.4 Exercises: Diatonic Steps 2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 2.6 Symbolic Association: Diatonic Steps, Tonic Triad 2.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 2.8 Exercises: Diatonic Steps, Tonic Triad 2.9 Dictation and Improvisation Skills 3. Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters, Undivided Beat 3.1 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 3.2 Symbolic Association: Diatonic Steps, Tonic Triad 3.3 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 3.4 Exercises: Diatonic Steps, Tonic Triad 3.5 Dictation and Improvisation Skills 4. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat 4.1 Integrating Rhythm and Tonal Skills: Major Mode 4.2 Symbolic Association: Major Mode 4.3 Melodic Patterns: Major Mode 4.4 Exercises: Major Mode 4.5 Dictation and Improvisation Skills 5. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes 5.1 Integrating Rhythm and Tonal Skills: Major Mode 5.2 Symbolic Association: Major Mode 5.3 Melodic Patterns: Major Mode 5.4 Exercises: Major Mode 4.5 Dictation and Improvisation Skills 6. Natural Minor Scale; Simple Meters, Eighth and Dotted Quarter Notes 6.1 Building Aural/Oral Skills: Natural Minor Scale 6.2 Symbolic Association: Natural Minor Scale 6.3 Tonal and Melodic Patterns: Natural Minor Scale 6.4 Exercises: Natural Minor Scale 6.5 Dictation and Improvisation Skills 7. Harmonic and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes 7.1 Building Aural/Oral Skills: Harmonic Minor Scale 7.2 Symbolic Association: Harmonic Minor Scale 7.3 Tonal and Melodic Patterns: Harmonic Minor Scale 7.4 Exercises: Harmonic Minor Scale 7.5 Building Aural/Oral Skills: Melodic Minor Scale 7.6 Symbolic Association: Melodic Minor Scale 7.7 Tonal and Melodic Patterns: Melodic Minor Scale 7.8 Exercises: Melodic Minor Scale 7.9 Exercises: Intervals in Tonic Triad (i) and Mediant Triad (III)/Relative Major 7.10 Dictation and Improvisation Skills 8. Major and Minor Modes; Compound Meters: Dotted Quarter Note 5 Beat Unit 8.1 Integrating Rhythm and Tonal Skills: Major Mode 8.2 Symbolic Association: Major Mode 8.3 Melodic Patterns: Major Mode 8.4 Exercises: Major Mode 8.5 Integrating Rhythm and Tonal Skills: Minor Mode 8.6 Symbolic Association: Minor Mode 8.7 Melodic Patterns: Minor Mode 8.8 Exercises: Minor Mode 8.9 Exercises: Intervals in Tonic Triad (i) and Major Triad (III)/Relative Major 8.10 Dictation and Improvisation Skills 9. I and V7 in Major Mode; Simple and Compound Meters 9.1 Building Aural/Oral Skills: Dominant Triad, Major Mode 9.2 Symbolic Association: Dominant Triad, Major Mode 9.3 Tonal Patterns: Dominant Triad, Major Mode 9.4 Exercises: Dominant Triad, Major Mode, Simple Meters 9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mode 9.6 Symbolic Association: Dominant Seventh Chord, Major Mode 9.7 Tonal Patterns: Dominant Seventh Chord, Major Mode 9.8 Exercises: Dominant Seventh Chord, Major Mode, Simple Meters 9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters 9.10 Dictation and Improvisation Skills 10. i and V7 in Minor Mode; Simple and Compound Meters 10.1 Building Aural/Oral Skills: Dominant Triad, Minor Mode 10.2 Symbolic Association: Dominant Triad, Minor Mode 10.3 Tonal Patterns: Dominant Triad, Minor Mode 10.4 Exercises: Dominant Triad, Minor Mode, Simple Meters 10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minor Mode 10.6 Symbolic Association: Dominant Seventh Chord, Minor Mode 10.7 Tonal Patterns: Dominant Seventh Chord, Minor Mode 10.8 Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters 10.9 Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters 10.10 Dictation and Improvisation Skills 11. I and V7 in Major Mode; Other Rhythms in Simple Meters 11.1 Integrating Rhythm and Tonal Skills: Major Mode 11.2 Symbolic Association 11.3 Melodic Patterns and Exercises: Triplets, Tonic Only 11.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 11.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 11.6 Exercises: Combined Rhythms, Tonic Only 11.7 Exercises: Combined Rhythms, Tonic and Dominant 11.8 Dictation and Improvisation Skills 12. i and V7 in Minor Mode; Other Rhythms in Simple Meters 12.1 Integrating Rhythm and Tonal Skills: Minor Mode 12.2 Symbolic Association 12.3 Melodic Patterns and Exercises: Triplets, Tonic Only 12.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 12.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 12.6 Exercises: Combined Rhythms, Tonic Only 12.7 Exercises: Combined Rhythms, Tonic and Dominant 12.8 Dictation and Improvisation Skills 13. I and V7 in Major and Minor Modes; Half Note 5 Beat Unit 13.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 13.2 Symbolic Association 13.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 13.4 Exercises: Major Mode, Tonic and Dominant 13.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 13.6 Exercises: Minor Mode, Tonic and Dominant 13.7 Dictation and Improvisation Skills 14. I and V7 in Major and Minor Modes; Eighth Note 5 Beat Unit 14.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 14.2 Symbolic Association 14.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 14.4 Exercises: Major Mode, Tonic and Dominant 14.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 14.6 Exercises: Minor Mode, Tonic and Dominant 14.7 Dictation and Improvisation Skills 15. I and V7 in Major and Minor; Compound Meters, More Rhythms 15.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 15.2 Symbolic Association 15.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 15.4 Exercises: Major Mode, Tonic and Dominant 15.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 15.6 Exercises: Minor Mode, Tonic and Dominant 15.7 Dictation and Improvisation Skills 16. The Moveable C Clefs 16.1 Symbolic Association 16.2 Exercises: Major and Minor Modes, Tonic and Dominant 16.3 Dictation and Improvisation Skills 17. I, IV, and V7 in Major Mode; Simple and Compound Meters 17.1 Building Aural/Oral Skills: Subdominant Triad, Major Mode 17.2 Symbolic Association 17.3 Tonal Patterns: Subdominant Triad, Major Mode 17.4 Exercises: I, IV, V7, Major Mode, Simple Meters 17.5 Exercises: I, IV, V7, Major Mode, Compound Meters 17.6 Dictation and Improvisation Skills 18. i, iv, and V7 in Minor Mode; Simple and Compound Meters 18.1 Building Aural/Oral Skills: Subdominant Triad, Minor Mode 18.2 Symbolic Association 18.3 Tonal Patterns: Subdominant Triad, Minor Mode 18.4 Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters 18.5 Exercises: i, iv, IV and V7, Minor Mode, Compound Meters 18.6 Dictation and Improvisation Skills 19. Other Diatonic Triads and Seventh Chords in Major and Minor Modes 19.1 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Major Mode 19.2 Symbolic Association: Diatonic Seventh Chords, Major Mode 19.3 Tonal Patterns: ii, iii, vi, vii°, Major Mode 19.4 Exercises: ii, iii, vi, vii°, Major Mode 19.5 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Minor Mode 19.6 Symbolic Association: Diatonic Seventh Chords, Minor Mode 19.7 Tonal Patterns: ii°, III, VI, VII, Minor Mode 19.8 Exercises: ii°, III, VI, VII, Minor Mode 19.9 Dictation and Improvisation Skills 20. Chromaticism: Nonharmonic Tones 20.1 Building Aural/Oral Skills 20.2 Symbolic Association 20.3 Tonal Patterns 20.4 Exercises 20.5 Dictation and Improvisation Skills 21. Chromaticism: Secondary Dominants 21.1 Building Aural/Oral Skills 21.2 Symbolic Association 21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode 21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode 21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode 21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode 21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode 21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode 21.9 Exercises: Secondary Dominants and Nonharmonic Tones 21.10 Dictation and Improvisation Skills 22. Chromaticism: Modulation 22.1 Symbolic Association 22.2 Exercises: Modulation to the Dominant 22.3 Exercises: Modulation to Closely Related Keys 22.4 Exercises: Modulation to Remote Keys 22.5 Dictation and Improvisation Skills 23. Chromatic Alterations: Modal Mixture and Neapolitan Sixth 23.1 Building Aural/Oral Skills 23.2 Symbolic Association 23.3 Tonal Patterns: Modal Mixture 23.4 Exercises: Modal Mixture 23.5 Exercises: The Neapolitan Sixth 23.6 Dictation and Improvisation Skills 24. Modes 24.1 Building Aural/Oral Skills 24.2 Symbolic Association: Diatonic Seven-Tone Scales 24.3 Exercises 24.4 Dictation and Improvisation Skills Appendices A Rhythm Reading Systems B Tonal Reading Systems C Dictation D Improvisation E Vertical Harmony/Chord Progressions F Conducting Patterns G Glossary of Foreign Terms Index

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis(Music Express Books). This second volume of the popular Choir Builders for Growing Voices series offers 24 MORE warm-ups and workouts for teaching proper vocal technique to young voices! These fun and original reproducible exercises will continue to get your students'' growing voices on the right track to producing a quality sound. Strengthen phrasing and breath control, use dynamic expression, enhance independent and harmonic singing, perform accurate articulations, head voice "sighs," swing eighths and syncopation patterns, proper diction and rhythm accuracy, and much more with these wonderful exercises for young voices. Sing along with the demonstration tracks for quick learning, or use the accompaniment-only tracks for ear training and assessment options. Twelve of the exercises also offer optional Orff and percussion accompaniment parts. Get ready for more of a workout to a better sounding choir! Warm-ups include: Autumn Breeze, Celebrate Peace, Jazzin'' It Up, Music in the Air, Shine Your Light, Together As One, Walkin'' in Blues Country, A Little Latin Scattin'', and more! Suggested for grades 4-8. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less