Sacred and religious music Books

Book SynopsisThere are few works in existence that teach gospel singing and even fewer that focus on what gospel soloists need to know. In So You Want to Sing Gospel, Trineice Robinson-Martin offers the first resource to help individual gospel singers at all levels make the most of their primary instrumenttheir voice. Robinson-Martin gathers together key information on gospel music history, vocal pedagogy, musical style and performance, and its place in music ministry. So You Want to Sing Gospel covers such vital matters as historical, cultural and spiritual perspectives on the gospel music tradition, training one's voice, understanding the dynamic of sound production, grasping gospel style, and bringing together vocal performance with ministerial imperatives. She also includes in her discussion such matters as voice type, repertoire selection, and gospel sub-genres. Additional chapters by Scott McCoy and Wendy LeBorgne, and Matthew Edwards address universal questions of voice science and pedagogy,Trade ReviewRobinson-Martin offers an excellent introduction to both the history and performance of gospel music. She explains the technical aspects in clear and accurate terms, and articulates the important role of faith and devotion. The volume is recommended reading for anyone interested in exploring gospel music. * Journal of Singing *Table of ContentsChapter 1 – What Is Gospel Music? Chapter 2 – Singing Gospel and Voice Science, Scott McCoy Chapter 3 – Vocal Health and the Gospel Vocal Athlete, Wendy LeBorgne Chapter 4 – Gospel Voice Pedagogy Chapter 5 – Gospel Styles, Performance Practices, and Improvisational Tools Chapter 6 – Gospel in Context Chapter 7 – Notes for the Professional Chapter 8 – Using Audio Enhancement Technology, Matthew Edwards

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Book SynopsisEight years of inspired work by a committee of more than 30 musicians and pastors, all leaders in African American worship and gospel music, have resulted in this compendium representing the common repertoire of African American churches across the United States. For the first time in an African American hymnal, traditional hymns and songs are notated to reflect performance practices found in the oral tradition of the black church in America. At a time when such traditions are falling victim to modern technology, this book strives to preserve this rich heritage for future generations. Presented are litanies for 'Fifty-Two Sundays of Worshipful Celebration' outlining an African American church year, including such special days as Martin Luther King Sunday, Elders Day, Mothers Day, and Mens Day. Also included are 52 responsive scripture readings from the Old and New Testaments and an extensive index that includes scriptural and thematic cross-references.

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Book SynopsisJohann Sebastian Bach’s chorale settings have been vital to the teaching of music ever since they were composed. His four-voiced harmonisations represent a Baroque composer’s approach to melodies that are often centuries older. As musical styles continued to evolve, each succeeding generation of teachers and students brought their own viewpoint to bear on this small corpus of music. Consequently, during the three centuries since their composition and a quarter of a millennium since their first publication, a range of contrasting ideas and approaches has tended to obscure the fundamental nature of these short yet complex musical works. This Course provides a thorough re-appraisal of this inspiring music. Each Chapter builds on the work of previous ones, so that the student is taken from the simplest harmonisations of single phrases right through to the most complex settings of complete chorale melodies employing the full range of Bach’s harmonic resources. All the exercises are based directly on Bach’s own music. The two final Chapters take the most advanced student into more specialised areas of four-part harmony.Table of ContentsPart I: The principles of his style. Chapter 1: Intervals. Prelude to Chapter 2 - The 'Five Steps' method. Chapter 2: Phrases which close with a Perfect Cadence. Chapter 3: Phrases which close with an Imperfect Cadence. Coda to Part I: Alternative cadence patterns. Part II:Cadential suspensions. Chapter 4: The 'IIb -Va-Ia' Perfect Cadence. Chapter 5: The '4 -3' Perfect Cadence. Chapter 6: The 'Ic -Va-Ia' Perfect Cadence. Coda to Part II: The Interrupted Cadence (continued). Part III: Further elaborations of his style. Chapter 7: Suspensions in the melody and in the bass line. Chapter 8: Suspensions in all voices. Postlude to Chapter 8: Elaborating earlier work. Chapter 9: Harmonising a full chorale. Part IV: Modulations. Chapter 10: Modulation to and from the Dominant key. Chapter 11: Modulation to and from the Relative Major key. Chapter 12: Modulation to and from two related keys. Coda to Part IV: Chromatic modulation. Varied harmonisations of the same melody. Part V: Extensions. Chapter 13: Harmonising modal melodies. Chapter 14: Developing an instrumental style of harmonisation. Coda to Part V: Conclusion

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Book Synopsis

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Book Synopsis

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