More than any other human activity, music has the power to reveal who we are and how and what we love in this world.” Don Saliers (from the Introduction)
Originally written as a series of columns for The American Organist magazine, Themes and Variations is a collection of reflections for music-lovers as well as music-makers.
With each essay, theologian and musician Don Saliers embraces the connection between musical passages and life passages, exploring “the powerful way in which music explores a double journey into the depths of humanity and the mystery of the divine.”
These seventy-plus reflections, filled with personal stories and thoughtful insights,make an excellent basis for conversations about music in churches, classrooms, or among friends. ||||||
GIA10228|Conceived as a sequel to the eminent twentieth-century text The Symphony and the Symphonic Poem, Robert Quebbeman’s Symphonic Works Analyzed offers in-depth analysis of over sixty works from additional standard orchestral genres, including the overture, incidental pieces, and works for orchestra and chorus.
With repertoire spanning the Classical period to the twentieth century, each analysis provides detailed, easy-to-follow charts outlining the structure and form for each work or movement—complete with music examples showing all the important themes, discussions of the significant details of each composition, and the instrumentation required for performance.
Ideal for conducting professionals and students alike, this resource facilitates both the visual and aural components of score study, illuminating the intricacies of each work for efficient assimilation. This book is an essential reference for any orchestral conductor.
Robert Quebbeman, A.Mus.D., is an emeritus professor at Missouri State University, where he served for almost thirty years as Director of Orchestral Activities and Director of Graduate Studies in Music.||||||
GIA10288|Lynn Eustis is a brain tumor survivor and faculty member at Boston University, where she teaches voice. She is the author of The Singer’s Ego: Finding Balance between Music and Life and The Teacher’s Ego: When Singers Become Voice Teachers. A native of Long Island, New York, she lives in Boston with her two cats.||||||
GIA10289|Choral directors are frequently called upon to conduct various instrumental ensembles, from a few accompanying instruments to a full orchestra. This very practical and straightforward book provides insights and advice to those who haven’t studied instrumental conducting, who may be new to conducting instrumentalists, or those who are looking to hone or enhance their skills.
Throughout this book, Michael Kemp explains the most beneficial ways for a choral conductor to hire, work with, and lead instrumentalists. The different approach needed to guide instrumental ensembles of varying skill levels is presented clearly and effectively. Helpful and perceptive accounts fromKemp’s wide-ranging experience as a conductor illuminate the material. Useful sample seating chart of various instrumental combinations are also included.
Michael E. Kemp is the author of significant training books for choral directors and voice teachers. His goal is to pass on accessible, scholarly concepts to choir directors to enhance their ensembles. A conductor, choral clinician, author, composer, voice teacher, and violist, he is also the founding conductor of Philadelphia’s Academy Chorale and Orchestra. ||||||
GIA10339|One hundred powerful rehearsal techniques and ideas passionately shared by leading expert choral pedagogues, composers, conductors, vocologists, music therapists, researchers, speech-language pathologists, studio teachers, and professional practitioners. Each quick-to-read, insightful article includes fascinating facts about famous composers and conductors, thoughtful motivational quotes, and suggested additional reading selections. It’s an excellent university text and “go-to” source for choral conductor-teachers at all levels.||||||
GIA10345|Written for drumline instructors, arrangers, and performers at all levels, Drumline Gold reveals the philosophies, lessons, and mindsets of over 20 of the most brilliant, creative, and successful game-changers in the marching percussion activity. Top educators in DCI, WGI, PAS, college, and high school share their systems on leading, practicing, rehearsing, listening, cleaning, performing, arranging, competing, auditioning, reading, marching, tuning, recruiting, staffing, and building an excellent culture. There is even a system on self-care and the importance of wearing earplugs, preventing injury, and managing stress.||||||
GIA10349|By Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, Richard Miles, and Andrew Trachsel. Compiled and edited by Andrew Trachsel.
Volume 12 of the landmark Teaching Music through Performance in Band series continues the tradition of excellence—a resource that has become essential for every wind band conductor looking for the best repertoire or to gain insights from leaders of the profession.
Like its predecessors, this mammoth volume includes Teacher Resource Guides for 100 significant works published for Grades 2 through 6, including works by Frank Ticheli, John Mackey, Julie Giroux, Ola Gjeilo, Michael Daugherty, Zhou Tian, and many more.
Each Teacher Resource Guide includes information about the composer, the work, historical perspectives, technical considerations, stylistic considerations, the musical elements of the work, a form and structure analysis, suggested listening, and additional references—information designed to enhance the musicianship of any performance. Indexes to all 1,200 works covered in this series round out this important volume.
And in addition, Part I includes an amazing array of topics: “It’s What We Do ‘In Between’ that Matters” by Larry Blocher, “Contemplations” by Eugene Migliaro Corporon, “Building a Legacy in the Pursuit of Excellence” by Ray Cramer, “Building a Culture of Excellence with Student Leadership” by Tim Lautzenheiser, “Do You Hear What I Hear?” by Edward S. Lisk, “The Influence of Master Teachers” by Richard Miles, and “The Servant Conductor” by Andrew Trachsel.
Carrying on the tradition of this wonderful series—and the first volume compiled and edited by Andrew Trachsel—Volume 12 prevails as the indispensable resource for the wind band profession.||||||
GIA6397|This text by James Jordan summarizes his 25 years of experience teaching and reinforcing healthy vocal technique for choirs at all levels of development. The book is a comprehensive guide to the teaching of vocal technique through the choral warm-up that he has presented to thousands of choral directors in workshops across the country. Philosophy, teaching procedures, and specific exercises are presented in the text. Among the topics included are: alignment (using Alexander Technique and Body Mapping principles), use of the sigh for diagnosing vocal problems, breathing, inhalation, exhalation, support, resonance, vowel colors, leaps, range extension, crescendo/decrescendo, martellato, staccato, procedures for teaching diction plus general diction guidelines, teaching and reinforcing rhythm and consistent tempo, and strategies for good intonation. This is a comprehensive vocal guide for choral directors. Accompaniment CD included.
The Choral Warm-Up is designed to: help conductors plan and implement efficient choral warm-ups, build healthy voices within the choral rehearsal, provide vocalises that have accompaniments complete with modulations upward and downward, and categorize vocalises according to specific vocal objectives.||||||
GIA6397A|The Choral Warm-Up Core Vocal Exercises: Accompanist Supplement with CD includes Marilyn Shenenberger’s masterfully written accompaniments and modulations for the 25 vocalises found in The Choral Warm-Up text by James Jordan, reprinted in a convenient format for use by accompanists. Includes a CD with recorded versions of the accompaniments, which can be used as a musical model for new or inexperienced accompanists or as the accompaniment when no accompanist or piano is available. The accompaniment CD is also available separately.||||||
GIA6397CD|The CD containing The Choral Warm-Up Core Vocal Exercises is available separately for use by multiple accompanists, to replace lost or damaged copies, or for placement in multiple-classroom settings. This is the same CD included with The Choral Warm-Up text by James Jordan and The Choral Warm-Up Core Vocal Exercises Accompanist Supplement by Marilyn Shenenberger.||||||
GIA6439|A complete piano method for students K through adult, Music Moves for Piano is the first piano method to apply Edwin E. Gordon’s Music Learning Theory to the teaching of piano. This method is for students of all levels of music aptitude and any age. When music is taught as an aural art, lessons build a foundation for lifelong musical enjoyment and understanding. The progression from “sound to notation” leads to fluent music performance, reading, and writing.
Students who use this program will learn to:
- Feel rhythm through movement activities and chant rhythm patterns.
- Sing songs and tonal patterns to develop pitch sensitivity and a “listening” ear.
- Understand the various ingredients of music, such as rhythm, meter, tonality, harmony, style, and form.
- Improvise using familiar patterns and songs: transpose, change tonality and meter, create melodic and rhythmic variations, and create accompaniments.
- Perform with tension-free technique.
Audio files for this book are essential for home study. Download audio files from the website www.musicmovesforpiano.com||||||
GIA6441|A complete piano method for students K through adult, Music Moves for Piano is the first piano method to apply Edwin E. Gordon’s Music Learning Theory to the teaching of piano. This method is for students of all levels of music aptitude and any age. When music is taught as an aural art, lessons build a foundation for lifelong musical enjoyment and understanding. The progression from “sound to notation” leads to fluent music performance, reading, and writing.
Students who use this program will learn to:
- Feel rhythm through movement activities and chant rhythm patterns.
- Sing songs and tonal patterns to develop pitch sensitivity and a “listening” ear.
- Understand the various ingredients of music, such as rhythm, meter, tonality, harmony, style, and form.
- Improvise using familiar patterns and songs: transpose, change tonality and meter, create melodic and rhythmic variations, and create accompaniments.
- Perform with tension-free technique.
Audio files for this book are essential for home study. Download audio files from the website www.musicmovesforpiano.com||||||
GIA6443|Levels One-Three. The first part of Music Moves for Two is a collection of two sets of pieces for ensemble playing and improvisation. In the first set of pieces, the second player imitates the first player.
In the second set of pieces, is a collection of two sets of pieces for ensemble playing and improvisation. One player plays an ostinato pattern while the second player plays the piece, then improvises.
Levels Three -Five (and beyond). The second half of Music Moves for Two is a collection of two sets of more difficult pieces for ensemble playing and improvisation.
In the first set of pieces, the second player improvises an answer to the first player.
In the second set of pieces, one player plays an ostinato pattern while the second player plays the piece, then improvises. Tonalities include Mixolydian, Phrygian, and Lydian. Mix It Up" is in 5/4.
- ISBN: 9781622774906 (1622774906)