Search Results for 'bring the ring'



New Resource for Choir Rehearsals: carus plus put to the test

A choir is a collective of different types of singers who approach rehearsals in very different ways: one can sing perfectly by sight, whilst another is always reliant on his or her neighbor. Some prepare for rehearsals at home, but most of the singers hope to get some direction from the conductor and practice their parts during rehearsals. Bringing together and shaping voices which have more-or-less secure intonation into a unified sound is a task which requires a lot of time and effort on the part of all involved.

In order to make this task easier, in recent years Carus has considerably expanded its range of new, motivating practice aids. Under the keyword “carus plus” practice aids are now available to suit the different needs of singers for over 70 works from the international standard repertoire – from Bach’s St Matthew Passion to many masses by Haydn, Mozart, and Schubert, and to Saint-Saëns’ Oratorio de Noël.

 

carus music, The Choir app

7331000u “How can we exploit the possibilities offered by new media to support individual practice for choral singers?”, asked Johannes Graulich, managing director of Carus-Verlag, and himself an active choral singer. As a response to this, carus music, the choir app was created in 2015, and has since gone on to become established as a helpful practice aid for thousands of choral singers. What is special about this app is not only the combination of music with an excellent recording, but in particular the so-called “coach”. If you select the coach mode, your own voice is reinforced by the piano as part of the overall sound, and through this it can be heard better as if you are in a rehearsal situation. As well as this, with the coach it is also possible to play pieces back at a slower tempo for practice purposes. “The app helps choral singers to learn the notes quicker so that I have more time for my interpretation”, is how conductor Klaus Brecht sums up practicing with the digital coach. He added, “when it comes to repeating passages, it is more patient than me; each singer can decide how he or she wants to use it.” Lots of singers in Brecht’s chamber choir Tritonus confirm that preparation for choir rehearsals is definitely more fun with carus music: “It was really fun to have the opportunity to practice the piece with the full sound at home”, one of the singers enthused. And one advantage which should not be underestimated – the choral singers, whose daily life is not exclusively devoted to singing, valued the straightforwardness of the app: “When you’ve got some free time you can have a quick listen, and you’ve got the music right there.” Those choral singers who learn their parts mainly by listening see the coach as an invaluable support.

Choral director Klaus Brecht regards the fact that first-class ensembles such as the Stuttgart Kammerchor can be heard on the app as a huge advantage: “Intonation is a strong reason to practice with the app, because you’re always practicing with a choir which has excellent intonation. And the difference between practicing with the piano is the fact that the singer is always surrounded by a very good choral sound, which hopefully soon filters down to him or her.” For choral singers a similar motivating argument: “I found my first listening to the piece super, because the recording is lovely and I always had the overall sound right there,” enthused one singer.

Here you could find all works with carus plus.

 

Carus Choir Coach – practice aids on CD

cover-medium_large_fileEncouraged by the enthusiastic reception of the choir app, Carus-Verlag gave further thought to the idea of the individual practicing: so that those who do not have smart phones or tablets can benefit from the coach, this is now also on offer in the form of practice CDs in the “Carus Choir Coach” series.

 

Vocal scores XL

cover-medium_large_file-1And we have responded to a frequently-heard wish from choral singers regarded printed music scores: for many works Carus also offers vocal scores in large print – the Vocal scores XL series – enabling, for example, singers with less than perfect eyesight to enjoy more relaxed reading.

Klaus Brecht’s chamber choir is convinced by the carus plus range without exception: “we’ve definitely saved two to three rehearsals with what everyone has done at home”, was one soprano’s opinion of practising with the app. And there was unanimity amongst the singers in the chamber choir, especially about the fun and motivation factor of carus music, the choir app, as one alto confirmed: “It’s really been fun to practise, because you can always hear this wonderful choir. And so I’ve certainly practised more than normal.”

What more could a conductor ask for?

 

 

Fun Facts about Handbells

by Helena Taylor

  • People who play handbells are known as ‘Ringers’. Not ding-a-lings. The joke wasn’t funny the first time, and it still not funny years… (decades) later.
  • PT Barnum (Yes, ‘A handbell ringer is born every minute’ PT Barnum) is credited for bringing the English handbell to the USA in the 1840s.
  • There is a difference between English handbells and American handbells. In the United Kingdom, English handbells have leather clapper heads and handles, while American handbells use plastic and rubber clappers and handles. However, in the USA, they’re all known as English handbells even though they’re produced in Pennsylvania. (There’s also a big competition between the two main American manufacturers of English handbells. Take it from me, never try to mix the two brands in the same ensemble. Ringers will notice and you will be called a ding-a-ling.)
  • English handbells are chromatically tuned brass bells, traditionally held by leather handles.

Continue reading ‘Fun Facts about Handbells’

Celebrating 150 Years of Edition Peters Green

Originally posted on www.editionpeters.com.

Hidden behind the iconic green covers of Edition Peters lies a story that is fascinating, complex, at times heartbreakingly tragic, but overwhelmingly inspirational. This year Edition Peters proudly celebrates 150 years of the green cover series and here is a short version of our story.

Continue reading ‘Celebrating 150 Years of Edition Peters Green’

Play It Again: A New Piano Book Aimed at Returning Players

Did you used to play the piano? Would you like to play again? Aimed at returning players who have spent some time away from the keyboard, Play It Again: Piano by Melanie Spanswick gives you the confidence to revisit this fulfilling pastime and go beyond what you previously thought you could achieve. This book is designed to get your fingers speeding comfortably across the keys once again.

Continue reading ‘Play It Again: A New Piano Book Aimed at Returning Players’

Method Spotlight: Piano Junior

Request your free copy today!

From Hans-Günter Heumann and Schott Music comes a new piano method, Piano Junior. In this creative and interactive piano course, children will join PJ the robot and Mozart the dog in discovering how much fun playing the piano can be! The online resources, including audio and video recordings and interactive extras, bring the method to life for today’s tech savvy kids. Discover more about this method’s approach in our interview with the author, below, and request your free copy today!* Continue reading ‘Method Spotlight: Piano Junior’

Trinity College London: Excellence in Music Assessment

Trinity College London provides recognised and respected qualifications across a unique spectrum of communicative skills- from music, drama and arts activities to English language-at all levels. Trinity has been providing assessments around the world since 1877 and in the USA, Trinity College examinations have been taking place since the 1930s helping to support learners to develop their skills and achieve their goals.

Every year Trinity College London supports the music education of thousands of students across the world with assessments across a wide compass including popular, jazz, contemporary and classical music. As an international exam board with a rich heritage of academic rigour and a positive, supportive approach to assessment, we aim to take a lead role in reflecting and contributing to the evolution of music education. Continue reading ‘Trinity College London: Excellence in Music Assessment’

New Lent and Easter Cantatas and Anthems for 2017

Discover new and poignant choral cantatas and anthems appropriate for the Lent and Easter seasons from Beckenhorst Press, Brookfield Press, Hope, Lorenz, Shawnee Press and SoundForth.

Cantatas

Come to the Cross and Remember by Pepper Choplin

Iconic imagery of the Easter story is paired with a beautiful melodic figure that weaves throughout the entire work to help present and guide the audience through this work. The music by Pepper Choplin, accompanied by Michael Lawrence’s stunning orchestration, powerfully represents the high and low moments of Christ’s death, burial, and resurrection. Additional choruses and hymns illumine the journey, including the haunting “Go to Dark Gethsemane,” the spine-tingling “Judas,” the mournful “Surely He Has Borne Our Griefs,” the transportive “You Will Be with Me in Paradise,” and the majestically triumphant “Every Knee Should Bow.”

Psalm 23: A Journey with the Shepherd by Pepper Choplin

“Psalm 23 holds a special place in the lives of believers.  We often read or say it from memory at significant services and times of challenge.  Through this cantata, I wanted choir and audience to truly experience this most beloved psalm:

to feel the peace of the still waters,

to be comforted through shadow of death,

to express gratitude for the bountiful table of blessings

and to celebrate the mercy which follows through all the days of our lives.

The music is dramatic with an artistic flair, but written with the church and community choir in mind.”

Pepper Choplin

Sacred Places: Pilgrimage of Promise by Joseph Martin

“I have always been inspired by the early American folk hymn tradition. I grew up in North Carolina where these time-honored texts and tunes are very much a part of the church music experience. In SACRED PLACES I have tried to capture some of that rustic spirit and tell the timeless story of Christ’s ministry and passion. The focus of the cantata is on the places where Jesus performed some of his important miracles and where he experienced other significant moments in his final days. The River Jordan, The Wedding at Cana, The Pool of Bethesda, The holy city of Jerusalem, the upper room, the Garden of Gethsemane, Calvary and the Garden of Resurrection.

The narration is based on scripture and helps move the work forward. Two endings are provided, one intended for use during Holy Week and a more joyful triumphant conclusion for churches performing the work after Easter. The orchestrations by Brant Adams are filled with an abundance of creativity and provide a colorful soundtrack for the work. With SACRED PLACES I have tried to create something interesting, yet approachable, so that choirs of any size and level of accomplishment can embrace the work with confidence.”

Joseph Martin

Lamentations of the Lamb by John Purifoy

“Pamela Stewart’s poignant and insightful lyrics made composing ‘Lamentations of the Lamb’ a true journey experiencing Christ’s final week of betrayal, suffering and sacrifice for us as believers.  It is always our hope as writers and composers that these emotions resonate in the music for both singers, instrumentalists and worshipers alike.  The blending of Old Testament prophecy, historical hymn texts and newly written lyrics also made setting the music an artistic reward.”

John Purifoy

 

Hope in the Shadows by Joel Raney and Lloyd Larson

Retracing Christ’s final days and journey to the cross, this new musical for Lent and Holy Week includes a mixture of traditional and contemporary hymns and songs set in a variety of styles. Arranged for SATB choir with narrator(s), and options to include soloists and congregation, plus a 5-piece instrumental ensemble, scored by Ed Hogan, this 38-minute program focuses on our Savior’s sacrifice and the hope in the shadows to which we cling.

 

 

 

Anthems

Christ Is Risen, Alleluia! by Jay Althouse

This exuberant Easter anthem opens with a joyous, hymn-like melody, harmonized in a straightforward manner. This leads to a statement of the majestic hymn “Christ the Lord Is Risen Today” in a comfortable key, making it ideal for having the congregation join in. Returning to the original melody for a powerful conclusion makes this an accessible, uplifting musical presentation for Easter Sunday.

 

 

 

I Am Bound for the Promised Land! by Craig Courtney

bound_promised_land

A march-like ritornello begins Craig Courtney’s new arrangement of I Am Bound for the Promised Land and, although that motive can be heard throughout the piece, he counters that with contrast and variety in the 4-hand accompaniment and a variety of articulation in the voices. Snare drum, triangle and cymbals add to the dramatic effect.

 

 

 

 

I’ll Fly Away by Craig Courtney

Craig Courtney’s arrangement of I’ll Fly Away begins as a seemingly traditional treatment of the Brumley gospel tune but, as the piece goes on, it veers into different territory. Chock full of text painting, polyphony and a tipping of the hat to Gershwin, it becomes a journey of joy. The 4-hand accompaniment is creatively sophisticated. This would be the perfect choice for a choir festival or as a final piece in a concert that will “bring the house down”.

 

 

 

Anthems of Love by Dan Forrest

Anthems of Love is Dan Forrest’s setting of an ethereal Susan Boersma text based on Zephaniah 3:17, where God sings over His children with joy. The music portrays the idea of “celestial music” surrounding our praise, as God Himself joins in our songs of praise to Him. The combination of text and music is strikingly beautiful.

 

 

 

 

A Mighty Fortress by Dan Forrest

Dan Forrest’s new setting of A Mighty Fortress is just in time for the 500th anniversary of the Reformation being celebrated around the world in 2017. His setting opens with a evocation of the blows of Luther’s hammer, and then works its way through music history, while not becoming overly difficult. It has numerous instrumental accompaniment options available, for maximum flexibility.

 

 

 

Pie Jesu by Joseph Martin

Joseph Martin beautifully set this Latin text with an optional English translation along with an original melody that is nothing short of breath-taking. Equally functional as it is beautiful, this anthem is equally applicable in a worship service or concert setting. The optional violin part provides another layer of musical tenderness that will live with the choir and audience well after the performance ends.

 

 

 

How Can It Be? by Jay Rouse

Jay Rouse’s arrangement of this 2015 Contemporary Christian song of the year is an authentic and powerful choral representation of this stirring worship song. With an expressive solo and driving instrumental accompaniment, this anthem provides a compelling opportunity for congregation participation.

 

 

 

 

Agnus Dei with How Great Thou Art by Michael W. Smith & Stuart K. Hine

This Michael W. Smith “classic” is ideal for any worship occasion and especially communion services reflecting on Jesus, the Lamb of God. The inclusion of a portion of “How Great Thou Art” expands and reinforces this anthem of praise to the Lord God Almighty.

 

 

 

 

 

Come People of the Risen King with Rejoice, the Lord Is King by Stuart Townend, Keith & Kristyn Getty

This dynamic hymn setting calls for the church of Christ, both young and old, to rejoice in the risen King. A verse of the Charles Wesley hymn “Rejoice, the Lord Is King!” is seamlessly woven into the fabric and heightens the impact of this celebration of Christ our Lord and King.

Top Christmas Chamber Music Arrangements

by Jacy Burroughs

The Christmas season is one of the busiest times for musicians, with church gigs, themed concerts and holiday parties galore! With the thousands of arrangements out there, it can be difficult to decide what to play. That’s why Sheet Music Plus has come up with this brief guide of our most popular Christmas arrangements to help you get started. The following arrangements are great for both professional musicians and students.  Pros can easily sightread these at a gig and students, with a little more preparation, can have some festive pieces for their holiday concerts. Continue reading ‘Top Christmas Chamber Music Arrangements’

10 Interesting Facts About Aaron Copland

by Jacy Burroughs

Aaron Copland in 1970

Aaron Copland in 1970

1. Aaron Copland (November 14, 1900 – December 2, 1990) was born in Brooklyn, New York to a Jewish family. He was the youngest of five children. While his father had no musical inclination, his mother sang and played the piano and sent her children to music lessons. Copland’s sister Laurine gave him his first piano lessons. She attended the Metropolitan Opera School and would bring home libretti for Aaron to study.

2. When Copland was eleven, he wrote his first notated melody, seven bars of an opera he called Zenatello.
Continue reading ’10 Interesting Facts About Aaron Copland’

Playing in a Pit Orchestra: Anecdotes and Advice from a Percussionist

by Ryan Blauvelt

Places. Lights up. Downbeat. It’s the order of things for playing in a pit orchestra for musical theater productions.  The culmination of many hours of rehearsals, score study, listening sessions, and custom edits in order to bring together cast, crew, and of course musicians for a couple weeks of “showtime!”

It’s spring and that means musical theatre productions.  Playing musicals is something I’m pretty good at, especially when it comes to last minute notice.  I’ve been hooked on playing musicals ever since getting picked to play drum set in my high school’s first musical production, “Guys and Dolls”. It was a lot of pressure being in the driver’s seat for a music ensemble. Also, being depended on by actors and actresses for steady tempos, sharp hits, and joke reinforcement adds another layer of complexity.  But I loved the thrill of learning so much music very quickly and making quick changes to fine-tune my contribution to a well-performed show. Continue reading ‘Playing in a Pit Orchestra: Anecdotes and Advice from a Percussionist’

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