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In This Place

In This Place

Commissioned by Roger Muttitt for the 600th anniversary of Durham School in 2014, In this place is a setting of the composer’s own words and was first performed at a service of celebration in Durham Cathedral in June 2014. The text is a poem of renewal, with hints of spirituality, though without being explicitly sacred in content. Sumptuous harmonies dominate the music, with occasional divisi adding depth, especially in the bass section. With a mostly homophonic texture, the setting builds towards the thrilling final phrase ‘I will fly with angels’ with a sense of transformation. The close harmonies add an element of challenge, though well thought through voice-leading and somerepetition make the work accessible to intermediate choirs. A beautiful addition to the choral repertoire, In this place is both a joy to sing and a delight for the listener.

SEK 75.00
1

Jazz in the Classroom : Practical sessions in jazz and improvisation

Jazz in the Classroom : Practical sessions in jazz and improvisation

“Jazz in the Classroom” provides opportunities for students to create improvised music by using a combination of easily learned jazz techniques in the classroom. The material is suitable for mixed ability classes or smaller groups of 10-14 year olds. One of the most widely-used resources for Key Stage 2 to 3 and GCSE. Jazz in the Classroom requires a CD player as the CD plays a vital part in each session. The work can be carried out on tuned percussion, keyboards (white notes only!) and other melody instruments. There is a B flat part included in the Pupil’s book. In the Teacher’s book, each session includes a list of “Aims and Activities” to help place this work in the contextof the complete music syllabus. Text for class discussion is printed in the Pupil’s and Teacher’s Books. The “Extra Extra” sections suggest further follow-up work for each session, together with recommended listening material. Each lesson should start with a warn-up using echo clapping and question and answer work. These techniques are learnt in the first few sessions. Further sessions cover melodic improvisation over ostinati, moving from small note groups to pentatonic scales, modes and finally major scales. The pieces in each session can be performed separately for concerts, and can also act as models for the composition of new pieces. On the CD are examples of jazz styles and instruments providing a backing to the many group activities contained in the books. “Live” accompaniments based on material in the Teacher’s book may however be sometimes preferred.

SEK 303.00
1

In the Machine

In the Machine

In the Machine represents a musical journey inside a machine. Each time the piece is performed, this journey is different according to the performer's choices. Set in 3/4 time, the work begins using only percussion and vocal techniques. Instruments are added and material changed throughout to create several musical layers and textures. Midway through the piece, the machine shifts into high gear. The machine runs smoothly until a musical “ratchet” is thrown in and the machine falls apart.

SEK 122.00
1

In the Machine

In the Machine

In the Machine represents a musical journey inside a machine. Each time the piece is performed, this journey is different according to the performer's choices. Set in 3/4 time, the work begins using only percussion and vocal techniques. Instruments are added and material changed throughout to create several musical layers and textures. Midway through the piece, the machine shifts into high gear. The machine runs smoothly until a musical “ratchet” is thrown in and the machine falls apart.

SEK 801.00
1

Jazz in the Classroom : Practical sessions in jazz and improvisation

Jazz in the Classroom : Practical sessions in jazz and improvisation

“Jazz in the Classroom” provides opportunities for students to create improvised music by using a combination of easily learned jazz techniques in the classroom. The material is suitable for mixed ability classes or smaller groups of 10-14 year olds. Each lesson should start with a warm-up using echo clapping and question and answer work. These techniques are learnt in the first few sessions. Further sessions cover melodic improvisation over ostinati, moving from small note groups to pentatonic scales, modes and finally major scales. The pieces in each session can be performed separately for concerts, and can also act as models for the composition of new pieces.

SEK 175.00
1

Magnificat in A minor

Magnificat in A minor

This “Magnificat” for treble voices with optional strings is by the Baroque composer Nicola Porpora and edited by Joan Whittemore. It consists of six contrasting choral movements and was written for the “figlie des coro” (female studtents) at the “Ospedale di Santa Maria dei Derelitto” (Hospital Santa Maria dei Derelitto) in Venice in 1745. Although the autograph manuscript is lost, Carl von Winterfeld (1784-1852) made a copy that survived in the Staatsbibliothek in Berlin.Editor Whittemore has stayed true to this original score which results in a clean score without dynamics or slurs which give the conductor and singers the opportunity prepare this using all of thescholarship available.

SEK 107.00
1

In the bleak midwinter

In the bleak midwinter

A simple and short but very beautiful setting of the well-known Christina Rossetti text by Cornish composer Becky McGlade. An atmosphere of cold, winter stillness is conveyed in this piece with its gentle dissonances and slow,homophonic movement, and the music follows the natural rhythm of the words, resulting in frequent changes of bar length. Each verse is set to the same music, but in the final verse the music responds to the climax of the poem,with the words ‘give my heart’ repeated three times, rising in intensity but then falling away again to finish as the piece began, in quiet stillness.A rewarding sing and an excellent alternative tootherfrequently-performed settings of the text.

SEK 75.00
1

Rejoice In The Lamb

Rejoice In The Lamb

The words of the Cantata Rejoice in the Lamb are taken from a long poem of the same name. The writer was Christopher Smart, an eighteenth century poet, deeply religious, but of a strange and unbalanced mind.Rejoice in the Lamb was written while Smart was in an asylum, and is chaotic in form but contains many flashes of genius.It is a few of the finest passages that Benjamin Britten has chosen to set to music. The main theme of the poem, and that of the Cantata, is the worship of God, by all created beings and things, each in its own way.The Cantata is made up of ten short sections. The first sets the theme. The second gives a few examples of one person after another beingsummoned from the pages of the Old Testament to join with some creatures in praising and rejoicing in God. The third is a quiet and ecstatic Hallelujah. In the fourth section Smart takes his beloved cat as an example of nature praising God by being simply what the Creator intended it to be. The same thought is carried on in the fifth section with the illustration of the mouse. The sixth section speaks of the flowers - the poetry of Christ. In the seventh section Smart refers to his troubles and suffering, but even these are an occasion for praising God, for it is through Christ that he will find his deliverance. The eighth section gives four letters from an alphabet, leading to a full chorus in section nine which speaks of musical instruments and music's praise of God. The final section repeats of Hallelujah.

SEK 196.00
1