Intonation lbert Pinsonneault pdf donload $5000 GP-P001 Choral Intonation Exercises lbert Pinsonneault ed Michael Culloton Intonation choral exercises graphitepublishingcom
Praise for Intonation: hese choral intonation exercises have been most beneficial to the choirs at the University of Maryland ince making them a regular part of our arm up and rehearsal routines, our singers aareness and sensitivity to both vertical and horizontal tuning issues have increased substantially hey are no able to assume much greater individual responsibility for the success of the entire ensemble for precise and accurate intonation here is good flexibility ithin the exercises and any choir, from beginning to advanced, can improve by using them I recommend them most highly! Edard Maclary Director of Choral ctivities chool of Music University of Maryland ---- I once heard a conductor tell a room full of other conductors that singers don t conspire to sing out of tune, and that it s our job to help them hear their purpose in a piece his collection of exercises ill increase your choir s aareness of pitch and function ithin a chord, and their intonation ill improve quickly! Here s a bonus that I kno to be true: your singers ill enjoy singing these exercises, too! (he exercises are like gummy bear vitamins great tasting medicine!!) Michael Culloton ssistant Professor of Music Concordia College, Moorhead, MN Concordia Chapel Choir, Männerchor, Cantabile
Note to the Director Exercise 1: udiation, Onsets, lend Exercise : Unisons of Pitch and oel Exercise 3: Perfect Pentachords Exercise 4: uning the Major Mode Exercise 5: uning the Minor Mode Exercise 6: uning Mi and Me Choral Intonation Exercises able of Contents Exercise 7: uning Non-Chord ones Within the Modes Notes on Exercises 8-18 Exercise 8: Chromatic Intervals Within the Fifth Exercise 9: uning Within Changing Harmonies Exercise 10: Expanding and Contracting into Consonance Exercise 11: Fifths in udiation Exercise 1: Controlled Dipthongs Exercise 13: Fourths in udiation Exercise 14: Finding alance in Harmony Exercise 15: uspensions as ccented Dissonance Exercise 16a: harpening the ass, empering the oprano Exercise 16b: harpening the lto, empering the enor Exercise 17: he Omnibus Progression Exercise 18: Rhythmic rpeggiations Exercise 19: Legato lend
Choral Intonation Exercises Note to the Director Purpose Contained ithin this book are exercises designed to strengthen the intonation and listening skills of a choral ensemble and its members Contents he exercises are organized in a graduated progression, moving from easier to more difficult arious exercises concentrate on unison in a section or the entire ensemble, tuning consonant and dissonant intervals, tuning ithin functional harmony, alignment of voels, and placement and intonation of various difficult intervals ithin a tonality Utilization It is intended that one or a small number of these exercises be utilized at the end of vocal arm-ups, before moving on to the rehearsal of repertoire he concentration and listening required to execute these exercises also brings a high level of focus to the ensemble prior to the rehearsal Pedagogy Many choirs contain both individuals ith advanced musicianship skills, and those ho struggle to hear and replicate pitch ith accuracy op choirs contain a higher percentage of advanced students hile training choirs possess a loer percentage Choirs at small institutions may contain an equal mix of both types hese exercises seek to strengthen listening and intonation skills of students of all abilities simultaneously For perusal In addition, purposes they strengthen only one vital Do skill not that copy cannot be practiced individually, fitting oneself into the texture of an ensemble his methodology is based on Edin E Gordon s audiation theory musician must be able to first hear musical material in their mind before being able to produce that musical material ith accuracy hese exercises seek to strengthen the ability of singers to anticipate their next sound, not only in pitch, but also voel, dynamic, and timbre hese exercises also seek to strengthen each singer s understanding of tuning at an aural level oo often blanket chords are used for intonation purposes and they are ultimately of limited usefulness Perhaps the basses ill become experts at tuning major triads hen they are the root of the chord, but hat about hen e move beyond triads in root position he exercises in this book understand that all members of the choir should be able to experience the pristine intonation of all intervals Only after experiencing, hearing, and understanding good intonation can singers be expected to replicate it ithin repertoire
Many of these exercises can be repeated throughout the course of the year, increasing in difficulty as the choir strengthens typical learning progression on a single exercise over the course of the year might follo this formula: Level 1: 1) he first several repetitions (eeks) ith an exercise it is sung ithout any sense of meter or tempo, resting on every note for several seconds For perusal and alloing purposes for the singers only to adjust Do their not sound copy until a desired intonation is achieved he pedagogy here is that the singer must first kno hat it sounds like to sing in tune before they can be expected to anticipate that sound Conductors can use verbal feedback to adjust (eg tenors: you re flat there), but also the singers should be encouraged to listen for the moment hen the tuning locks, and conductors should not move forard until that is achieved Level : ) he exercise may then be repeated ith silence beteen each note or chord he silence provides time for singers to anticipate internally (audiate) the next sound, rather than relying on muscle memory he silence should be long enough (3-4 seconds) so that all singers are encouraged to audiate, otherise only the best leaders ill audiate and the remainder ill try to enter behind and/or quickly adjust ithout premeditation 3) he exercise may be set to a slo but steady tempo, forcing singers to quickly anticipate the next sound, and to enter in rhythm Level 3: 4) he exercise may then be set to a steady rhythm ith the insertion of silence beteen pitches (eg changing a sequence of half notes into quarter note-quarter rest) forcing singers to quickly audiate ithout the help of muscle memory 5) he exercise then may be adjusted for the inclusion of a dynamic transitions: successive contrasting dynamics, adding a ne element that singers ill audiate b ne or exotic voel sounds: eg inserting the Russian voels that flummox the choir on ogoroditse Devo c more advanced intonation systems; eg practicing just intonation for a piece by Machaut lend oels, placement of production, dynamic uniformity, vibrato rate, and timbral uniformity can all effect intonation, the separation beteen intonation and blend can become grey hese exercises ill result in the creation of choral blend, hoever, they do not specify that blend hroughout the execution of these exercises, conductors are encouraged to adjust pitch, voel, dynamic uniformity, placement of production, and balance of sections or chords to their on taste I can not specify exactly the quality of voels, nor can I specify exactly hen a minor third is in tune, for numerous
variations exist on both counts Each conductor ill have their on sense of voels and intonation, as ell as their on tolerance to ensemble uniformity, some desiring a highly homogenous pristine sound hile others desire a more heterogeneous colorful sound Just as each conductor has their on ideal choral sound, the adjustments the conductor makes and encourages hile orking on these exercises ith their ensemble ill help steer the choir toards the conductor s idea of blend and intonation Execution 1) hese exercises should be sung a cappella llo the singers to make mistakes and adjustments themselves his ill help train them to listen to themselves and their ensemble instead of focusing their ear on the piano ) he exercises should be performed either very sloly, or out of time ith the conductor directing every change of pitch loness in execution allos for the singer to listen and make adjustments continuously, rather than simply relying on muscle memory 3) Conductors should adjust pitch, voel dynamic uniformity, unity of motion, and the quality of unisons and intonation to fit their tastes 4) Many of these exercises are in the major and minor keys of, C-sharp, and F-sharp he sharp keys add a brightness that aids hearing intonation he conductor should feel free to transpose any exercise to additional keys as they see fit 5) For the purposes of this manual, the five latin voels (spelled ith English homophones) can be pronounced as such: h = [a], e = [ε], Ee = [I], Oh = [o], Oo = [u] hese voels are only suggestions, and can be exchanged for any uniform sound or syllable that ould benefit your ensemble he Drone Many existing ensemble intonation guides invite the chorister to tune intervals ith the piano, or to hone the ear through singing exercises in unison In contrast, the method in this book often employs an exercise performed over a choral drone, alloing for to outcomes: 1) ingers on moving parts are training their ears to tune to other singers and not an outside instrument ) ingers intoning the drone naturally open their ears to listen to the moving lines, thus strengthening their ability to hear outside their on part Memorization and Rote Learning singer is best able to listen hen not looking at a score Many of the folloing exercises may be taught or explained ithout the singers needing to see notation More complicated exercises may be memorized in order to achieve the best results
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GP - P001 : Unisons of Pitch and oel from Intonation created by lbert Pinsonneault edited by Michael Culloton oprano 6 ing ith a pure and uniform voel W W W lto 6 W W W enor 6 W W W ass 6 W W W Level 1: 1) In turn, each section departs and returns to consonance by a prescribed interval (eg hole step, shon belo) In departing they learn to tune their interval of departure (eg hole step) In returning to the choral unison their aareness of the For unison perusal increases purposes only Do not copy ) In droning sections, their ears ill naturally be dran to the moving notes providing to outcomes heir ears ill be strengthened by listening to their on and another part simultaneously, and they ill learn to discern for themselves hen moving parts successfully tune departure intervals, and hen they successfully rejoin the unison 3) his exercise should first be conducted ithout a tempo, pausing to tune each passing pitch or interval Level : 1) he conductor may add other voel sounds as desired or suggested by repertoire being rehearsed ) he conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time Level 3: 1) Other intervals may be used, or patterns of intervals or scales For example, departing up to hole steps and returning, don to hole steps and returning, or up and don a minor pentachord Experimenting ith modes may also prove valuable
GP P001 created by lbert Pinsonneault edited by Michael Culloton For perusal purposes 3: Perfect only Pentachords Do not copy he choir may need music to sing this exercise Memorization encouraged Level 1: 1) In turn, each section departs and returns to a perfect fifth consonance by a prescribed pentachord (major or minor, but modal pentachords may be introduced as a more advanced technique) ingers learn to tune their scale degree interval ithin the context of the perfect fifth ) Droning singers ears ill naturally be dran to the moving lines, strengthening their listening skills 3) his exercise should first be conducted ithout a tempo, pausing to tune each passing pitch or interval 4) his exercise can be sung using solfege, numbers, text from repertoire, or a neutral voel ake particular notice of the major (and minor) third scale degree (Mi/me) Compared For perusal to these intervals purposes on the equal-tempered only Do not piano, copy the just minor third should be a bit ider (higher) and the major third shorter (loer) oth major and minor thirds are often sung flat Use this exercise to encourage a strong sense of in-tune thirds, utilizing the context of the perfect fifth Level : 1) he conductor may add other voel sounds as desired or as needed by repertoire demands ) he conductor may conduct this exercise in a steady tempo, making the singers audiate more quickly, and in time Level 3: 1) Other modal pentachords may be used, eg Lydian (4) and Phrygian (b, b3)
GP - P001 3a: Perfect Pentachords (major) from Intonation created by lbert Pinsonneault edited by Michael Culloton oprano 6 ing ith a pure and uniform voel or solfege W W lto 6 W W W enor 6 W ass 6 W W 3b: Perfect Pentachords (minor) ing ith a pure and uniform voel or solfege N W W W W W N W W W
GP P001 created by lbert Pinsonneault edited by Michael Culloton 4: uning the Major Mode he choir does not need music to sing this exercise here are to exercises here egin ith the drone and the scale in unison/octaves (4a) Once mastered add in the contrary motion of the scale (4b) Level 1: 1) his exercise should first be conducted ithout a tempo, pausing to tune each pitch or interval ) Pay special attention to the quality of each interval in relation to the tonic drone Look out especially for thirds, fifths, and sevenths 3) ing on solfege or a neutral syllable Level : 1) he conductor may add other voel sounds as desired or needed by repertoire demands ) he conductor my conduct this exercise in a steady tempo, making the singers audiate more quickly and in time Level 3: 1) Insert silence in the moving (scale) line, thus requiring the fresh audiation of each note in relation to the drone ) In order to try this ith mixed parts, simply count off ( 1--3 ) don the line, assign 1s to drone, s to perform the scale from high do descending, and 3s to perform the scale from lo do ascending, then rotate through tice so everyone performs every part
his page has been removed from the perusal pdf It is included in the licensed version
his page has been removed from the perusal pdf It is included in the licensed version
GP P001 created by lbert Pinsonneault edited by Michael Culloton 5: uning the Minor Mode he choir does not need music to sing this exercise here are to exercises here egin ith the drone and the scale in unison/octaves (5a) Once mastered add in the contrary motion of the scale (5b) Level 1: 1) ery infrequently is a choir presented ith a arm-up in minor he natural minor scale presents some unique challenges, ith its hole steps surrounding tonic In 5b, the second-to-last set of pitches creates a sound ith to adjacent hole steps, great preparation for the added-note harmonies often found in contemporary choral music ) his exercise is just like 4a and 4b, and should be executed as such Level : 1) his exercise can be repeated utilizing any mode It is especially useful ith chromatic and hole-tone scales
his page has been removed from the perusal pdf It is included in the licensed version
GP - P001 5b: uning the Minor Mode from Intonation created by lbert Pinsonneault edited by Michael Culloton oprano lto enor ass ing ith solfege or a pure and uniform voel W do W do te le sol fa me re do, do re me fa sol le te do, W W,, W do W, do re me fa sol le te do do te le sol fa me re do W W,,, 3 do, do re me fa sol le te do, W W do W W do,, do do te le sol fa me re do W do W do W W do te le sol fa me re do do re me fa sol le te do
GP P001 created by lbert Pinsonneault edited by Michael Culloton 6: uning Mi and Me he choir may need music initially to sing this exercise Level 1: 1) his exercise moves straight into the troublesome major and minor third ithin the perfect fifth Conduct initially ithout a tempo, alloing singers to adjust into clean intonation for the major third and minor third Level : 1) Have the droning voices hold, but add breaths or separation beteen the pitches of the moving parts so the singers must audiate their subsequent entrance into Mi, Me, or Do Level 3: 1) Give a steady tempo for the exercise, ith separation beteen the pitches ithin the moving line Do not sacrifice intonation in order to have steadiness of rhythm If intonation suffers, slo the tempo or return to note-by-note conducting ake particular notice of the major (and minor) third scale degree (Mi/me) Compared to these intervals on the equal-tempered piano, the just minor third should be a bit ider (higher) and the major third shorter (loer) oth major and minor thirds are often sung flat Use this exercise to encourage a strong sense of in-tune thirds, utilizing the context of the perfect fifth
GP - P001 6: uning Mi and Me from Intonation created by lbert Pinsonneault edited by Michael Culloton he choir may need music initially to sing this exercise oprano 3 ing ith solfege or a pure and uniform voel n lto 3 n enor 3 n ass 3 n a n a n a n a n
GP P001 created by lbert Pinsonneault edited by Michael Culloton 7: uning Non-Chord ones Within the Modes he choir may need music initially to sing this exercise Memorization encouraged Level 1: 1) he moving parts singing ascending and descending diatonic triads ithin the context of a tonic-dominant drone he moving line ill leap into diatonic pitches not part of the tonic triad he singers ill learn to tune all intervals in relation to the harmonic context ) olfege is provided for the choir, but a neutral syllable may be used as desired 3) Unlike earlier exercises, this one is best at a steady tempo egin quite sloly, and stop to fix out-of-tune intervals Level : 1) Have the droning voices hold, but add breaths or separation beteen the pitches of the moving parts so they must audiate their subsequent entrance
GP - P001 7a: uning Non-Chord ones Within the Major Mode from Intonation created by lbert Pinsonneault edited by Michael Culloton he choir may need music to sing this exercise Memorization encouraged oprano lto enor b b b b b b 6 6 6 Do mi sol la fa re Do mi sol la fa re W mi sol ti do la fa mi sol ti do la fa W sol ti re mi do la sol ti re mi do la W sol ti re do sol ti re do ass b b 6 ol W W W Do b b W W W b b Do W W W b b b b ol Do mi sol la fa re mi sol ti do la fa sol ti re mi do la sol ti re do Do mi sol la fa re mi sol ti do la fa sol ti re mi do la sol ti re do
GP - P001 7b: uning Non-Chord ones Within the Minor Mode from Intonation created by lbert Pinsonneault edited by Michael Culloton he choir may need music to sing this exercise Memorization encouraged oprano lto enor b b b b b b b b b b b b 6 6 6 Do me sol le fa re Do me sol le fa re W me sol te do le fa me sol te do le fe W sol te re me do le sol te re me do le W sol te re do sol te re do ass b b b b 6 ol W W W Do b b b b W W W b b b b Do W W W b b b b b b b b ol Do me sol le fa re me sol te do le fa sol te re me do le sol te re do Do me sol le fa re me sol te do le fa sol te re mi do le sol te re do
GP P001 created by lbert Pinsonneault edited by Michael Culloton Notes on Exercises 8-18 he remaining exercises address various other ensemble and intonation difficulties, as noted by their title and brief notes ll of the techniques from the previous exercises may be utilized to strengthen the subsequent exercises, including: 1) the substitution of text ) adding or changing dynamics 3) adding rests or breaks in moving lines to force audiation 4) adding a steady tempo 5) altering the mode of the exercise, or transposing to a ne key Exercise 8 explores chromatic pitches ithin the perfect fifth Exercises 9, 16, and 17 present common intonation problems ithin moving harmonies, specifically the tuning of the third and seventh scale degree (9) and chromatic ascending lines in harmony (16 and 17) Exercise 10 strengthens intonation of pure intervals ithout a drone, and ith both parts moving into each dyad Exercises 11 and 13 ork the audiation of perfect fifths and fourths Exercise 1 helps navigate diphthongs in a controlled manner Exercise 14 moves in eight-part harmony derived from only four parts he singers must learn to balance each harmony Exercise 15 teaches the aural understanding of suspensions as dissonant tension resolving into consonance Exercise 18 provides the choir a rhythmic arm-up ith simple harmonies
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GP - P001 9: uning Within Changing Harmonies from Intonation created by lbert Pinsonneault edited by Michael Culloton Common intonation challenges are presented ithin each voice part: endency tones (3rds and 7ths of tetrachord), and non-chord tones c ing ith a pure and uniform voel N N c N
GP - P001 created by lbert Pinsonneault edited by Michael Culloton 10: Expanding and Contracting into Consonance from Intonation Chromatic motion in to parts toard diatonic intervals c ing ith a pure and uniform voel N N b N c N N b N
his page has been removed from the perusal pdf It is included in the licensed version
his page has been removed from the perusal pdf It is included in the licensed version
GP - P001 created by lbert Pinsonneault edited by Michael Culloton 13a: Fourths in udiation from Intonation Encourage singers to quickly align both voel and pitch Examine the quality of the onset ingers ill learn to mentally anticipate interval and voel Encourage uniformity and purity of voel throughout (no dipthongs) Portamento on "Oh" voel h, e, E e, Oh, h, e, E e, Oh, h, e, E e, Oh, O o 13b: Fourths in udiation *same notes as above h, e, E e, Oh, h, e, E e, Oh, h, e, E e, Oh, O o, O o, Oo!
GP - P001 4 ing ith a pure and uniform voel 4 4 4 14: Finding alance in Harmony from Intonation created by lbert Pinsonneault edited by Michael Culloton eginning 8-Part inging ith only 4 Parts (1=1, =, 1=1, =) U U U U 8 U U U U 15 U U U U
GP - P001 15: uspensions as ccented Dissonance from Intonation created by lbert Pinsonneault edited by Michael Culloton he musical material repeats in the second stanza ith added suspensions Encourage the singers to listen to the ay their dissonance resolves into consonance ing ith a pure and uniform voel N N 1 1 N N N N N
GP - P001 ing ith a pure and uniform voel 16a: harpening the ass, empering the oprano b b b ing ith a pure and uniform voel from Intonation he bass voice rises chromatically hile the soprano navigates tendency tones (3rds and 7ths of the tetrachord) N N b N N b b created by lbert Pinsonneault edited by Michael Culloton N U u U u 16b: harpening the lto, empering the enor he alto voice rises chromatically hile the tenor navigates tendency tones (3rds and 7ths of the tetrachord) U N u U u
GP - P001 ing ith a pure and uniform voel poco a poco cresc throughout 17: Omnibus Progression π π π π N from Intonation Encouraging a long and steady crescendo, utilize hatever syllable, voel, and/or accent desired p p p p n created by lbert Pinsonneault edited by Michael Culloton P b P P b P b 8 n F b F F b F b n b f N f f f b b ƒ N ƒ ƒ ƒ U U U U
GP - P001 18: Rhythmic rpeggiations from Intonation created by lbert Pinsonneault edited by Michael Culloton For perusal ndante purposes q = 9 only Do not copy 4 4 Dee dee dee dee dee dee dee dee dee dee n 4 Cha cha cha cha cha cha cha cha cha n 4 Doot doot doot doot doot doot doot (etc) j Da da da da da da da (etc) 3 (etc) (etc) a j j
GP - P001 18: Rhythmic rpeggiations / Intonation Pinsonneault / ed Culloton 5 1 1 Doot doot doot doot 1 1 j j 7 n a doot doot doot (etc) n Cha cha cha cha cha cha cha cha cha (etc) Dee dee dee dee dee dee dee dee dee dee (etc) j j Da da da da da da da (etc) page of 5
GP - P001 18: Rhythmic rpeggiations / Intonation Pinsonneault / ed Culloton 9 1 1 1 j 1 j 11 n ΠDoot doot doot doot n j Da da da da da da da (etc) n doot doot doot (etc) - Πn Πn n - - n Cha cha cha cha cha cha cha cha cha Dee dee dee dee dee dee dee dee dee dee page 3 of 5
GP - P001 18: Rhythmic rpeggiations / Intonation Pinsonneault / ed Culloton 13 j j (etc) (etc) 15 1 j j 1 1 j j N N 1 page 4 of 5
GP - P001 18: Rhythmic rpeggiations / Intonation Pinsonneault / ed Culloton 17 j Da da da da da da da (etc) Dee dee dee dee dee dee dee dee dee dee n Cha cha cha cha cha cha cha cha cha n j (etc) (etc) a Doot doot doot doot doot doot doot (etc) 19 j j N Doot doot doot Doot doot doot Doot doot doot Doot doot doot page 5 of 5
4 3 4 3 Œ Œ Œ Œ q = 56-60,, 8 Œ Œ,, Œ Œ,,,, U U U U 19: Legato lend GP - P001 from Intonation created by lbert Pinsonneault edited by Michael Culloton Encourage resonant and sustained singing Practice mixed breathing to achieve a seamless line May be sung on neutral syllable or text (eg "alleluia") Entrances should be inconspicuous, like adding a subtle additional organ stop
lbert Pinsonneault Conductor lbert Pinsonneault (PEN-son-oh) is ssociate Director of Choral Organizations at the ienen chool of Music at Northestern University, here he directs the University ingers and teaches graduate choral literature Dr Pinsonneault is also rtistic Director of the Madison Choral Project, a professional chamber choir in Madison, Wisconsin heir ork has been hailed as a bundle of pure bliss, unaccompanied choral sound at its most beautiful, by Madison s Isthmus nespaper dditionally, he is rtistic Director of the Madison Chamber Choir, and as formerly ssistant Conductor of the Madison ymphony Chorus and ssociate Professor of Music and Director of Choral ctivities at Edgeood College native of t Paul, Minnesota, he attended t Olaf College and the University of Minnesota before completing his doctoral study at the College-Conservatory of Music (CCM) of the University of Cincinnati His conducting teachers include nton rmstrong, Earl Rivers, Kathy altzman Romey, Richard parks, Dale Warland, and Richard Westenburg Works for mixed voices from Graphite: Paul yres GP - 00 o Hallo d and so Gracious is the ime, piano Paul yres GP - 005 Jubilate, organ Eric William arnum GP - 008 he White irds, piano Eric William arnum GP - 010 Conflagration, piano bbie etinis GP - 004 lessed e the Lord, My Rock, piano, organ, or a cappella Matthe Culloton GP - C001 o Carols, a cappella Matthe Culloton GP - C00 ussex Carol, cello, harp Christine Donkin GP - D019 In Flanders Fields, a cappella Christine Donkin GP - D00 In Paradisum, a cappella Christopher Gable GP - G003 December Carol, harp Jocelyn Hagen GP - H001 I a hree hips, a cappella Jocelyn Hagen GP - H003 I Lift Up My Eyes (Psalm 11), a cappella Jocelyn Hagen GP - H004 O Come, O Come Emmanuel, soli, a cappella Will Lopes GP - L00 utakenda, opt solo, percussion Will Lopes GP - L003 Celebrai, a cappella cott Robinson GP - R001 ea Fever, a cappella cott Robinson GP - ROO3 he tolen Child, string trio cott Robinson GP - R004 tuff Will Not Endure (cycle), piano Wayland Rogers GP - R005 Rejoice and e Joyful, organ Wayland Rogers GP - R006 Rise, Rise, My oul, organ Wayland Rogers GP - R007 Whatsoever hings are rue, organ Paul J Rudoi GP - R009 What Child is his (div), a cappella Paul J Rudoi GP - R010 mazing Grace (div), soli, a cappella Joshua hank GP - 001 Color Madrigals (cycle), a cappella imothy C akach GP - 001 as in the Moon of Wintertime, a cappella imothy C akach GP - 00 ign of Day to Come, a cappella imothy C akach GP - 010 Neither ngels, Nor Demons, Nor Poers, a cappella Dale Warland GP - W001 lays inging div, a cappella Dale Warland GP - W003 ed more div, piano graphitepublishingcom Graphite sells digital scores that include excellence and accessibility: unique yet emotional; challenging yet appealing; innovative and enjoyable to experience