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Popular Voiceworks (2008)
Published in April 2008, I co-wrote this prize-winning book of arrangements and workshops with choral director, singer and theater musician Steve Milloy from Cincinatti Ohio, for the ‘Voiceworks’ series published by Oxford University Press.
The book includes a range of material for singers, solo and choral, in jazz, gospel, soul, dance and musical theatre styles, and each song is accompanied by warm-ups, help with teaching and performing the material and tips on using the voice safely, authentically and enjoyably in these styles. A number also include opportunities for improvising, together with help getting started inventing stylish and simple backings and improvising with the voice.
In 2008, Popular Voiceworks won the prize for Best Pop Music Publication of the UK. Here are a couple of music examples, and there are more on the OUP website:
Popular Voiceworks 2 (2012)
Volume 2 came out in August 2012, and includes another 28 songs in popular styles.
Innovations in Book 2 include a simple introduction to beatboxing, a number of country songs and originals by both authors, alongside simple and flexible arrangements of standards including ‘Ain’t No Stoppin’ Us Now’, ‘Scarborough Fair’ and Gerry Mulligan’s ‘Blues in B Flat’.
Amazing Grace mp3
'A Different Kind Of Goosebump' - Chapter In the Oxford Handbook Of Choral Pedagogy (2017)
In 2017, I completed a ground-breaking chapter on choral pedagogy, entitled 'A different kind of Goosebump'. It is about singing with purpose, proposes a distinct LGBTQ choral pedagogy, and challenges the idea of a single choral pedagogy as applicable in all social contexts and to all groups.
Interviews with singers were used to get under the skin of their experience in LGBTQ groups: what they feel about what they sing, why they sing and what is unique about the pedagogy choral conductors should use with LGBTQ groups.
The chapter identifies as unique a number of issues, including: the transgender voice, and how to coach it; the often gendered nature of voice parts; the nature of a distinctive LGBTQ choral repertoire; the powerful sense of shared purpose of many LGBTQ singers, choral groups and audiences; and the goals of community and activism.
The chapter concludes that the social context generates a genuinely unique sense of what a choral performance actually aims to achieve, and suggests that choral conductors and teachers working in that context have unique roles, and must be responsive to special challenges as teachers and leaders.
Oxford Companion to Jazz (2002)
In 2002, I completed the article on Jazz Education in the New Oxford Companion to Jazz, edited by Bill Kirchner.
It is an overview of the history of jazz education from the 1920s to the present day, the development of formal jazz education and the relationship between that and more informal methods. It also incorporates parts of my Ph.D research examining the relationship between jazz in education and jazz as it is performed.
Faber Choral Basics (2006-2010)
Committed to getting choirs singing music of all styles, I have so far written five volumes of choral arrangements for Faber in their Choral Basics series, available in SATB and SSA voicings, including:
Three songs from hit TV show ‘Glee’: Journey’s ‘Don’t stop Believin’, Streisand’s ‘Don’t rain on my Parade’, and The Pretenders’ ‘I’ll Stand by you'.
Three songs in the style of vocal group ‘The Baseballs’: Beyonce’s ‘Crazy in Love’, Rhianna’s ‘Umbrella’ and Scissor Sisters’ ‘I don’t feel like dancing’.
Three songs from Chicago, the Kander and Ebb Musical: All that jazz; When you;’re good to mama; and Roxie.
'Frankly Speaking (2006)'
Three songs made famous by Frank Sinatra, in the style of the famous 1950s Nelson Riddle arrangements. New York; I’ve got you under my skin; The lady is a tramp.
‘Disco classics’ (2006)
Three classic songs from the disco era: YMCA; It’s raining men; Tragedy.
Jazz Piano from Scratch (1999)
I have also written a critically acclaimed book 'Jazz Piano from Scratch', published by in Europe and worldwide in 1999 and licensed to in the US and Canada. I am proud to say it is still in print, 20 years on.
A ’self-help guide for students and teachers’, it aims to introduce the basic concepts of jazz to both piano pupils and teachers through accessible and enjoyable activities. It refers extensively to the tune books of the ABRSM Jazz Piano and Horns syllabuses, which I co-ordinated and helped devise as Lead Consultant. A follow-up manuscript, ‘Play Jazz from Scratch’ which introduces similar concepts to non-pianists is currently with ABRSM Publishing.