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SKU: HL.1157659
ISBN 9781705187234. UPC: 196288120933. 6.75x10.5x0.045 inches.
The line between time's reality and its invention is blurry. In this new piece, the lyrics disappear and phrases take on new meaning. We lose time when we try to keep it; we spend time as we try to save it. Time insists upon eluding us; we can only notice the fact that time has been winking at us all along. This music is a way of winking back.
SKU: WD.080689825224
UPC: 080689825224.
All aboard! Join Mr. Cruise (an overly-enthusiastic tour director) and his faithful daughter Liza on a boat trip up the Nile as they retell classic Bible stories. But there's a problem: The stories are all wrong! It takes the kids of Ocean View Church who are on board to set the record straight and help Mr. Cruise understand the real truth about God's enduring love and faithfulness to His people. Filled with fun and clever songs, this easy to present and perform musical is a creative breath of fresh air that's as enlightening as it is worshipful and entertaining. Create a wonderful and unique musical experience for your children's choir and congregation with Spend a While on the NileFeatures Matt Redman song, You Never Let Go. For the first time ever: Studio Orchestration available (for free!) on the IVD! TRK written by the creator, Christy Semsen.
SKU: WD.080689468094
UPC: 080689468094.
SKU: WD.679143039392
ISBN 080689455179. UPC: 080689455179.
SKU: GI.G-5960
English. Text by Catherine Bell Robertson.
A Guide for Your First Year of Teaching From fundraisers to irate parents, from meeting other teachers to measuring for new marching band uniforms, your teaching methods class never covered this territory! In Confessions of a First-Year Maestro, author Catherine Bell Robertson takes readers along as she rides the roller coaster of first year teaching! Centered on journal entries written during her first year as director of all bands, choirs, and ensembles at a parochial high school, this book captures the surprises, joys, and woes of her hectic year. As a survivor and now veteran teacher, she also looks back on this challenging time and offers insightful reflections. Robertson's journal and commentary are filled with lessons that every future teacher should read, especially those who will teach music. But while offering inspiration and a few warnings for education students, the humorous and often touching stories in this book also offer encouragement and understanding for teachers in their own first year, as well as a trip down memory lane for many veterans. A delightful and sincere look into the world of a first-year teacher as she begins her real education! Kate Robertson teaches at Arrowhead High School in Hartland, Wisconsin (not the school described in this book). She graduated with highest honors from the University of Wisconsin-La Crosse with a Bachelor of Science in Music Education and has been teaching for four years. In her spare time, she enjoys traveling, hiking, gardening, cross-country skiing, and spending time with her husband, Cal, and their dog, Jake. Currently, Ms. Robertson is pursuing a Master's Degree in Education and is beginning work on her follow-up book to Confessions of a First-Year Maestro, entitled More Confessions: A Fellowship of Teaching Strategies, Stories, and Ideas. For more information, or to contribute to this collective book, please contact Ms. Robertson at teacherconfessions@yahoo. com.
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
SKU: HL.1117964
UPC: 847986002129. 7.0x10.25x4.25 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Two switchable sound characteristics, AIR and FLAT. The 140 AIR has two sound characteristics, AIR and FLAT. AIR delivers an open, sparkling character which is the right choice if you need great sound without spending time on post-production. FLAT provides a linear frequency response for âÂÂas-it-isâ  reproduction of drums, strings, acoustic guitars, and choirs. It is perfect if you aim for realistic sonic images. The best stereo matching you can get. LEWITT has one of the most precise matching processes in the industry. The difference between the two mics of a stereo pair is inaudible. How come? The frequency response and sensitivity of every single microphone is measured. A measurement system controls the polarization voltage of the capsule to adjust the sensitivity, so it is the same for all LCT 140 AIR. Then, an algorithm compares the measured frequency response of each microphone and finds the perfect pairs. Excellent transient response and full flexibility on all instruments Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 140 AIR delivers an excellent transient response. To be prepared for all eventualities, the LCT 140 AIR has a low-cut and a PAD. You won't break a sweat with loud sources, nor will you have to deal with low-frequency noise when you don't want to. The LCT 140 AIR is great for: Acoustic Guitar Drums Strings Choirs Piano Ukulele Durable and light aluminum housing The LCT 140 AIR is very durable yet lightweight thanks to its CNC'ed aluminum housing. Positioning and setup become easy tasks. What's in the box? The 140 AIR Stereo Pair comes with two snap-in mic clips, a transport bag with two pockets, and two windscreens.
SKU: HL.1117963
UPC: 847986002044. 6.75x10.25x4.0 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Two switchable sound characteristics, AIR and FLAT The 140 AIR has two sound characteristics, AIR and FLAT. AIR delivers an open, sparkling character which is the right choice if you need great sound without spending time on post-production. FLAT provides a linear frequency response for âÂÂas-it-isâ  reproduction of drums, strings, acoustic guitars, and choirs. It is perfect if you aim for realistic sonic images. Excellent transient response to capture the natural sound of your instruments. Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 140 AIR delivers an excellent transient response. Durable and light aluminum housing The LCT 140 AIR is very durable yet lightweight thanks to its CNC'ed aluminum housing. Positioning and setup become easy tasks. What's in the box? The 140 AIR comes with a snap-in mic clip, a transport bag, and a windscreen.
SKU: HL.14043618
UPC: 840126948875. 9.25x12.0x0.08 inches. English.
Four Traditional Songs is a setting of four heartbreaking and poignant folk songs by virtuoso contemporary composer Nico Muhly . Composed in 2011, the songs deal with themes of death, murder and unimaginable events that are emotively arranged for Countertenor Voice and Piano. Commissioned by Carnegie Hall in New York City and Wigmore Hall in London, this work was first performed at those renowned venues in 2011 and 2012, respectively. Muhly states that he drew inspiration from old English folksongs, and would spend time imagining stylised yet subtle musical settings with accompaniments. The result of this intensive period of listening is Four Traditional Songs , whichlasts around 15 minutes and carries that incredible sense of sad balladry that counters the occasionally jaunty melodies. This edition is for Countertenor Voice. Please click here to purchase the Baritone version.
SKU: PR.14440569S
UPC: 680160609871.
Anoth er fellowship in 1999 allowed Martin to spend time in Japan, a culture which has found its way into other Martin compositions, as well. His six month visit in that country is captured in four movements with unique inspiration. For advanced performers. Duration: 12'.
SKU: PR.144405690
UPC: 680160609857.