SKU: GI.G-527
Text by Noel Goemanne.
Conversational Solfege is a dynamic and captivating first-through-eighth grade general music program that enables students to become independent musical thinkers with the help of a rich variety of folk and classical music. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. Central to the Conversational Solfege program is the use of music harvested from our rich and diverse American musical history. This variety of music serves as a common thread that spans and bonds generations. Each book contains varied song material so the teacher can select appropriate music for the lower grades or older beginners. This 12-step teaching method carefully brings students from readiness to, ultimately, creating music through inner hearing and then transferring their musical thoughts into notation—in other words, to compose music! This CD provides 14 classical selections referenced in Conversational Solfege Level 2. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the included booklet, timings are given for each selection and the portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple to read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy. This series is a complete, innovative approach to teaching music that will stay fresh year after year. CONTENTS Conversational Solfege Unit 5: 1. Antonin Dvorak • New World Theme Conversational Solfege Unit 6: 2. Franz Joseph Haydn • Theme from  the Surprise Symphony, 3. Camille Saint-Sans • Turtles from Carnival of the Animals, 4. Ludwig van Beethoven • Symphony No. 7, 2nd Movement, 5. Josef Strauss • Feuerfest (Fireproof) Polka, Op. 269 Conversational Solfege Unit 7: 6. Jacques Offenbach • Can-Can, 7. Dmitry Kabalevsky • Pantomime from the Comedians, 8. Edvard Grieg • In the Hall of the Mountain King Conversational Solfege Unit 9 and Unit 11: 9. Jacques Offenbach • Barcarolle Conversational Solfege Unit 10: 10. Edvard Grieg • Morning Conversational Solfege Unit 11: 11. Ottorino Respighi • Ground in G Conversational Solfege Unit 12: 12. Johann Sebastian Bach • Jesu, Joy of Men's Desiring, 13. Jean Sibelius • Finlandia Conversational Solfege Unit 13: 14. Ludwig Van Beethoven • Symphony No. 6, Movement 5 John M. Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of Music, University of Hartford, Connecticut.
SKU: AP.49515S
ISBN 9781470649555. UPC: 038081570334. English.
Bandwidth, according to Webster's Dictionary, is the maximum data transfer rate of an electronic communications system. In Bandwidth by Vince Gassi, waves of sound and rhythmic energy (1.21 gigawatts to be exact) are transferred to you and your audiences. Right from the first measure this piece will power on and power you up. Syncopated figures contrast with legato lines while the momentum build throughout. Not too complicated, just fun to play and easy to listen to. (2:14) This title is available in MakeMusic Cloud.
SKU: AP.49515
ISBN 9781470649548. UPC: 038081570327. English.
SKU: CF.YAS15
ISBN 9780825851995. UPC: 798408051990. 8.5 X 11 inches. Key: D minor.
Lower strings be sure to maintain a steady pulse and dont rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 121. If the soloist is comfortable using third position, play mm. 119 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and donat rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1a21. If the soloist is comfortable using third position, play mm. 1a19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don't rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1-21. If the soloist is comfortable using third position, play mm. 1-19 and the first half of m. 20 one octave higher. All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance. String editing by Amy Rosen.Lower strings be sure to maintain a steady pulse and don’t rush the walking figure at the opening. When the melody is transferred to the lower strings (pick-up to m. 10 and m. 13), play with a full sound. Be careful of the balance and allow the soloist to dominate in mm. 1–21. If the soloist is comfortable using third position, play mm. 1–19 and the first half of m. 20 one octave higher.All parts should be in a solid marcato style in the fast section (m. 22 to the end). In m.50, Violin I should bring out the Hava Nagila quote equal to the volume of the rest of the orchestra. Be sure to observe all the soft dynamics to add interest to the performance.String editing by Amy Rosen.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.3725006
UPC: 888938010021. 5.0x23.5x4.5 inches.
In a well-balanced stand, the weight of the stand increases toward the bottom. However, we faced a contradiction when trying to use steel material, which transfers vibration better than aluminium, near the actual cymbal itself. Our unconventional stand utilizes a lower center of gravity u hence the bottom of the center pipe of the stand gets very close to the floor to provide better balance to the stand. With minor changes in 2017, we changed the joint part from zinc die cast to aluminum and also from aluminum pipe to steel pipe. Thus we managed to maintain the light weight, but greatly improved the sound and balance of the stand.
