SKU: WD.080689659171
UPC: 080689659171.
Ever wonder what it was like on that one starry night in Bethlehem long ago? That night when angels sang, shepherds rejoiced, and a young couple gazed at their precious, newborn baby boy. You may think you’ve heard it all before; that you know all there is to know about that night and that special baby’s birth. But until you’ve heard the story told by the animals who were there with Mary and Joseph, you just might be missing an important perspective on all that happened that first Christmas night! Now you can hear all about it in Raad Tidings We Bring…The Animals’ Christmas Story, new, from Christy and Daniel Semsen! The Animals’ Christmas Story begins with two revered “old-timersâ€â€¦ two celebrated “senior citizens†of the animal community in Bethlehem. Meet Ruthie and Eleanor; one, a wise old donkey, the other, a shall we say, long-in-the-tooth, camel, both reminiscing about the night when Christ was born. Our two old friends are joined throughout the musical by others who all came together to experience this miraculous birth. You’ll hear from birds on their way to Bethlehem for the census, meet theater mice and a thespian cat who entertain guests at the inn, and be introduced to a super-smart sheepdog and a super-chill flock of sheep- you know, those sheep who saw the angels on the hillside, outside of Bethlehem! Raad Tidings We Bring… The Animals’ Christmas Story, is a paws-i-tively amazing, meow-fully wonderful, hee-haw-fully marvelous re-telling of God’s love story…the story of a Savior, the story of redemption, the story of Christmas!
SKU: CF.CM9627
ISBN 9781491156995. UPC: 680160915552. 6.875 x 10.5 inches. Key: Eb minor. English, English. English Folk Song.
A fantastic piece to teach vowels, diction, rhythms, and pitch precision, this English folk song, titled Leatherwing Bat, is fun to sing and impressive to perform. The nonsense syllables represent birds and bats chatting to one another in a rhythmic, witty fashion that your students will love to sing. Also available for Three-Part Mixed Voices (CM9595), Two-Part Treble Voices (BL1102), and SATB Voices (BL1153).Leatherwing Bat is the original name of this traditional folk song. Folklore has always thought of the animals with human characteristics, including the power of speech. Even Mark Twain once commented that there was no question about the ability of animals to talk to each other. The question was whether or not very many people could understand them. This folk song is about the bat and birds chatting to each other about love. Phonetic pronunciation suggestion: Hahee-dih-dahoo, dee-dih-dul-uhm-dehee Heh-lee-lee, lih-lahee-lih-loh.Leatherwing Bat is the original name of this traditional folk song. Folklore has always thought of the animals with human characteristics, including the power of speech. Even Mark Twain once commented that there was no question about the ability of animals to talk to each other. The question was whether or not very many people could understand them.This folk song is about the bat and birds chatting to each other about love.Phonetic pronunciation suggestion:Hahee-dih-dahoo, dee-dih-dul-uhm-deheeHeh-lee-lee, lih-lahee-lih-loh.
SKU: CF.CM9595
ISBN 9781491154175. UPC: 680160912674. 6.875 x 10.5 inches. Key: Eb minor. English. English Folk Song.
Leatherwing Bat is the original name of this traditional folk song. Folklore has always thought of the animals with human characteristics, including the power of speech. Even Mark Twain once commented that there was no question about the ability of animals to talk to each other. The question was whether or not very many people could understand them. This folk song is about the bat and birds chatting to each other about love. Phonetic pronunciation suggestion: Hahee-dih-dahoo, dee-dih-dul-uhm-dehee Hehee-lee-lee, lih-lahee-lih-loh.Leatherwing Bat is the original name of this traditional folk song. Folklore has always thought of the animals with human characteristics, including the power of speech. Even Mark Twain once commented that there was no question about the ability of animals to talk to each other. The question was whether or not very many people could understand them. This folk song is about the bat and birds chatting to each other about love. Phonetic pronunciation suggestion: Hahee-dih-dahoo, dee-dih-dul-uhm-dehee Hehee-lee-lee, lih-lahee-lih-loh.Leatherwing Bat is the original name of this traditional folk song. Folklore has always thought of the animals with human characteristics, including the power of speech. Even Mark Twain once commented that there was no question about the ability of animals to talk to each other. The question was whether or not very many people could understand them.This folk song is about the bat and birds chatting to each other about love.Phonetic pronunciation suggestion:Hahee-dih-dahoo, dee-dih-dul-uhm-deheeHehee-lee-lee, lih-lahee-lih-loh.
SKU: HL.14027502
ISBN 9780711988866. 9.0x12.0x0.103 inches. English.
Robin's passion is to sing. He happily joins in with all the festive Christmas music, but this doesn't make him very popular. The stars redeem the situation, and take him to the Bethlehem stable, where he leads a Christmas sing-along with all the animals and characters from the play. A charming story with clever songs that implement the National Curriculum for Music Requirements. Details of these and other curriculum links are included in the educational notes. The matching CD contains a complete performance of all the songs plus imaginative backing tracks to sing along to. Script available in student book. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
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: HL.14022429
English.
A fun musical play in rhyme with seven songs for Primary schools based on the Grimm Brothers' story. Meet the flamboyant donkey who revels in showing-off, the kindly old dog who discovers he can sing, the slinky cat the night-singer, and the always-in-a-flap Rooster. Whilst perfect singing voices are not required, enthusiasm and humour are! The play has nine main characters, a unison speaking chorus, a body of singers and a troupe of dancing forest animals. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: HL.50601107
ISBN 9781540006875. UPC: 888680713805. 6.75x10.5x0.131 inches.
This is the latest â?? and 7th â?? in an a cappella series going back three decades in which the texts are taken from Shakespeare's plays. â??Come Unto These Yellow Sandsâ? is a gentle invitation to the listener, at least until the animals take over. â??Thou Canst Not Hit It,â? in this interpretation, is a song about trying to hit the high and low notes. Surrounded by comedy and tragedy, â??Honour, Riches, Marriage-Blessingâ? is the idyllic center of the set. â??O Sweet Oliver,â? with its dueling boy and girl choirs, leads into â??Willow, Willow,â? where the poem's word repetitions inspire the driving rhythm.
SKU: HL.14009157
ISBN 9780711986466. 0.12 inches. English.
Double Trouble uses catchy tunes and clever lyrics to teach mathematical concepts. Ideal for whole-class lessons where knowledge and skills are introduced, developed or reinforced. All the songs are valuable for leading on to questioning and problem-solving activities.
