SKU: AP.0571B
ISBN 9780757980145. UPC: 654979023098. English.
All games in the Artie Almeida Music Games series were created by Artie Almeida for fun reinforcement and assessment of basic music concepts in general music classes. Games are geared to various elementary grade levels. In this exciting musical trivia game, students compete for colossal cash by answering questions about musical instruments, music vocabulary, and music symbols. Terrific for an end-of-year review of knowledge! Contents of game (packaged in a 9 x 12 plastic ziplock hanging bag): 30 colorful Daffy Duck Bills (11 x 5) with music questions in six different denominations (the higher the denomination, the harder the question), plus directions/answer key.
SKU: GI.G-1049
UPC: 785147004929.
James Jordan and The Same Stream should be commended for this album. The Same Stream succeeds in presenting this collection of twenty-first century choral music with a high degree of technical accuracy. Their sectional balance is nearly perfect, and contains impeccable intonation. The performances on this recording should have a wide appeal to twenty-first century choral music enthusiasts. — Gerrit S.C. Scheepers, Indiana, PA    Choral Journal (September 2020) These tracks represent the first full CD of a new American choral ensemble: The Same Stream. The choir’s very existence is the living result of questions regarding what it means to sing together within a deeply “knitted†community, a community that shares answers to commonly held questions and beliefs about what creates a truly human resonance within and among singers. For me, this ensemble is a continuation of beliefs that have been my North Star all of my career. To hear those questions answered and dreams become a reality with the establishment of The Same Stream choir is deeply humbling, gratifying and life affirming. It is our hope that these recordings enrich those who hear them—as much as making them has made our lives deeper and more meaningful. — James Jordan, Artistic Director and Conductor of The Same Stream    www.thesamestreamchoir.com Recorded in the unparalleled Cathedral Basilica of Saints Peter and Paul in Philadelphia, The Same Stream's debut full-length recording, Songs of the Questioner, features music by outstanding living composers with a personal connection to the ensemble. Music by Thomas LaVoy, Paul Mealor, Peter Relph, and Dan Forrest help the listener to explore those deep and important questions that follow us throughout our entire lives.
SKU: LM.JJ09382
ISBN 9790230809382.
A toute volee - Con animo sereno - Largo interrogativo - Variation amesuree et son double mesure (piano seul) - Cantabile e tenero - Prosopopee - Le coeur de la question - Vivacissimo.
SKU: HL.35027660
UPC: 884088532451. 4.75x5 inches.
Uses: General, LentScripture: Psalm 8This anthem provides a unique spiritual perspective on Psalm 8 offering choirs a chance to express heart-felt adoration to the creator. This enigmatic piece draws the listener close especially during the finale with its messages of hope and promise.
SKU: HL.293380
ISBN 9781540050953. UPC: 888680935962. 9.0x12.0x0.801 inches.
Called the world's greatest bass player, Jaco Pastorius left a permanent mark on the music world despite his tragically short life. This combbound collection provides an invaluable opportunity to study note-for-note transcriptions of 43 of his recordings. A must-own for any bass player's library! 43 works, including: Amerika â?¢ Barbary Coast â?¢ Birdland â?¢ Black Crow â?¢ Black Market â?¢ Blackbird â?¢ Bright Size Life â?¢ The Chicken â?¢ Chromatic Fantasy â?¢ Come On, Come Over â?¢ Continuum â?¢ Dara Factor One â?¢ Donna Lee â?¢ The Dry Cleaner from Des Moines â?¢ 4 A.M. â?¢ God Must Be a Boogie Man â?¢ Good Question â?¢ Harlequin â?¢ Havona â?¢ Hejira â?¢ I Can Dig It Baby â?¢ Invitation â?¢ Kuru â?¢ Liberty City â?¢ Mood Swings â?¢ Night Passage â?¢ Okonkole Y Trompa â?¢ Opus Pocus â?¢ Palladium â?¢ Port of Entry â?¢ Portrait of Tracy â?¢ Punk Jazz â?¢ A Remark You Made â?¢ River People â?¢ Slang â?¢ Speak like a Child â?¢ Speechless â?¢ Talk to Me â?¢ Teen Town â?¢ Three Views of a Secret â?¢ Unquity Road â?¢ (Used to Be A) Cha Cha â?¢ Word of Mouth. Includes tab!
SKU: FG.55011-640-5
ISBN 9790550116405.
The Book of Questions for mezzo-soprano and chamber orchestra (2006) is part of an entire concert, which Kalevi Aho (b. 1949) composed for the Chamber Orchestra of Lapland to be premiered in 2007. In the spring of 2006, he came across the posthumously published collection The Book of Questions (1974) by Pablo Neruda (1904-1973), the Chilean poet and winner of a Nobel Prize. The Book of Questions is Neruda's last work, an unconventional testament to his work as a poet. The collection consists exclusively of questions, many of which are strange or unusual in character: they force the reader to look at things in an entirely new perspective. Aho selected the texts for the song cycle from Neruda's questions and combined them into eleven new sets, each containing between two and seven different questions. The Book of Questions thus became a meditative, philosophical song cycle. All eleven sets of questions are performed without a break, and the duration is c. 24 minutes. The orchestral material is available for hire from the publisher. The orchestration is 1(+afl)1(+ca)11-1000-01-st.
SKU: GI.G-017325
An updated version of the original discussion-starter book Questions for Catholics. With questions dealing with faith, life, love, and responsibility this travel-sized book is ideal for youth groups, family, friends, even while dating! A thought-provoking resource that will leave a lasting impression.
SKU: HL.14011420
ISBN 9780853604945. English.
Suitable for young beginners, this book by S. J. Townshend, provides short exercises in the elementary rudiments of music including questions on clefs and staves, notes and values, accidentals, rests, tones and semitones, introduction to major scales, key signatures, tonic triads, time-signatures and musical terms.
SKU: PR.144405160
UPC: 680160667826. 9 x 12 inches.
In 1979, Martin produced a set of three quintets, in consideration of Gorky's piece Nighttime Enigma Nostalgia. Each is scored for flute, clarinet, violin, cello, and piano. As the title suggests, the music is in a state of perpetual questioning using a variety of approaches. For example, Enigma opens using ostinati (plural of ostinato) that do not match in length, like a staircase with each step a different height. Additionally, the music has sudden starts and stops, again unexplained. There are dramatic and powerful explosive passages that are interrupted. The technique, used to create this feeling of a perplexed music world where things seem often not to make sense and to be left unresolved, is called in poetry and literature, anticlimax. In Enigma, the music suggests one direction; then refuses to continue, striking out in another direction. Artists use approaches such as this to force themselves into creative circumstances that they otherwise might not have discovered. (From the performance notes.).
SKU: AP.44196S
UPC: 038081498164. English.
Beginning with an unresolved emotion and motive, Finding a Way travels through many emotions looking for a way to find resolution and comfort, conveying an uplifting and hopeful spirit that ultimately finds peace. When healing has had a chance to occur, sadness and sorrow can become replaced with delight and excitement of our memories. The piece concludes with a restatement of the opening, questioning motive, but this time with the question answered. (4:15).
SKU: PR.114420410
UPC: 680160687015.
In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.In one of the dedicatory poems to his verse play “The Shadowy Waters†(1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?â€How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?†into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,†to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
SKU: PR.11442041L
UPC: 680160687039.
SKU: PR.11442041S
UPC: 680160687022.
SKU: CF.YAS19
ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
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: ST.B923
ISBN 9780852499238.
The fourth collection of hymns by Alan Gaunt, Beyond All Words, brings together 89 texts on a variety of themes that are both contemporary and yet grounded in the perennial questions of theology. In his Foreword, Emeritus Professor David M. Thompson writes 'One could see this collection as a diary of the first decade of the third millennium, during which so many of the bright hopes with which the new era began were ruthlessly smashed with the most up-to-date military technology available. So again and again the human existential question Why? is translated into the ultimate question in Christian theology of the Why? of the cross.'.
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.