Now Talking God

Talking Drums is a unique percussion trio of three world-renowned drummers who have come together to combine traditional Afro-Caribbean and funk rhythms: funk drumming innovator David Garibaldi Cuban-born hand drummer Jesús Diaz and San Francisco Bay area percussionist Michael Spiro.In this DVD Talking Drums performs and breaks down several exciting compositions that demonstrate the rich rhythmic complexities of this Afro-Caribbean/funk music offering new ways of approaching both hand drums and drumset. Talking Drums offers a unique teaching approach that clearly explains the intricate workings of Afro-Caribbean rhythmic styles and helpsbuild a better understanding of their history and origin.

(from Disney's Talking Friends)-From the popular Disney web show, Talking Friends, this is a fun buddy song that's perfect for younger choirs. Together there's nothing we can't do!

Discovery Level 2-From the popular Disney web show Talking Friends this is a fun buddy song that's perfect for younger choirs. Together there's nothing we can't do! Available separately: 3-Part Mixed 2-Part VoiceTrax CD. Duration: ca. 2:40.

Commissioned by a consortium from Chorus America this is a setting of a traditional Navaho poem. Beginning with a provocative first line Now Talking God this three word phrase is used as a simple rhythmic motive that becomes the underlying fabric of the piece reflecting the beautiful directness of expression of Native American spirituality.

Wizards Elves and Talking Animals-Drawing inspiration from books and films of fantasy adventure Johnnie's three-movement suite explores a variety of descriptive moods and styles. The first movement (Wizards) has a noble and grand flavor while the second(Elves) is more playful and mischievous in design. The concluding movement (Talking Animals) uses rhythmic energy and mixed meters in creating a bit of a rambunctious setting. Themes from the earlier movements arethen brought back for the grand finale. Dur: 8:00

Ableton Live whose unique groundbreaking incredibly flexible features set it far apart from all other digital audio applications is equally at home with making beats remixing live recording DJing live looping sound design electronic music hip-hop and much more.Unlike other books about Ableton Live that read like a second manual Producing Music With Ableton Live 9 (Book/DVD) walks you through all the features you need to make an actual track from start to finish.In addition to his 20+ years of making electronic music certified Ableton trainer Jake Perrine has taught audio production for more than a decade so not only does he knowwhat he's talking about but he knows how to make sure you understand what he's talking about.Whether you want to DJ make mashups and remixes play with a band or build epic dance anthems from scratch Perrine provides all the hands-on expert guidance you need for using Ableton Live 9.The accompanying DVD-ROM contains audio content keyed to the Ableton Live exercises in the text and session files so you can actually both hear and see how many of the features actually work.A substantial appendix section offers discussions of important non-Ableton-specific topics including digital audio basics components of a producer's studio considerations when buying a DAW computer and more.

Par MIRANDA LIN-MANUEL. From the hit movie Encanto, here's an easy version of the song everyone is talking about! The rhythms and ranges are expertly adapted for beginning groups and no solos are required. / Date parution : 2022-10-12/ Répertoire / Jazz Ensemble

Puccini's 'La Boheme' is based on Henri Murger's novel Scènes de la vie de bohème which draws it's inspiration from the Bohemian lifestyle which was somewhat in vogue in Paris at the time. This Libretto by Giuseppe Giacosa and Luigi Illica runs as follows: Rodolfo?s neighbour in his garret Mimi knocks at the door saying her candle has gone out on the stairs. Rodolfo and Mimi sit in the dark talking and fall for each other. They go to meet Rodolfo?s friends. While there Marcello's former lover Musetta arrives with her new husband Alcindoro but distracting him falls into Marcello's arms. Some time later Mimì pours out her distress to Marcello over Rodolfo'sincessant jealousy Rodolfo is actually concerned about Mimi?s poor health and wants to part with her. On realising this the two decide to stay together until spring Marcello and Musetta meanwhile part when she is unfaithful.Some months later Rodolfo Marcello and friends are amusnig themselves in the garret when Musetta bursts in saying Mimi is downstairs and has begged to be taken to her lover to die. She dies almost happily recalling their early love.This is the Schirmer edition of the Vocal Score in Italian and and English translation by Ruth and Thomas Martin.

For Narrator Children's Choir And Instrumental Accompaniment (Ensemble Version)-Following on the success of her two operatic works for children and teens ? Douce et Barbe Bleue Les Fables Enchantées Little Thummie and Cendrillon (based on Perrault) as well as the adaptation of Maupassant?s short story The Dumpling (2014) ? Isabelle Aboulker once again hits the bull?s eye with Myla And The Boat-Tree a commission from the Villecroze Music Academy. In 2015 this musical tale for Narrator Children?s Choir and Instrumental Accompaniment was awarded the ?Music for Young Performers Prize? by the French Music Publishers Association. Both in the French version and MarciMeth?s excellent English translation it provides the material for an enthralling educational adventure in which children between the ages of five and eight are invited into their first experience of opera and choir singing. With her trademark finesse and sensitivity the composer tells the story of a little girl dealing with the death of a person she?d cherished above all: her grandfather. Written for choir in unison this tale wafts shimmering melodies over an instrumental accompaniment suffused in turn with gentle melancholy and light humour. An art that speaks from an open heart. The work was written in three versions: for Narrator Children?s Choir and Piano (AL30732) for Narrator Children?s Choir and Trio (Clarinet in Bb Cello and Piano: AL30733) for Narrator Children?s Choir and Instrumental Ensemble (Flute Oboe Clarinet in Bb Bassoon Horn Trumpet in C Trombone Percussion 2 Violins Alto Cello Bass: AL30734) Choral score: AL30743 Listen to Isabelle Aboulker talking about ?Myla and the Boat-Tree?:

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Easy to read simplified arrangements of 19 popular film and TV themes. Including 'The Windmills Of Your Mind' and 'Everybody's Talking' for piano/vocal with guitar chord symbols.