Responsibility

SKU: HL.14043326

UPC: 888680046651. 10.0x6.75x0.078 inches.

John Tavener's Preces and Responses for Double Choir were commissioned by Cathedral Commissions of Wells Cathedral and were first performed on Sunday 18th May 2014 during New Music Wells 74-14, by Wells Cathedral Choir conducted by Matthew Owens.

SKU: HL.333136

ISBN 9780982320730. UPC: 884088533854. 9.25x13.75x2.653 inches.

This limited edition silver-embossed, facsimile-autographed, slipcase holds both books. These books are essential for anyone who is interested in a comprehensive account of the modern guitar, and how a highly responsive guitar is made. They offer info from one of the most-revered luthiers of our times. No publication has ever presented trade secrets and practical information to truly change the way a person makes or appreciates the steel-stringed guitar. Ervin Somogyi is a Hungarian-born master luthier whose guitars are renowned for their responsiveness and tone - trademarks for a great guitar. After almost five decades of making this instrument, teaching and writing about the development and construction of the guitar, Somogyi reveals the methods, techniques and philosophy behind his legendary instruments. The Responsive Guitar is about physics, dynamics, acoustics and construction of the guitar. It's about the mechanics of tone; what materials to build with, when to add or remove wood for maximum benefit, and why those techniques work. Somogyi explains in exquisite detail how the guitar makes sound, and what musicians and luthiers need to know in order to appreciate a really well-made guitar. This book sets the foundation for the matching volume Making the Responsive Guitar. Making the Responsive Guitar is the second volume on a two-volume set of books that set out the principles and methods of building fine hand-made guitars. Where Volume 1 sets up the knowledge, this book is about how to build a guitar, from the very first step to the last.

SKU: ST.W216

ISBN 9790220221514.

Jeremy Jackman has brought his wealth of experience as a choral conductor to create a new set of practical and highly attractive short Wedding Responses for upper voices. The texts are from the traditional rite of the Book of Common Prayer, much favoured for its qualities of solemnity and occasion. Reminiscent of the ceremonial styles of Bliss and Walton, the music of each brief response is both contemporary and accessible in style, yet is easy to perform and well within the ability range of a typical church choir, whether using trebles or mixed voices.

SKU: PL.9916

For nearly 50 years, Dr. Guest has been considered the consummate church musician whether in his choral conducting, organ playing, or his numerous compositions. This set of Preces and Responses draws on the great tradition of music for trebles alone, such as practiced in the collegiate chapels of Cambridge, England. These are written for three part treble voices, and are set mostly in the middle register. However, Dr. Guest provides soaring phrases where appropriate, expressing the exaltation of praise. There are many unison passages, thus facilitating the learning process. This set of Responses will be welcome for services of Choral Evensong and can be sung by youth and women's choirs alike.

SKU: MN.50-8980

UPC: 688670589805. Text: Kenneth Dake, Robert Lowry, John Newton. Scripture: Philippians 2:9-11;.

Four responses that may be used in many different ways. All are based on familiar hymns.

Amazing Grace
My Life Flows On in Endless Song
Emmanuel
He Is Lord.

SKU: AP.41756

UPC: 038081468365. English. Tim Hayden.

Today is Fuzzy Monster's birthday! As Gaby, Theo, Daffodil, and other neighborhood friends prepare for a surprise party, our colorful cast of characters learns many important life lessons. After a cheerful opening theme song, eight scenes and unison songs focus on good judgment, kindness, courage, perseverance, responsibility, self-discipline, integrity, and respect. A few optional stage puppets will steal the show and add to the fun! Enhanced CD includes PDFs of student pages and cover art. Approximately 35 minutes. Recommended for grades three and up. Titles: Here on Character Street * It's Easy * I Just Want You to Care * Courage * Keep Tryin' * Responsibility * Self-Discipline * I Will Live with Integrity * Respect. Teacher's Handbook is 100% reproducible.

SKU: HL.200476

ISBN 9780965125079. UPC: 888680650773. 8.5x11.0x0.616 inches. Stephen Marcone with David Philp.

Making it in music has never been easy, but today it's harder than ever before. The digital age has dawned and, with it, the music biz has wholly merged with the entertainment industry. Up-and-comers are immediately faced with a dire choice: alter your art to appease the powers that be or learn to navigate the notoriously grimy underside of the most glamorous profession in the world. Whether you're a self-reliant DIY musician or an aspiring personal manager, Stephen Marcone and David Philp's Managing Your Band -Artist Management: The Ultimate Responsibility can help you keep your shirt and maybe - just maybe - make a buck, all for less than the price of a decent dinner. Now in its sixth edition, Managing Your Band has long since been the standard bearer for aspirants and hardened vets alike. From dive bars to festivals, from branding and merchandising to marketing and publicity, from publishing and licensing to rights and contracts, Marcone and Philp leave no stone unturned in this comprehensive guide to artist management. A lofty claim, eh? No need to take our word for it - luminaries in every corner of the industry are willing to testify. To put it mildly, the book has a reputation with record labels. John Butler, Vice President of Promotion at Curb, believes that Marcone and Philp take on our ever-changing business with a fresh and complete approach. The breadth of information here is as important to veterans as it is to the new entrepreneurs that will power the current and next versions of the music industry. Paul Sinclair, the EVP of Digital Strategy & Innovation at Atlantic, attests that the 6th edition of Managing Your Band provides an excellent blueprint to follow paths of flexibility and specificity toward a successful career in music. In this book, you find the framework. Implement it well and you have a better shot of finding success with your musical art. Joe Riccitelli, the EVP/GM of RCA, considers the book a must for new and established managers who may need a brush-up on topics they have forgotten, as Stephen's & David's vast experience pays off in the 6th edition. Hell, this is the only book music mogul Harvey Leeds took to Israel to teach the Israelis about the international music and entertainment business! In the end, we think Doc McGhee, the man who whisked Bon Jovi and Motley Crue to superstardom, says it best: I wish I had something like this when I was starting out! What more can we say? Pick up the latest edition of Managing Your Band and chase that wild dream!

SKU: CF.FE189

ISBN 9780825877513. UPC: 798408077518. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium”, a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

SKU: CF.CPS265F

ISBN 9781491161753. UPC: 680160920440.

Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
Remembrance was written in November 2018. “In remembrance of what it took for us to be here...” was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.