58 Results for : slurs
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Bad Words
Bad Words - Philosophical Perspectives on Slurs: ab 55.49 €- Shop: ebook.de
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Slurs and Thick Terms
Slurs and Thick Terms - When Language Encodes Values: ab 45.49 €- Shop: ebook.de
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Bad Words
Bad Words - Philosophical Perspectives on Slurs: ab 55.49 €- Shop: ebook.de
- Price: 55.49 EUR excl. shipping
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Slurs and Expressivity
Slurs and Expressivity - Semantics and Beyond: ab 42.49 €- Shop: ebook.de
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Resurrection
O Mortal Man - (Herbert Howells 1892-1983) O Mortal Man is a setting of the Sussex Mummers' Carol (first collected and notated by Lucy Broadwood in 1908). It is a slightly mysterious work that seems only to have come to light within the last twenty years. In the 1990s, Christopher Palmer produced the first edition from the almost-complete manuscript source in the library at the Royal College of Music. When this disc was being recorded, it became clear that further consultation of the source was necessary, and, as a result, Sam Hayes produced the edition that is heard here, with great gratitude to Palmer's earlier work. The present reading corrects a few small errors found in the earlier edition, provides a slightly different completion of the missing final bars and offers occasional alternative readings of the string voice-leading, sometimes unclear in the source. It also suggests text for the charming inner verse for four-part choir. The source gives no text for this verse, but seems to suggest the placement of certain syllables using slurs. The original carol has at least seven verses, but Howells's manuscript for O Mortal Man suggests that the harmonisation of the inner verse should only be used once. The middle verse recorded here seemed the most logical choice, and complements the other two verses admirably. The date of the work is unclear, but a superficial comparison with the Four Anthems of 1941 suggests it may date from a similar period. Like as the Hart Desireth the Waterbrooks - (Herbert Howells 1892-1983) Composed in Cheltenham in early 1941, this setting of psalm 42 is one of a collection of four anthems written at this time, the other three being O pray for the peace of Jerusalem, We have heard with our ears O God, and Let God arise. The choice of texts is perhaps telling, as Howells's temporary residence in Cheltenham came as a result of his London home being bombed out in late 1940. Like as the hart is an acknowledged choral classic, combining Howells's trademark expansive melodies with his distinctive harmonic language, tonal and approachable, but not without a few more daring chromatic moments. Particularly striking is the warm, singable opening theme for tenors and basses in unison, the hauntingly ethereal soprano writing particularly in the divided section towards the end, and the reverent repose of the final bars. Life Cycle - Adam Pounds (born 1954) The Life Cycle was first composed as a piece for dance in 1992. At this stage it was written as a short piece for a chamber ensemble of seven players. After a successful performance (with dancers) at the Chelmsford Cathedral Festival, the composer decided to extend the work and transcribe it for full orchestra. In it's first transformation, the piece included a part for synthesizer but this was later discarded. Although programmatic, the 'Life Cycle' is perhaps one of the most experimental and abstract of Pounds' work. The opening was re-written in 2010 and describes 'a beginning'. The music then passes through different stages - birth, the joy of life (depicted by a minimalist section), stress and finally death (the music being a mirror image of the opening) followed by the ascension of the spirit. There is much use of exciting rhythms with virtuosic demands made on all sections of the orchestra. The percussion in the piece includes randomly tuned drums adding to the primitive, distant aesthetic of the work. The Lord is my Shepherd - Lennox Berkeley (1903-1989) Lennox Berkeley began composing at a young age but initially the idea of making his living as a professional musician was not apparent. He studied Modern Languages at Oxford and it was here that he wrote his first published work. The composer Ravel, suggested that Berkeley should study composition with Nadia Boulanger in Paris. This he did and she had a profound effect on his development both personally and as a composer. The 'Lord is my Shepherd' is a relatively late work and represents Berkeley at his most lyrical. It was commissioned to mark the 900th anniversary of the foundation of Chichester Cathedral and was first performed in 1975, the year that Berkeley became president of the Performing Right Society. The piece features a fine and memorable treble solo as well as convincing word painting The Martyrdom of Latimer - Adam Pounds (born 1954) Composed to celebrate the tenth anniversary of the Ely Sinfonia, this work explores the final days of the cleric Hugh Latimer's life, his death at the stake and his martyrdom. In order to give a sense of period modal themes and liturgical ideas are combined with strong rhythmic statements. The opening music is based on that of the Tudor composer Robert White, who was Master of the Choristers at Ely Cathedral. After a strong bell-like statement from the full orchestra, a flowing liturgical figure is introduced. There then follows an adagio that features an oboe solo in which the isolation of the character can be felt. The music then rises in tension representing the execution of Latimer and the following bass and tuba interventions utter the final death throws. The harmony then changes in nature to a more ethereal character and heralds the four trumpet parts. In the original performance, two of the players are sited in the gallery in order to exploit the special acoustic of the cathedral. The composer was asked to explore the concept of resurrection in the piece and to this end he has designed a coda which employs material earlier heard in the work that represents Latimer's character. After a short chorale-like figure in the brass the opening music returns in a more extended and assertive form. This is intended to reinforce the concept that in death, Latimer became more powerful and therefore 'alive'. Lo, the Full Final Sacrifice - Gerald Finzi (1901 - 1956) Lo, the full, final sacrifice (Op. 26) was commissioned by the Revd Walter Hussey for the 53rd anniversary of the consecration of St Matthew's Church, Northampton. Finzi orchestrated the piece for it's performance at the Three Choirs Festival in 1947, and the reduced orchestration heard here is by Jonathan Rathbone, with support of the Finzi Trust. The text is assembled from two poems of Richard Crashaw (c. 1613-1649), an English poet of the Metaphysical tradition of John Donne and Thomas Traherne, 'Adoro Te' and 'Lauda Sion Salvatorem'. These constitute poetic translations of Latin hymns by St Thomas Aquinas (c. 1225-1274). Finzi did not set the entirety of both poems, he instead excerpted and re-ordered selected stanzas from Crashaw's original to create a composite text for the work. The music of the piece is typical of Finzi's style - expansive, colourful, with suggestions of nostalgia and longing. The highly sectionalized form follows the stanza divisions of the text, featuring episodes of homophonic textures as well as short stretches of polyphony. The choral forces are used in a very varied way, ranging from unison and two-part writing to the luxurious 8-part Amen at the end of the piece.- Shop: odax
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50 Licks Blues Style
Unlock the secrets of blues guitar! Ace session guitarist Mat Gurman teaches budding bluesmasters 50 terrific phrases, demonstrating licks for dominant and minor blues progressions, turnarounds, intro licks, ending licks, stop time licks and many more. He also shows players the classic techniques used in blues guitar, such as: bends, pull-offs, hammer-ons, slides, slurs, vibrato, muted string raking and more! Each lick is played in context, then demonstrated slowly with full explanations of every technique used. Includes an instructional bookle- Shop: odax
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One Two Three Go
THE DEMERITS ONE TWO THREE GO Because children have abounding vitality, because they are in spirit fierce and fee, therefore they want things repeated and unchanged. They always say, "Do it again", and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, "Do it again" to the sun, and every evening, "Do it again" to the moon... It may be that He has the eternal appetite of infancy, for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence, it may be a theatrical encore. --G.K. Chesterton, Orthodoxy One Two Three Go was made over the last weekend of January 2010 entirely in a kitchen, without multi-tracking or special effects, the music happened in real life pretty much as you hear it on the CD. Our music is rooted in the Irish and American folk traditions of jigs, reels, fiddle tunes, blues, and songs. Even the more outlandish original compositions have their origin in one or more kinds of indigenous music. OK, then. About the tunes: ONE TWO THREE GO Composed by John Mortensen John wrote this tune one day at home after finding a really neat chord progression on the mandolin. The tune sounds like something wonderful is about to happen: hence the lyrics. Listen for a familiar hymn tune in there somewhere. THE OTTER CHOP Traditional. Arranged by John Mortensen Three traditional reels make up this set: Down the Broom, The Otter's Holt, and The High Reel. The term chop refers to the rhythmic sound the fiddles make at 1:24 and elsewhere, it's a down home rhythmic way of playing the fiddle and is derived from mandolin playing. KEEP MY SKILLET GREASY Traditional. Arranged by John Mortensen This is an old tune about hard times. John found it in a book somewhere. He wrote the second and third verses. Though the song comes from the American black tradition, this arrangement borrows from the European jazz style of Django Reinhardt and Stephane Grappelli. Well, the times are very hard, gonna buy a sack of lard: Gonna keep my skillet greasy if I can. Gonna go to old man Gene's, buy myself a sack of beans: Gonna keep my skillet greasy if I can. Chorus: If I can, can, can, if I can, can, can: Gonna keep my skillet greasy if I can. Well, my coffee's about to boil: made of dirt and motor oil. Gonna keep my skillet greasy if I can. Now my coffee's gotten cold, probably cuz it's three days old. Gonna keep my skillet greasy if I can. Chorus Well, my pig looks also forsaken cuz tomorrow he'll be bacon: Gonna keep my skillet greasy if I can. And my horse is acting blue cuz tomorrow he's fondue: Gonna keep my skillet greasy if I can. Chorus MONKEYBRAINSHISHKEBAB Composed by John Mortensen This is a little instrumental named after a fine afternoon hiking in the woods. John's kids noticed the osage oranges lying on the ground. One of them commented that they look like monkey brains. A game ensued involving the kids throwing osage oranges into the air and John trying to impale them on a dagger as they descended (the oranges, not the kids). Hence, the game was named Monkeybrainshishkebab. FAREWELL TO IRELAND Traditional. Arranged by John Mortensen and The Demerits A more traditional Irish tune you cannot find. Listen to it get faster as it goes. A TRIP TO GAZOOMINAW Composed by John Mortensen Gazoominaw is one of the many made-up lands created by John and Linda's kids. At one point it was suggested that it was home to wild boars and other unspeakable dangers. One Irish tradition is to name tunes after trips (A Trip to Skye, A Trip to Dublin). While the main tune could be considered to resemble a jig, the composition quickly outstrips the usual confines of traditional tunes and wanders far and wide. THE JUG OF SWEDISH FISH Traditional. Arranged by John Mortensen Here are some jigs for you. The first is known as The Swedish Jig for reasons which are not entirely clear or trustworthy (possibly because of it's odd harmonic wandering into the wrong key?). It is followed by The Ugly Fish, a willful and odd tune which tries to be in both six-eight and three-four time. Next comes the Jig of Slurs (known in Irish circles as The Jug of Slugs). For an ending we hear part of the Swedish Jig (the good part) one more time. SWEET IS THE SOUND Composed by John Mortensen John wrote this over Christmas break in 2009. The lyrics draw from an old-time folk tune called Cotton-Eyed Joe, the poetry of George Herbert (1593-1633), and the 150th Psalm. If you want to know what it means, you have to work it out for yourself. Get out your fiddle, your bow prepare: Play an old tune called Were You There? Wood becomes music, song springs from grain Only when touched by hammer and stain. Chorus: All that has breath, breathe out your part, Awake and play with all your art. Heaven come down, sky meet ground: sweet is the sound. Tune up your guitar, search for the chord: Play a new tune called All Things Restored. Like stretched sinews, by tuning stressed, So all strings must learn what key is best. Chorus LUCKEY HASKINS Composed by John Mortensen Luckey Haskins is an exit off I-75 in northwestern Ohio. It is a barren and desolate place in desperate need of interesting events. If someone made a movie about a fantastic story that took place there, this composition would be the film music. John loves the name because it sounds like it could be a guy's name or possibly a board game. Or a ride at the county fair. LUCY'S REELS Traditional. Arranged by John Mortensen Some more traditional Irish tunes for you. They are: Lucy Campbell's Reel, Lexie McAskil's, Sporting Paddy, and The Barrowburn. SAM-N-EM Composed by John Mortensen John wrote this to give the fiddlers something to do. The first theme is played all together by the fiddles and mandolin. Then Emily gets a turn to solo. Back to the main theme. Then Sam has to shred a solo. Main theme. Then appears a joyful tune, which is more or less a reel in A major. The fiddlers play it together. Turns out playing together is even more fun than playing solos. ROUSTABOUT Traditional. Arranged by John Mortensen This traditional song is also known as Lulu Gal. It's about a girl who is always in trouble, as told from the point of view of the guy trying to get her out of trouble. Where did you get them high top shoes? That dress that you wear so fine? I got my shoes from a railroading man. My dress is from a driver in the mine. Chorus: Hop high, hop high, hop high, my Lulu gal. I'll pawn you my watch and I'll pawn you my chain, I'll pawn you my gold wedding ring, To pay my little Lulu's fine, I'll pawn you my wagon and my team. Chorus Where have you been, my pretty little gal? Where have you been so long? I've been in the pen with the rough and rowdy men, And honey, I'm going back again. Chorus.- Shop: odax
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