SKU: KJ.TW520
UPC: 8402702088.
About TCW Resources
TCW Resources exists to create music teaching materials designed to inspire teachers and students to reach beyond the ordinary. We are committed to producing quality products that utilize sound educational principles. With the knowledge that music can enhance every child's life, we offer students and teachers fresh new tools that will promote their love of music and make music a valued gift for the rest of their lives.
TCW Resources was founded in 1993 by Laura G. Zisette, Charlene Zundel, and Kathleen Lloyd to create teaching materials that are thorough, easy to use, and fun and stimulating for students. The materials are age- and level-appropriate, well-paced, and employ multiple approaches to accommodate varied learning styles.
TCW materials are piloted through the Utah State University Youth Conservatory, a music preparatory program for community children. This conservatory serves over 250 students, ages 5-18, through group theory classes and individual piano lessons. Its curriculum offers weekly group theory classes and individual piano lessons as well as many other extra-curricular programs. The National Association of Schools of Music (NASM) stated that the USUYC should be a national model for music preparatory programs.
TCW materials are used in many other preparatory programs and conservatories around the United States and Canada.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: CA.1243500
ISBN 9790007171322.
Disney films remain ever-popular, chiefly because of their soundtracks. Many songs continue to enjoy fame and popularity decades after the film premieres. The songs in this volume - Supercalifragilisticexpialidocious from Mary Poppins dating from1964, Under the Sea from The Little Mermaid dating from 1989 and I See the Light from Tangled dating from 2010 - received many awards including Oscars and Grammys. Because the tunes are so catchy, they are timeless, appeal to many generations, and have a life of their own beyond the film. High spirited songs like sympathetic nanny Mary Poppins' nonsense song can be sung anywhere! Rainer Butz has expertly arranged the songs for equal-voice youth choir with piano accompaniment. The new series chorissimo! MOVIE contains up-to-date choral arrangements of well-known film music suitable for school and youth choirs.
SKU: KJ.TW502
UPC: 8402702086.
SKU: KJ.TW531B
UPC: 8402702136.
SKU: CA.3121219
ISBN 9790007239619. Language: German/English.
The Peasant Cantata BWV 212 is unique in Bach's cantata output both in content and musically. Although it belongs to Bach's homage cantatas, the text deals only indirectly with praise for a new chamberlain. Rather, the eloquent characters portray situations from rural life, which are also reflected in the music: Bach often drew on well-known dance movements and folk tunes. Because of this the cantata as a whole seems less 'academic' than his (surviving) sacred vocal music. Just two arias were composed in the typical da capo structure in which the musicians' abilities are put to the test. But because of the shortness of the other movements, the cantata is extremely varied. Picander's humorous text makes the cantata extremely versatile, far beyond its original purpose. Score and parts available separately - see item CA.3121200.
SKU: KJ.TW402
UPC: 8402702191.
SKU: GH.GE-10436
ISBN 9790070104364. A4 inches. Text: Heliga Birgitta / Biblical / Kahlil Gibran / Franciscus av Assisi.
The famous prayer by S:t Bridget introduces this work, which is not a mass in the traditional sense, as it includes texts from various traditions. The composer here goes beyond the traditional boundaries, musically and as far as the text is concerned. All with the purpose to emphasize the important aspects of life. For SATB a cappella.
SKU: KJ.TW405
UPC: 8402702196.
SKU: BR.EB-8032
ISBN 9790004174357. 9 x 12 inches.
In the last year of his life, Felix Mendelssohn Bartholdy (1809-1847) composed the six charming Children's Pieces, op. 72 (EB 8317). In contrast to the collections of children's pieces (by Schumann or Reger, for example), these have remained relatively unknown. Admittedly, however, they here and there demand technical and musical accomplishments that are beyond those to be expexted of beginners and belong to an intermediate stage of instruction. In the present edition, minor re-arrangements and cuts (in op. 72 no. 6) are intended to make the music more accessible to a child's understanding. The Songs without Words presented here are musically more demanding. From the total of 48 pieces, I have selected three slow compositions in which simple, beautiful melodie lines are supported by chorale-like piano textures. True performance of these pieces requires clean polyphonic chord playing and a cultivated pedal technique. The selection of pieces in this edition will, it is hoped, stimulate renewed interest in the piano music of Mendelssohn, which is so neglected today. Heinz Walter, Salzburg, Spring 1979A Selection from 6 Children's Pieces (Op. 72) and Songs without Words.
SKU: KJ.TW302J
UPC: 8402702078.
SKU: HP.2927
UPC: 763628129279.
HOLY MANNA arrangement HOLY MANNA is masterfully woven through this arrangement creating an enchanting setting of the traditional tune. The fugue-like second verse is beautifully created.
SKU: AP.36-A888801
ISBN 9798888529911. UPC: 659359989490. English.
The ballet La Bayadère (The Temple Dancer or The Temple Maiden) was created in 1877 for famed French choreographer Marius Petipa to music by Ludwig Minkus (1826-1917). In four act and seven tableaux, the ballet tells the story of the bayadère Nikiya and the warrior Solor, lovers who are beset by jealous rivals, arranged marriages beyond their control, murder, an opium-fueled hallucination of the afterlife, and a vengeful god that destroys the temple and everybody in it as revenge for Nikiya's murder. It was first performed on February 4, 1877, by the Imperial Ballet in St. Petersburg, Russia. It was hailed as a success and masterpiece immediately after the premiere, particularly The Kingdom of the Shades scene in Act II, an excerpt which remains a major standalone work for the ballet repertoire. Modern performances of La Bayadère are almost always derived from a 1941 version sated for the Kirov/Mariinsky Ballet by Vladimir Ponomarev and Vakhtang Chabukiani, which incorporates additional music by Minkus, Drigo, and Pugni. Act II takes place after Nikiya is killed by a concealed venomous snake. A depressed Solor smokes opium, resulting in a vision of Nikiya's spirit dwelling in the Kingdom of the Shades, a nirvana in the Himalayas. The two lovers reconcile among the shades of other bayadères in a Pas de deux, then Solor is awakened just in time for his arranged marriage to another woman. This orchestration of Act II has been completed by William McDermott. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.20162UK
ISBN 9781470611743. English.
The piano is a magnificently versatile instrument and great fun to learn, but all the considerations can seem a little overwhelming if you're thinking about taking it up. In So You Want To Play The Piano?, concert pianist and piano teacher Melanie Spanswick covers all concerns and gives advice on: - how to find the perfect instrument - what to look for in a teacher - things to bear in mind beyond playing the right notes - popular books for beginners - preparing for exams - supporting a child who is learning - and much, much more. So You Want To Play The Piano? is an excellent guide for anyone thinking about the piano as their instrument of choice. And who knows, you could see a pleasant pastime become a lifelong passion!'This little book is an absolute MUST for anyone thinking of taking up the piano, or sending their child to piano lessons!' - * * * * * Amazon review
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