ISBN 9781579998097. English.

The secret to all leadership is the ability to choose one's attitude at every moment of every day Tim Lautzenheiser has once again created a priceless template highlighting the keystone values of leaders. —Joe Lamond, President/CEO, NAMM Tim Lautzenheiser's latest workbook catapults the art and craft of leadership to a new level, challenging students to look within themselves and witness their unlimited potential. This practical sequel to Leadership: Vision, Commitment, Action is a great companion to any leadership program. This workbook will encourage you to actively pursue and embrace the infinite responsibilities of positive leadership. Flip to any page and you will find ideas and resources to help you through daily leadership challenges. Ultimately, according to Tim, leadership is about role modeling. Leadership is about walking your talk by doing: What needs to be done, When it needs to be done, Whether we want to do it or not, Without anyone asking. This workbook will compel you along this important journey. Tim Lautzenheiser is well known in the education world as a teacher, clinician, author, composer, consultant, adjudicator, and—above all—a trusted friend to anyone interested in developing a desire for excellence in young people. Following ten years of successful teaching at Northern Michigan University, the University of Missouri, and New Mexico State University, Tim developed Attitude Concepts for Today (attitudeconcepts.com), which coordinates his workshops and speaking engagements. .

SKU: PR.114417130

ISBN 9781491110409. UPC: 680160626687. 9x12 inches.

A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspired by the ancient Chinese poet Li Bai's poem Drinking Alone under the Moon with the Shadow. The premiere was given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned the work to celebrate its 25th Anniversary NYC Season. From the Program Note by Matthew Levy (The PRISM Quartet), Not Alone (2014) is an interdisciplinary work...but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspective solos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alone for a 2017 release on XAS Records titled Paradigm Lost. But we're excited for a wider community of saxophonists to embrace the work, and share it with their own audiences. Not Alone is published together with Happy Birthday to PRISM, a brief miniature that Chen Yi wrote for the quartet's 20th anniversary celebration in 2004. For advanced performers._________________________Text from the scanned back cover:NOT ALONE for Saxophone QuartetHAPPY BIRTHDAY TO PRISM for Saxophone QuartetNot Alone is a 14-minute saxophone quartet and dance score inspired by the ancient Chinese poet Li Bai’s “Drinking Alone under the Moon with the Shadow.” The expansively-textured sax quartet matches the exploratory and dramatic movements and gestures in the dance. NOT ALONE was commissioned by the Nai-Ni Chen Dance Company which premiered the work in collaboration with the PRISM Quartet. Also included in this publication is Chen Yi’s fascinating take on “Happy Birthday to You,” composed in celebration of Prism’s 25th anniversary season.
A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspiredby the ancient Chinese poet Li Bai’s poem “Drinking Alone under the Moon with the Shadow.” The premierewas given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned thework to celebrate its 25th Anniversary NYC Season. Program Note by composer Chen YiThe original inspiration for this work for both the choreographer and the composer came from the Tang Dynasty poem - Alone Under the Moon by Li Bai. The poem describes the poet being alone in a garden. The moon and his shadow became his companions that night. The choreographer brings this idea to modern life in an urban setting. She created a series of “mindscapes” which are the result of the exploration of the different mental and physical states of being alone.Through self-examination, the choreographer raises the question: are we ever really alone? Our physical being may be standing by itself, but what about our introspective self? When we are still, we let our thoughts pass by like flowing water. If we could engage with our shadows, what would it be like?Program Note by Matthew Levy, The PRISM QuartetThe PRISM Quartet has commissioned a great many composers since our founding days in 1984. Chen Yi is among ahandful of our very favorites, and one to whom we’ve returned time and time again. Her music is powerful, expansive,intimate, and draws connections between Eastern and Western, ancient and modern traditions in a voice all her own.Chen Yi has written or adapted four works for the PRISM Quartet. She penned a wonderful miniature called HappyBirth day to PRISM to celebrate the ensemble’s 20th anniversary back in 2004 (Dedication, Innova Recordings).We subsequently commissioned her to compose Septet (2008) for Erhu, Pipa, Percussion, and Saxophone Quartet(2008), premiered and recorded with the New York ensemble Music From China (Antiphony, Innova Recordings 2010).In 2015, the PRISM Quartet performed and recorded (XAS Records) a new version of her saxophone quartet concerto,BA YIN, with the University of Missouri-Kansas City Wind Ensemble under the baton of Steven Davis (originally writtenfor the Rascher Quartet and scored for saxophones and string orchestra.).Finally, Not Alone (2014) is an interdisciplinary work written for the Nai-Ni Chen Dance Company with the PRISMQuartet, but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspectivesolos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alonefor a 2017 release on XAS Records titled Paradigm Lost. But we’re excited for a wider community of saxophonists toembrace the work, and share it with their own audiences.In his liner notes for the recording, WNYC’s John Schaefer writes: “As with much of her music, Chen employs percussiveeffects and glissandi; in Chinese music these are not considered “extended techniques” or special effects, but animportant part of the performer’s arsenal. Here, they help create the twilit mood of the opening moments. The piecesoon becomes more dramatic, suggesting the arrival of the drinker’s companions (real or imagined) and his or herincreasingly garrulous outbursts. Passages of consonance and discord can easily be heard as companionable singingand bouts of drunken argument. The piece bustles along on a kind of restless energy, until, finally, that restlessnesssubsides, giving way to a gently humorous ending where a short falling phrase signals the drinker falling asleep.”.

SKU: PR.312418800

ISBN 9781491138151. UPC: 680160640225. Second April, by Edna St. Vincent Millay.

Second April for S.A.T.B. Chorus and Piano is a four-movement set, based on the poetry of Edna St. Vincent Millay. Ewazen has long been enamored with her poetry's wonderfully vivid and descriptive imagery of nature and emotions, and its powerful and profound meaning. The final movement, INTO THE GOLDEN VESSEL OF GREAT SONG is an appassionato call to overcome! The poem exhorts us to “sing out” with hope, determination, and strength. The music contrasts turmoil and times of strife with a return to championing the idea of simply overcoming, going forward with hope and determination, with the closing music in major, resonant and strong.  .
SECOND APRIL for S.A.T.B. Chorus and Piano is a four-movement set, based on the poetry of Edna St. Vincent Millay. I have long been enamored with the poetry of Millay for its wonderfully vivid and descriptive imagery, and its often powerful and profound meaning. Millay’s descriptions of nature, and of feelings and emotions, have always spoken to me. SECOND APRIL consists of four of her poems, each with a distinctive mood, message, and emotional feel. They are vivid, powerful, and beautiful, inspiring me to capture these descriptions of the various scenes she portrays.  Song of a Second April uses music to underlie strong feelings, passions, and the tragedies of life. The poem itself is dramatic, detailing a time of personal strife and tragedy, perhaps the end of a relationship or even the end of a life. The music is intense, fast, in a minor key, and with rapid, spinning notes creating a feeling of powerful, relentless emotions. Melodies, motives, and gestures are tossed between the voices, increasing the feelings of intensity and even desperation. Little by little, the music almost dies away, getting quieter and quieter, creating a feeling of resignation, but with a Picardy Third in the final chord – maybe a bit of hope!  Mariposa is a celebration of nature, wandering through a field with white and blue butterflies appearing almost wondrously. But there’s also a profound feeling of poignancy, noting that as one relishes such a beautiful, magical sight, they should embrace the experience – the fleeting, transient nature of such a perfect vision and of life itself. The music portrays the flying of the butterflies: gentle, beautiful, with rich chords and arpeggios, but stepping back, as the fleeting nature of life is the reality, with gentle, but sombre chords interspersed with the magical flight of the Mariposa.Alms is a fast rondo, intense, bold, and always dance-like. It is about both tragedy and resilience. This music is also in minor, yet with moments of playfulness, as a recollection of happy times or moments takes over. This seesaw between emotions is heard throughout the movement, as the music continues to “dance.”  And with Millay’s summing up of “reality being what it is,” the piece ends with strength, boldness, and finality. Into the Golden Vessel of Great Song is an appassionato call to overcome! The poem exhorts us to “sing out” with hope, determination, and strength. The music is full of bright and lilting energy; but as the turmoil and times of strife people can sometimes feel or experience, the music becomes intense, dramatic, in a minor key, and with changing rhythms. BUT, there is a return to championing the idea of simply overcoming, going forward with hope and determination, and the music is in major, resonant and strong.  .

SKU: PR.312418780

ISBN 9781491138137. UPC: 680160640201. Second April, by Edna St. Vincent Millay.

Second April for S.A.T.B. Chorus and Piano is a four-movement set, based on the poetry of Edna St. Vincent Millay. Ewazen has long been enamored with her poetry's wonderfully vivid and descriptive imagery of nature and emotions, and its powerful and profound meaning. The second movement, MARIPOSA celebrates nature, wandering through a field of white and blue butterflies appearing wondrously, with rich chords and arpeggios. Yet also stepping back, the fleeting nature of life is the reality, with gentle, somber chords interspersed with the magical flight of the Mariposa.
Program Notes by Eric EwazenSECOND APRIL for S.A.T.B. Chorus and Piano is a four-movement set, based on the poetry of Edna St. Vincent Millay. I have long been enamored with the poetry of Millay for its wonderfully vivid and descriptive imagery, and its often powerful and profound meaning. Millay’s descriptions of nature, and of feelings and emotions, have always spoken to me. SECOND APRIL consists of four of her poems, each with a distinctive mood, message, and emotional feel. They are vivid, powerful, and beautiful, inspiring me to capture these descriptions of the various scenes she portrays.  Song of a Second April uses music to underlie strong feelings, passions, and the tragedies of life. The poem itself is dramatic, detailing a time of personal strife and tragedy, perhaps the end of a relationship or even the end of a life. The music is intense, fast, in a minor key, and with rapid, spinning notes creating a feeling of powerful, relentless emotions. Melodies, motives, and gestures are tossed between the voices, increasing the feelings of intensity and even desperation. Little by little, the music almost dies away, getting quieter and quieter, creating a feeling of resignation, but with a Picardy Third in the final chord – maybe a bit of hope!  Mariposa is a celebration of nature, wandering through a field with white and blue butterflies appearing almost wondrously. But there’s also a profound feeling of poignancy, noting that as one relishes such a beautiful, magical sight, they should embrace the experience – the fleeting, transient nature of such a perfect vision and of life itself. The music portrays the flying of the butterflies: gentle, beautiful, with rich chords and arpeggios, but stepping back, as the fleeting nature of life is the reality, with gentle, but sombre chords interspersed with the magical flight of the Mariposa.Alms is a fast rondo, intense, bold, and always dance-like. It is about both tragedy and resilience. This music is also in minor, yet with moments of playfulness, as a recollection of happy times or moments takes over. This seesaw between emotions is heard throughout the movement, as the music continues to “dance.”  And with Millay’s summing up of “reality being what it is,” the piece ends with strength, boldness, and finality. Into the Golden Vessel of Great Song is an appassionato call to overcome! The poem exhorts us to “sing out” with hope, determination, and strength. The music is full of bright and lilting energy; but as the turmoil and times of strife people can sometimes feel or experience, the music becomes intense, dramatic, in a minor key, and with changing rhythms. BUT, there is a return to championing the idea of simply overcoming, going forward with hope and determination, and the music is in major, resonant and strong.  .