SKU: HL.1763071

Hotone Pedals. Guitar Pedal. Hal Leonard #SP-21. Published by Hal Leonard (HL.1763071).

UPC: 196288303206.

In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal and features Cory's personal specs: Iconic blue and white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously. FEATURES: • Cory Wong's signature Press pedal featuring his personal specs • True Bypass • 4 in 1 functionality (volume, expression, wah, volume/wah) • New dual-color STATUS LED strip indicating pedal mode and position in real time • Cory's custom volume curve and wah Q control • Classic-voiced wah tone with flexible tonal range • Active volume design for keeping lossless tone • Separate tuner and expression outputs for more connection possibilities • Uses 9V DC or 9V battery power supply.

SATB, piano, and hand drum

SKU: OU.9780193572416

Composed by Tracy Wong. Voice Junction. Vocal score. Duration 3'. Oxford University Press #9780193572416. Published by Oxford University Press (OU.9780193572416).

ISBN 9780193572416. 10 x 7 inches.

For SATB, piano, and hand drum This optimistic piece is characterized by catchy, singable melodies and a syncopated rhythmic drive in the vocal and piano writing. The text was co-written by the composer and the vocal percussionist Cherie Chai, and celebrates the life-long relationships created and nurtured within the choral community.

SSA, piano, & hand drum

SKU: OU.9780193570382

Composed by Tracy Wong. Songbird. Vocal score. 16 pages. Duration 3'. Oxford University Press #9780193570382. Published by Oxford University Press (OU.9780193570382).

ISBN 9780193570382. 10 x 7 inches.

For SSA, piano, and hand drum This optimistic piece is characterized by catchy, singable melodies and a syncopated rhythmic drive in the vocal and piano writing. The text was co-written by the composer and the vocal percussionist Cherie Chai, and celebrates the life-long relationships created and nurtured within the choral community.

SKU: GI.G-9082

Edited by Jody Kerchner. Music Education. Choir part. 350 pages. GIA Publications #9082. Published by GIA Publications (GI.G-9082).

ISBN 9781622771752. English.

Contributo rs: Sandra Babb, Bronwen Fox, Talia Greenberg, Stuart Chapman Hill, Tara Sievers-Hunt, Michele Kaschub, Mary Copland, Kennedy Chi-hin Leung, Tom Lopez, Wendy Northrup, Stephen A. Paparo, Sarah Price, Carlos Xavier Rodriguez, Julia Shaw, Philip Silvey, Janice Smith, Brent C. Talbot, Raymond Wise, Paulina Wai-Ying Wong.   By seeking to open the act of composing to students of all ages, colors, classes, and backgrounds, Strand and Kerchner seek to demystify the act of composition itself. . . . The chorus is the ideal place to affect this kind of change. —Dominick DiOrio     From the Foreword Musicianship: Composing in Choir is a pioneering and practical answer to one of the great music education mysteries: how to effectively bring music composition to the choir room at all levels, in alignment with the National Core Arts Standards. Written and edited by Jody Kerchner and Katherine Strand together with a team of 18 nationally recognized teachers, researchers, and musicians, this book is truly a landmark publication. Central to this book are engaging project-based activities for individuals, small groups, and full ensembles. The authors’ goal is to provide singers with exciting new tools for exploring music. By promoting comprehensive choral musicianship, teachers will celebrate their students’ creativity, and their own. Section 1, Principles and Foundations, provides a rationale for the critical importance of including composition in the choral classroom, pedagogical principles upon which to base composition activities, and practical examples that can be taken directly from the page into the classroom. Section 2, Looking in on Composing in Choir, shares the latest the latest in practices and research related to teaching arranging and composing at a variety of levels and choral styles, with practical ideas suitable for a wide range of choral programs, student ages, ability levels, and interests. Section 3, Composition Projects for Choir, includes lesson plans with goals, outcomes, and procedures for page-to-classroom activities. Examples include composing ostinatos, rounds, partner songs, and songs over a bass line, lessons on arranging, leveraging technology, and using composition to teach sight singing. These lessons are a gold mine of ideas for choral educators and students alike. Every lesson has been “test-driven” with diverse student populations. Ultimately, Kerchner, Strand, and their team show that composing and arranging are not superhuman gifts, activities, or experiences that need to occur in solitude: Creativity and composition should be for everyone. With Musicianship: Composing in Choir, teachers and their students have access to tools and ideas that have the potential to transform their music making. Jody L. Kerchner is Professor & Director of Music Education at the Oberlin Conservatory of Music, where she is the secondary-school music and choral music education specialist. She is also founder and conductor of the Oberlin College Women’s Chorale and the Oberlin Music at Grafton Prison Choir. Her research interests include music listening, choral pedagogy, reflective praxis, empathetic leadership, and music teacher preparation. Katherine Strand is Associate Professor of Music and Chair of the Music Education Department in the Jacobs School of Music at Indiana University, where she teaches classes in participatory music practices, curriculum, and qualitative research methods. She taught K–12 choral and general music in rural and urban settings and served as choral director for the Virginia Governor’s School for the Visual and Performing Arts and Humanities. Her research interests include teaching for creativity, multicultural music pedagogy, and curriculum. Clint Randles, Series Editor, is Assistant Professor and Coordinator of Music Education at the University of South Florida School of Music in Tampa, Florida.

Concert Band - Grade 5

SKU: ML.013780090

Composed by Valdemar Gomes. Full set. Molenaar Edition #013780090. Published by Molenaar Edition (ML.013780090).

The Spanish war galleon with 64 cannons, built in Cuba between 1770 and 1771 for an English shipowner in the service of the King of Spain left Peru for Cadiz in 1784 with a huge cargo of copper, gold, silver and other valuables on board. There were also more than 400 people on board, including passengers, crew and Inca prisoners after a revolt. The Atlantic crossing went smoothly, passing Portugal to take advantage of favourable winds. The shipwreck off Peniche was the result of human error, apparently due to French maps with dramatic errors in the position of the islands of Berlengas and neighbouring islets. On 2 February 1786, the sea was calm and the night clear, but they hit the rock formation Papoa and the hull immediately broke in two. The bottom sank quickly, while the deck remained afloat for some time. 128 people lost their lives, including many Indians who were trapped in the basement. This shipwreck is considered one of the most important in maritime history.

What the composer wants to convey, and what can be felt as one listens, is first of all the sound of power, of hope, of the glory of conquest, of the splendour of wealth. This is followed by the perception of the maritime environment, the harmony with the softness of the ocean, the gliding of the hull in the foam of the sea on sunny, blue days. But along with this tranquillity, you soon hear a rhythmic chain that makes you feel a representation of the hustle and bustle, of the busy crew, of the hard work of a sailor, of the desperation of an exotic people imprisoned in a dark, damp cellar. A distinct rhythm that reminds us of the salero of Andalusia, with its Arab influences and its people, the soothing of the resignation of others who are forced to submit. Then we clearly hear a crescendo that makes us imagine the agony of the collision that precedes the shipwreck. The breaking of the hull, the water flooding everything, the despair, the clash of bodies on the rocks, the tragedy to come. Before the grand finale, in which the return of musical softness reminds us that the story is over. The supremacy of nature over human greed. The waves, though gentle, sweep the wreckage, the lives and the treasures of the New World to the bottom of the sea.

Het Spaans oorlogsgaljoen met 64 kanonnen, gebouwd in Cuba tussen 1770 en 1771 voor een Engelse reder in dienst van de koning van Spanje vertrok in 1784 vanuit Peru naar Cádiz met een enorme lading koper, goud, zilver en andere kostbaarheden aan boord. Er waren ook meer dan 400 mensen aan boord, waaronder passagiers, bemanning en Inca gevangenen na een opstand. De oversteek van de Atlantische Oceaan verliep vlot, waarbij Portugal werd gepasseerd om te profiteren van gunstige winden. De schipbreuk bij Peniche was het resultaat van een menselijke fout, blijkbaar te wijten aan Franse kaarten met dramatische fouten in de positie van de eilanden Berlengas en naburige eilandjes. Op 2 februari 1786 was de zee kalm en de nacht helder, maar ze raakten de rotsformatie Papoa en de romp brak onmiddellijk in tweeën. De bodem zonk snel, terwijl het dek nog enige tijd bleef drijven. 128 mensen verloren het leven, waaronder veel indianen die vastzaten in de kelder. Dit scheepswrak wordt beschouwd als een van de belangrijkste in de maritieme geschiedenis.

Wat de componist wil overbrengen, en wat men kan voelen als men luistert, is allereerst het geluid van macht, van hoop, van de glorie van verovering, van de pracht van rijkdom. Dit wordt gevolgd door de perceptie van de maritieme omgeving, de harmonie met de zachtheid van de oceaan, het glijden van de romp in het schuim van de zee op zonnige, blauwe dagen. Maar samen met deze rust hoor je al snel een ritmische ketting die je een voorstelling geeft van de drukte, van de drukke bemanning, van het harde werk van een zeeman, van de wanhoop van een exotisch volk dat gevangen zit in een donkere, vochtige kelder. Een duidelijk ritme dat ons doet denken aan de salero van Andalusië, met zijn Arabische invloeden en zijn mensen, het sussen van de berusting van anderen die gedwongen worden zich te onderwerpen. Dan horen we duidelijk een crescendo dat ons de lijdensweg doet voorstellen van de aanvaring die voorafgaat aan de schipbreuk. Het breken van de romp, het water dat alles overspoelt, de wanhoop, het botsen van lichamen op de rotsen, de tragedie die komen gaat. Vóór de grote finale, waarin de terugkeer van de muzikale zachtheid ons eraan herinnert dat het verhaal voorbij is. De overmacht van de natuur over de hebzucht van de mens. De golven, hoewel zacht, vegen het wrak, de levens en de schatten van de Nieuwe Wereld naar de bodem van de zee.

Le galion de guerre espagnol de 64 canons, construit à Cuba entre 1770 et 1771 pour un armateur anglais au service du roi d'Espagne, a quitté le Pérou pour Cadix en 1784 avec à son bord une énorme cargaison de cuivre, d'or, d'argent et d'autres objets de valeur. Il y avait également plus de 400 personnes à bord, dont des passagers, des membres d'équipage et des prisonniers incas à la suite d'une révolte. La traversée de l'Atlantique s'est déroulée sans encombre, en passant par le Portugal pour profiter des vents favorables. Le naufrage au large de Peniche est le résultat d'une erreur humaine, apparemment due à des cartes françaises comportant des erreurs dramatiques dans la position des îles de Berlengas et des îlots voisins. Le 2 février 1786, alors que la mer est calme et la nuit claire, le navire heurte la formation rocheuse de Papoa et la coque se brise immédiatement en deux. Le fond coule rapidement, tandis que le pont reste à flot pendant un certain temps. 128 personnes ont perdu la vie, dont de nombreux Indiens qui étaient coincés dans les sous-sols. Ce naufrage est considéré comme l'un des plus importants de l'histoire maritime.

Ce que le compositeur veut transmettre, et ce que l'on ressent à l'écoute, c'est d'abord le son de la puissance, de l'espoir, de la gloire de la conquête, de la splendeur de la richesse. C'est ensuite la perception de l'environnement maritime, l'harmonie avec la douceur de l'océan, le glissement de la coque dans l'écume de la mer par des journées bleues et ensoleillées. Mais à côté de cette tranquillité, on entend bientôt une chaîne rythmique qui nous fait ressentir une représentation de l'agitation, de l'équipage affairé, du dur labeur d'un marin, du désespoir d'un peuple exotique emprisonné dans une cave sombre et humide. Un rythme distinct qui nous rappelle le salero d'Andalousie, avec ses influences arabes et son peuple, l'apaisement de la résignation des autres qui sont obligés de se soumettre. Puis on entend clairement un crescendo qui nous fait imaginer l'agonie de la collision qui précède le naufrage. La rupture de la coque, l'eau qui envahit tout, le désespoir, le choc des corps sur les rochers, la tragédie à venir. Avant le grand final, où le retour de la douceur musicale nous rappelle que l'histoire est terminée. La suprématie de la nature sur la cupidité humaine. Les vagues, bien que douces, emportent les épaves, les vies et les trésors du Nouveau Monde au fond de la mer.

Die spanische Kriegsgaleone mit 64 Kanonen, die zwischen 1770 und 1771 auf Kuba für einen englischen Reeder im Dienste des spanischen Königs gebaut wurde, verließ Peru 1784 in Richtung Cádiz mit einer riesigen Ladung Kupfer, Gold, Silber und anderen Wertgegenständen an Bord. An Bord befanden sich auch mehr als 400 Menschen, darunter Passagiere, Besatzungsmitglieder und Inka-Gefangene nach einem Aufstand. Die Atlantiküberquerung verlief reibungslos, wobei Portugal passiert wurde, um die günstigen Winde zu nutzen. Der Schiffbruch vor Peniche war das Ergebnis menschlichen Versagens, das offenbar auf französische Karten zurückzuführen war, die in Bezug auf die Position der Inseln Berlengas und der benachbarten Eilande dramatische Fehler enthielten. Am 2. Februar 1786 stießen sie bei ruhiger See und klarer Nacht auf die Felsformation Papoa und der Rumpf brach sofort entzwei. Der Boden sank schnell, während das Deck noch einige Zeit über Wasser blieb. 128 Menschen kamen ums Leben, darunter viele Indianer, die im Keller eingeschlossen waren. Dieses Schiffswrack gilt als eines der bedeutendsten

Was der Komponist vermitteln will und was man beim Zuhören spürt, ist zunächst der Klang der Macht, der Hoffnung, des Ruhms der Eroberung, des Glanzes des Reichtums. Es folgt die Wahrnehmung der maritimen Umgebung, die Harmonie mit der Sanftheit des Meeres, das Gleiten des Schiffsrumpfes im Schaum des Meeres an sonnigen, blauen Tagen. Doch neben dieser Ruhe hört man bald eine rhythmische Kette, die die Hektik, die geschäftige Mannschaft, die harte Arbeit eines Seemanns, die Verzweiflung eines exotischen Volkes, das in einem dunklen, feuchten Keller gefangen ist, wiedergibt. Ein ausgeprägter Rhythmus, der an den Salero Andalusiens erinnert, mit seinen arabischen Einflüssen und seinen Menschen, der die Resignation der anderen besänftigt, die gezwungen sind, sich zu fügen. Dann hören wir deutlich ein Crescendo, das uns die Qualen des Zusammenstoßes, der dem Schiffbruch vorausgeht, erahnen lässt. Das Zerbrechen des Rumpfes, das Wasser, das alles überflutet, die Verzweiflung, das Aufeinanderprallen der Körper auf den Felsen, die bevorstehende Tragödie. Vor dem großen Finale, in dem die Rückkehr der musikalischen Sanftheit uns daran erinnert, dass die Geschichte zu Ende ist. Die Vorherrschaft der Natur über die menschliche Gier. Die Wellen, so sanft sie auch sein mögen, spülen die Trümmer, das Leben und die Schätze der Neuen Welt auf den Grund des Meeres.

String Quartet (SCORE)

SKU: HL.48025395

String Quartet Score. Composed by Elena Kats-Chernin. Boosey & Hawkes Scores/Books. Classical. Softcover. Duration 180 seconds. Bote & Bock #M202536582. Published by Bote & Bock (HL.48025395).

UPC: 196288195474.

†œIn 2006 Kylie Kwong who is the ambassador for the Fair Trade Association of Australia and NZ asked me to write a piece for Fair Trade event, she asked for something earthy and poetic and she told me a lot about what Fair Trade stands for. This piece grew out of the many impressions of the stories of people growing coffee and sugar in harsh circumstances, transporting the produce on difficult roads. At the same time I wanted to give it a sense of optimism and hope. There are versions of it for Viola and Piano, Violin and Piano, as well as Piano solo. Version for string quartet composed 2007.” (Elena Kats-Chernin).